Miklós Rózsa was most notable for his film music and enjoyed a very successful career in Hollywood. In his spare time, however, he had composed many quality concert works to fulfill his vocation as a composer. His opus 37, the Viola Concerto, was written in 1979 at the suggestion of his friend the cellist Gregor Piatigorsky for the young violinist and violist Pinchas Zukerman. It was premiered by Zukerman as soloist under the baton of André Previn in May 1984 in Pittsburgh. This is Rózsa’s last large orchestral work, and his only four- movement concerto: previous concertos for violin (op. 53, 1953), piano (op. 31, 1966), cello (op. 32, 1968) all have three movements. While the professional training Rózsa received at the Leipzig Conservatory under Hermann Grabner secures the quality of the composition and the virtuosity of the solo instrument, his early contacts and the influences of his senior compatriots Bartók and Kodály fill the work with Hungarian traditional colors. Rózsa’s long experience in writing film music, on the other hand, makes the music extremely appealing and attractive to the larger audience. However, his fame in Hollywood eclipses the achievements of his concert works, and research on them is rare. Even forty years after its premiere, this concerto has yet to be performed in Taiwan. Therefore, this paper will provide a basic study of this piece in the following four aspects: (a) before and after the premiere, including the reviews of the performance; (b) structural analysis, focusing on the relationship between harmony and form; (c) comparison of interpretations with the three recordings of Gilad Karni (2007, 2013) and Lawrence Power (2009); (d) historical significance, in reference to the recordings and performances of two twentieth-century masterpieces of the same genre (Walton [1929], Bartók [1945]).