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A Performance Guide to Arthur Bliss's Sonata for Viola and Piano

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A Performance Guide to Arthur Bliss's Sonata for Viola and Piano University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 A Performance Guide to Arthur Bliss's Sonata for Viola and Piano Andrew Braddock University of Kentucky, [email protected] Author ORCID Identifier: https://orcid.org/0000-0002-7773-8754 Digital Object Identifier: https://doi.org/10.13023/etd.2020.020 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Braddock, Andrew, "A Performance Guide to Arthur Bliss's Sonata for Viola and Piano" (2019). Theses and Dissertations--Music. 152. https://uknowledge.uky.edu/music_etds/152 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Andrew Braddock, Student Daniel Mason, Major Professor Dr. Lance Brunner, Director of Graduate Studies A PERFORMANCE GUIDE TO ARTHUR BLISS’S SONATA FOR VIOLA AND PIANO ________________________________________ DMA Project ________________________________________ A DMA Project submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Andrew Braddock Lexington, Kentucky Director: Mr. Daniel Mason, Professor of Music Lexington, Kentucky 2019 Copyright © Andrew Braddock https://orcid.org/0000-0002-7773-8754 ABSTRACT OF DMA PROJECT A PERFORMANCE GUIDE TO ARTHUR BLISS’S SONATA FOR VIOLA AND PIANO 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. KEYWORDS: Viola, Arthur Bliss, Lionel Tertis, Viola pedagogy, Sonata for viola and piano Andrew Braddock (Name of Student) December 9, 2019 Date A PERFORMANCE GUIDE TO ARTHUR BLISS’S SONATA FOR VIOLA AND PIANO By Andrew Braddock Daniel Mason Director of DMA Project Lance Brunner Director of Graduate Studies December 9, 2019 Date TABLE OF CONTENTS LIST OF TABLES .............................................................................................................. v LIST OF MUSICAL EXAMPLES .................................................................................... vi PART I INTRODUCTION ....................................................................................... 1 1.1 Introduction ............................................................................................................. 1 1.2 Need for this study .................................................................................................. 1 1.3 Scope and Limitations............................................................................................. 3 1.4 Literature Review.................................................................................................... 3 ARTHUR BLISS ....................................................................................... 13 BLISS’S CHAMBER MUSIC .................................................................. 21 LIONEL TERTIS AND BLISS’S EXTERNAL INFLUENCES .............. 34 4.1 Lionel Tertis and Bliss’s Sonata for Viola and Piano ........................................... 39 4.2 Lionel Tertis, Arthur Bliss, and Early Performances of the Sonata...................... 41 4.3 The Viola Sonata ................................................................................................... 43 PERFORMING THE SONATA................................................................ 49 5.1 Left-Hand Technique ............................................................................................ 49 5.1.1 Hand Frame and Finger Patterns ................................................................... 49 5.1.2 Shifting and High Passages ........................................................................... 53 5.1.3 The Viola’s Register in Bliss’s Chamber Music........................................... 54 5.1.4 High Registers in the Viola Sonata ............................................................... 57 5.1.5 Shifting .......................................................................................................... 59 5.1.6 Tertis’s Fingerings ........................................................................................ 61 5.1.7 Double Stops ................................................................................................. 67 5.2 Right-Arm Technique ........................................................................................... 71 5.3 Ensemble Considerations ...................................................................................... 77 5.3.1 Balance .......................................................................................................... 77 5.3.2 Rhythm and Tempo ....................................................................................... 80 5.4 Musical Expression ............................................................................................... 82 iii CONCLUSION.......................................................................................... 87 BIBLIOGRAPHY ............................................................................................................. 90 PART II DMA RECITALS ............................................................................................................. 94 RECITAL 1 ........................................................................................................... 94 RECITAL 2 ........................................................................................................... 99 RECITAL 3 ......................................................................................................... 105 VITA ............................................................................................................................... 110 iv LIST OF TABLES Table 3.1. Bliss’s chamber music with strings. ................................................................ 22 Table 4.1. Bliss’s compositions written for specific performers. ..................................... 37 Table 5.1. Type and frequency of double stops in Bliss’s Viola Sonata .......................... 68 v LIST OF MUSICAL EXAMPLES Example 3.1. Arthur Bliss, String Quartet [no. 1] (1914), mvt I, mm. 1–4 .................24 Example 3.2, Arthur Bliss, String Quartet [no. 1] (1914), mvt I, mm. 16–20 .............25 Example 3.3, Arthur Bliss, String Quartet [no. 1] (1914), mvt I, mm. 28–34 .............25 Example 3.4. Arthur Bliss, String Quartet [no. 1] (1914), mvt I, mm. 39–44 .............26 Example 3.5. Arthur Bliss, String Quartet [no. 1] (1914), mvt II, mm.1–11 ..............27 Example 3.6. Arthur Bliss, String Quartet [no. 1] (1914), mvt III, mm.76–81 ...........29 Example 3.7. Arthur Bliss, String Quartet [no. 3] (1941), mvt I, mm.1–4 ..................29 Example 3.8. Arthur Bliss, String Quartet [no. 1] (1914), mvt III, mm.70–74 ...........30 Example 3.9. Arthur Bliss, Viola Sonata, mvt. III, mm. 1–3 ......................................31 Example 3.10a. Piano Quartet, mvt II, mm. 1–2 .........................................................31 Example 3.10b, String Quartet [no. 1], mvt.
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