Arthur Bliss’s Sonata for Viola and Piano stands as a significant achievement in early twentieth-century chamber music for viola and is the result of a fruitful collaboration between composer and virtuoso performer. Multiple scholars recognize the sonata as one of Bliss’s finest works. Despite these accolades, the work has failed to attract sustained scholarly investigation. This document provides performers with the necessary tools for a thorough and contextualized presentation of the work. The main body of this study details the technical aspects of performing the sonata: viola technique, expressive challenges, and ensemble concerns. Preceding this, I cover the relevant biographical details from Bliss’s life, examine the roots of his chamber music writing for viola by analyzing two early works, and investigate the collaboration between Lionel Tertis and Bliss in creating this work.

The purpose of this thesis was to find out if and how studio class improves a live performance at a final examination concert. Although the specific research described in this paper was about playing the viola, the argument is made that the exploration and knowledge of pratice would be of benefit to any musician. This paper describes the studio class experiment during an academic semester within playing a musical piece and its full analysis. Information is provided about the studio class, its methods, variations, and practices. The application of studio class at the Royal College of Music in Stockholm to viola playing in general is discussed, and specifically to the preparation for the performance of Sonata for viola and piano by Janis Medins. The results of the study indicates that studio class was really beneficial to the interpretation of the piece during a live performance at a final examination concert. / <p>Janis Medins, Sonata for viola and piano (1959)</p>