Concerto for Viola and Orchestra (1933)
(In admiration - Lionel Tertis)

Bliss's Sonata for Viola and Piano was composed in the modernistic heat of the 1930s. Especially in the later pages, he uses techniques that were akin to the complexities of Bartok and other European composers, and would have seemed quite alien to the prevailing styles of more native composers such as his close colleagues Herbert Howells and Ralph Vaughan Williams.

In particular, his use of conflicting time signatures in movements three and four are surprising. Whereas the composer's intentions are very clear when two players are involved, I have taken a decision to rationalise some of the notation at times, to fit the neccesities of the 21st century, where computers and bar numbers are an essential part of our modern musical world. Equally, I have omitted Bliss's ossia marks in the solo part. I have no doubt that soloists will choose to consult Bliss's published viola part in Tertis's fascinating edition.

Bliss's memoir is very clear about the neccesity of avoiding "too thick a surround" in orchestral textures. This performing version uses a chamber orchestra, with the addition of harp and celesta. The sound world is perhaps closer to the ballet orchestra than the full symphonic ensemble of his Colour Symphony. Rather my choices of instrumentation has been guided by Bliss's own Cello Concerto of 1969.

- Philip Wilby