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Violists today have much music from which to choose. Works exist for unaccompanied viola, viola and piano, and chamber ensemble including viola. Many of these works, especially those from this century, were written specifically for the viola. In addition, a number of earlier original viola works have been recently rediscovered. There are not, however, any great number of concertos for viola and orchestra.According to David Daniels' Orchestral Music: A Handbook, there are nineteen works in the general repertoire for viola and orchestra. Closer examination of these works reveals that few measure up to the standard of quality found in the concerto literature for other instruments. Violists, therefore, continue to search for new and rewarding music to play.The purpose of this study is to supplement the concerto repertoire for the viola with a recently uncovered work, the Concerto in E -flat Major by Joseph Schubert.The concerto is put in a historical and analytical context. Discussions of eighteenth-century Dresden's musical life and Schubert's life and works provide a context for understanding the Concerto. A history of the instrumental parts chronicles the Concerto's two versions. A carefully prepared musical text (based on manuscript parts from the Sachsische Landesbibliothek Dresden) is presented, with discussion of sources and emendations. / School of Music

This study provides a resource for performers preparing Walton's Viola Concerto. It is intended to provide information regarding history, technical and musical obstacles, and common alterations to the viola part. The study begins with a historical overview of the work, including information about the composer and the composition. A review of the existing literature examines sources for parallel information and similar studies.The development of a methodology of study is based on the examination of nine excerpts from the Concerto. These excerpts represent technical and musical challenges found in the Concerto. Each example is accompanied by an excerpt from a study or etude that closely reflects the same technical musical challenges. These excerpts are provided as possible technical enhancement studies that, when practiced prior to or in conjunction with the study of the Concerto, provide the methodology of study with the means to actually address the technical demands of the Concerto.Included in the study are the opinions of professional violists, solicited for this study by means of a survey. The survey group is identified, and their opinions on the previously identified technical passages are presented. Compilations of survey responses, along with additional comments and suggestions, are provided in conjunction with the corresponding excerpts.The final portion of this study examines the alterations most frequently made to the viola part. These so-called "William Primrose alterations" are presented with the suggestions and recommendations of the survey respondents. Various aspects of performance practice are examined, and the study offers several conclusions on this subject.Survey participants agreed that performance of the Concerto is a task of considerable difficulty. Regardless of the performer or the performance venue, great technical, musical, and intellectual skill and energy is required. This study provides historical information that all performers should acquire, as well as a methodology of study. It includes performance and practice suggestions from several prominent violists. This methodology of study serves as a resource for violists who undertake to perform what is one of the most significant works in the viola repertoire. / School of Music

This thesis includes information about Béla Bartók's Concerto for Viola and Orchestra and composer's curriculum vitae.