For this document, I have created a third form of Rozsa's Viola Concerto by arranging it for a chamber ensemble consisting of two violins, violoncello, double bass, and piano. The viola part has remained identical to the composer's own two versions of the piece.

Creating this third chamber version is a foray into a different kind of performance paradigm for the solo violist. Most violists will seldom have the opportunity to play this piece in its full orchestral setting, and will almost always learn the piece using the piano reduction score as a guide, as this reduction is the only scored form of the piece that is readily available for purchase. Performing the orchestral version of the concerto requires renting parts, purchasing a performance license, and of course a full orchestra on stage. Inversely, the piano reduction, though beautifully rich and masterfully conceived, creates a more intimate effect than a full orchestra would, and despite the success of the piece in this form, something of a sense of grandeur and monumental musical texture, found in the orchestral score, is lost when contained with two hands at a piano. Such limitations are sadly why the piece is perhaps not performed enough, remaining somewhat inaccessible to the everyday violist.

The creation of a third chamber setting of the concerto serves to alleviate these limitations and difficulties by supplying the solo violist with an accompaniment that embraces an orchestral feel, without an orchestral mass. I have done this by careful study of both original versions of the piece, seeking to capture all voices, textures, and interplay between the musical lines of the full orchestra and soloist, which often are left out of the piano reduction.