The Viola Sonata by Arthur Bliss, stands out in the
repertoire for its profound romanticism as well as its immense technical
demands on the performers. Bliss found
his inspiration for this work in the great British violist Lionel Tertis, whom
he met in 1915. Eighteen years later,
Bliss composed a sonata for viola that Tertis premiered, first at a private
gathering, and then at a BBC Chamber Concert in November of 1933. The first movement is intricate yet lyrical,
coloristic exploration shifts between the major and minor modes. The second movement highlights the dark, rich
timbre of the viola, both in its use of muted pizzicato playing and sonorous melodic content. The third movement, marked Furiant, is fast, bold, and virtuosic,
and makes use of the entire range of the instrument. Regarding the ascending run at the conclusion
of the movement, Tertis once remarked that the "Lord alone knew" how he managed
it. The Coda, the Viola Sonata's final movement, is emotionally weighty,
and features cadenza-like passages for both the viola and the piano. Michael Cansfield
Classical Music | Music for Viola
Arthur Bliss
Sonata for Viola and Piano Play
Recorded on 02/12/2008, uploaded on 01/23/2009
Musician's or Publisher's Notes
Sonata for Viola and Piano Arthur Bliss
Moderato; Andante; Furiant; Coda
The Viola Sonata by Arthur Bliss, stands out in the repertoire for its profound romanticism as well as its immense technical demands on the performers. Bliss found his inspiration for this work in the great British violist Lionel Tertis, whom he met in 1915. Eighteen years later, Bliss composed a sonata for viola that Tertis premiered, first at a private gathering, and then at a BBC Chamber Concert in November of 1933. The first movement is intricate yet lyrical, coloristic exploration shifts between the major and minor modes. The second movement highlights the dark, rich timbre of the viola, both in its use of muted pizzicato playing and sonorous melodic content. The third movement, marked Furiant, is fast, bold, and virtuosic, and makes use of the entire range of the instrument. Regarding the ascending run at the conclusion of the movement, Tertis once remarked that the "Lord alone knew" how he managed it. The Coda, the Viola Sonata's final movement, is emotionally weighty, and features cadenza-like passages for both the viola and the piano. Michael Cansfield
Performances by same musician(s)
Romance in F Major, Op. 50
Liebesfreud
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