Concert Fantasy for Viola and Piano, Op. 42 by Franz ReizensteinReview by: Thomas WarburtonNotes, Second Series, Vol. 26, No. 2 (Dec., 1969), p. 356Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/896177 .

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CHAMBER MUSIC

Samuel Adler: Violin Sonata No. 2 (violin and piano). New York & Lon- don: Oxford University Press, 1968. [Score, 23 p., and part, $4.00]

The light, facile character of Samuel Adler's "Violin Sonata No. 2" on a recital would provide an appropriate foil for a more serious work, either old or new. The two outer movements exploit rhythmic elements in lively dialogue, while the in- ner movement spins a lyric melody in the solo line. The timing has been estimated at fourteen minutes, but the terse ex- pression would make the work seem considerably shorter.

As the title suggests, the work focuses on the violin, with the keyboard as ac- companiment. The composer himself has specified that the keyboard part can be performed either on the piano or the harpsichord. The latter would effectively balance the violin in the lively rhythmic sections. A piano would more adequately sustain the sounds of the second move- ment. In general, the violin part stands in clear relief, sounding slightly higher than the keyboard. The composition should appeal to a violin-harpsichord duo that seeks to extend its repertory to the twenti- eth century.

Triadic and quartal harmonies charac- terize the idiom of Adler's sonata. The quick juxtaposition of various tonal centers imparts much wit to the brief composition. Just as the composer does not seem to expound an intricate tonal or rhythmic system here, the listener is not expected to assimilate a complicated musical dis- course. Adler's decidedly traditional sonata can give pleasure to performer and listen- er alike.

Franz Reizenstein: Concert Fantasy for Viola and Piano, op. 42. London: Hin- richsen Edition Ltd.; U. S. A.: C. F. Peters Corp., New York, 1967. [Score, 24 p., and part, $3.00]

This work follows the Romantic tra. dition in attitude and in idiom. Two motives, one dotted and vigorous, the other lyric, are projected in a single, long, rhapsodic movement. While the motives

unify the composition by their frequent reiteration, they do not seem to undergo any formal or dramatic development as the work progresses.

Throughout the work, the composer treats the two instruments as equals. Much of the time the piano part is moving with- in the same range as the viola part, the two expressing similar soaring lines and dense textures. The viola attains relief only by creating faster configurations or intense tremolos with double stops. Only seldom can either player take a breath.

Slow and fast tempos alternate fre- quently, but the texture remains so con- stantly dense that the character of the music remains highly charged through- out. The ubiquitous dotted motive further emphasizes the unity of texture and mood.

Elizabeth Holbrook, to whom the work is dedicated, has ably edited the viola part. Bowings, fingerings, and strings are very completely and carefully indicated. Likewise, the more difficult passages in the piano score have been fingered. The in- terest in the work seems to be entirely the organization of the pitches, not the special tonal or coloristic qualities of the two instruments involved.

THOMAS WARBURTON University of North Carolina at

Chapel Hill

Rayner Brown: Sonata for Cello and Organ. Los Angeles: Western Inter- national Music Co., 1968. [Score, 44 p., and part, $4.50]

Sieglinde Ahrens: Sonate fur Violine und Orgel. Heidelberg: Willy Muller, Siuddeutscher Musikverlag; U. S. A.: C. F. Peters Corp., New York, 1969. [Score, 12 p., and part, $3.00]

Whatever their reception by string players, these two works will be welcomed by organists, for they add to the rather slim body of concerted pieces for which the organ is the required keyboard in- strument. Hence they fill the needs both of the church organist who wishes to vary his instrumental offerings and the organ student whose degree requires him to par- ticipate in a chamber recital.

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