This viola edition of Federigo Fiorillo’s 36 Etudes or Caprices is based entirely on our previously published critical volume for violin. The transcription has been carried out with the utmost respect for the original text, preserving the composer’s bowings, fingerings, and other performance indications, with the aim of maintaining his musical intent within a new instrumental context. The downward transposition of a perfect fifth, necessary to adapt the Caprices to the viola’s register, required specific considerations regarding clef placement, with a predominant use of alto clef. Editorial decisions were guided by the goal of facilitating a natural and comfortable reading experience within the instrument’s characteristic tessitura, prioritizing the visual clarity and notational coherence that define RN Verlag’s editorial standards. The idiomatic character and interpretative logic of the Caprices remain fully intact, with no interventions that might compromise stylistic fidelity. To support the modern performer, editorial suggestions have been incorporated directly into the musical text, clearly distinguished in grey. These additions—limited to select passages—offer alternative fingerings and brief articulation proposals. While not part of the original score, they are presented with full transparency to assist informed interpretative choices. The reader can easily distinguish between the composer’s original markings and the editor’s recommendations. The decision to transcribe this work for viola is further justified by Fiorillo’s own artistic trajectory. Though best known as a violinist and composer of technical studies, Fiorillo was also an active violist. During his stay in England in 1788, he performed in London as the violist of the quartet led by Johann Peter Salomon, the German-British violinist and musical impresario. Fiorillo’s final public appearance took place in 1794, when he performed a viola concerto at the Concerts of Antient Music , organized by Salomon under royal patronage. His chamber output includes at least two collections of string quartets ( Op. 6 and other manuscripts), written for two violins, viola, and cello—further evidence of his familiarity with the instrument and idiomatic writing for it. This direct connection to the viola reinforces the artistic legitimacy of the present transcription, which not only broadens access to Fiorillo’s technical repertoire but also restores a lesser-known dimension of his musical identity. The primary source for this edition is the first publication of the 36 Caprices by Jean-Georges Sieber in Paris (1788), preserved at the Bibliothèque nationale de France, département Musique, under shelfmark L-9102. Widely disseminated throughout Europe during the 19th century, this edition represents the most complete and coherent testimony of the musical text as conceived by the composer. All editorial decisions—both in the violin edition and in this viola transcription—are grounded in a critical analysis of this source. Readers are encouraged to consult the preface to the violin edition for a deeper understanding of the historical context, source materials, and editorial rationale.