JAVS Spring 2023

13 For Beecham’s suggestion, see Howes, The Music of WilliamWalton (London: Oxford University Press, 1974), 80. For Shore’s, see White, Lionel Tertis , ch. 7, loc. 2410. 14 White, Lionel Tertis , ch. 8, loc. 2859. 15 Tertis, My Viola and I (London: Kahn & Averill, 1974), 74. 16 Ibid., 36. 17 White, Lionel Tertis , ch. 7, loc 2398. 18 Bliss, As I Remember , 102. 19 Ibid., 102. 20 Ibid., 26. 21 John Sugden claims, without pointing to evidence, that “he [Tertis] asked the composer for a sonata and the request was accepted.” John Sugden, Sir Arthur Bliss (London: Omnibus Press, 1997), 52. 22 Bliss, As I Remember , 101. 23 Marion Scott, “London Concerts,” The Musical Times 74, no. 1090 (1933), 1129. 24 White, Lionel Tertis , ch. 8, loc. 2927. 25 Tertis, My Viola and I , 77. 26 Bliss, As I Remember , 102. 27 Hubert Foss, “Classicism and Arthur Bliss: His New Viola Sonata,” The Musical Times 75, no. 1093 (March 1934), 217. 28 Arthur Bliss, “Aspects of Contemporary Music,” in Bliss on Music , ed. Gregory Roscow (Oxford: Oxford University Press, 1991), 102. 29 Bliss, “Aspects of Contemporary Music,” 100. 30 Bliss, As I Remember , 102. 31 Bliss unexpectedly begins with the second theme instead of the first in this moment (m. 163). 32 Bliss greatly admired Hindemith’s music, and the two had some contact. For instance, Hindemith played the viola part in the first performance of Bliss’s Rout (1922) at the Salzburg Festival. 33 Bliss, “Sonata for Viola and Piano,” 284.

adventurous harmonic writing. It is truly a work for the “most romantic of instruments.”

Andrew Braddock is the former editor of this Journal, and a past board member of the AVS. He is currently the editor of the American Suzuki Journal. He teaches at Western Kentucky University, where he co-directs the WKU String Academy and enjoys an active performing career. Visit andybraddock.com for a complete bio, research and writings, performances, and more. Footnotes 1 Arthur Bliss, “Sonata for Viola and Piano,” in Bliss on Musi c, ed. Gregory Roscow (Oxford: Oxford University Press, 1991), 284. 2 Arthur Bliss, As I Remember (London: Faber and Faber, 1970), 25–26. 3 Despite the nightmare-ish conditions in the trenches on the Western Front, Bliss had access to a gramophone and a few recordings, including the slow movement of Debussy’s String Quartet, which contains extended melodic writing for the viola. Bliss, As I Remember , 36. 4 Ibid., 36. 5 Christopher Palmer, “Aspects of Bliss,” The Musical Times 112, no. 1542 (1971), 743. 6 Extended analysis of these two works can be found at www.andybraddock.com. 7 Bliss, As I Remember , 71. 8 Bliss, quoted in Bryan Crimp, “The Piano Concerto in B Flat (1939),” in Arthur Bliss: Music and Literature , ed. Stewart R. Craggs (Aldershot, England: Ashgate, 2002), 114. 9 Arthur Bliss, “Concerto for Violin and Orchestra” in Bliss on Music , ed. Gregory Roscow (Oxford: Oxford University Press, 1991), 222. 10 John White, Lionel Tertis (Woodbridge: The Boydell Press, 2014), Appendix 6, loc. 7737–8099 of 9992, Kindle. 11 Arthur Bliss, “What Modern Composition is Aiming At,” in Bliss on Music , ed. Gregory Roscow (Oxford: Oxford University Press, 1991), 24. 12 Stewart Craggs, Arthur Bliss: A Source Book (Brookfield: Ashgate, 1996), 269.

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Journal of the American Viola Society / Vol. 39, No. 1, Spring 2023