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.

Viola pedagogy has historically been closely intertwined with and highly dependent upon violin repertoire. As the viola emerged as an instrument worthy of independent study, many still rely on transcriptions of violin etudes. Fortunately, the efforts of performers, teachers, and scholars have brought forth discoveries of original viola literature and thus shifted toward the perception that viola should begin to embrace its individual pedagogy. Viennese composer and violist Marco Frank contributed three volumes of Viola-Etuden and a method book, Praktische Viola-Schule, which are suitable for the intermediate violist. This document explores and analyzes the usefulness of an original viola series in comparison to the ‘tried and true' violin transcriptions.