Abstract: In the period when the viola was gaining recognition in the solo and chamber music genre, composers in Germany, Austria, and Italy started showcasing the instrument in melodious passages, concertos, and symphonic literature. However, in France during the Classical era, not many pieces featured the viola until the early 1800s. My research aims to find the reason why the viola and classical music, in general, lagged behind compared to other nations in this period. Although I acknowledge the viola was utilized in other European states during this time, I claim that the instrument was not used in France due to complications of war and social class. I use the writings of William Weber to prove music in France was limited due to connoisseurs keeping the art exclusive. I examine the events of the French Revolution and the Reign of Terror to show how music may have been destroyed, lost or paused as a form of art. Due to the rise of the virtuoso and Paris Conservatoire, I use French violinists, Pierre Baillot and Antonio Bruni to show how repertoire and experimentation of string instruments grew during this time. The turbulent events in France did not diminish the potential of the viola but served as a testament to the instrument’s enduring capacity for innovation as a solo instrument.