JAVS Summer 1997

76

The first movement, tided "Variations," is a series of 6 sections each about 20 mea sures long unified by some rhythmic-melodic similarities. The second movement is a "Scherzo," fast pizzicato throughout, all in sixteenrh notes except at cadences. There are frequent changes of meter, and many accents. One would get blisters practicing this move ment, and it would require a lot of practice.

explanation. There are no fingerings in the whole Sonata, but there are some bowings. In measure 14 of the first movemenr, there is a middle-C to open A string double StOp, which could be an error (awkward at best), but other than that, the work seems well thought Out for the viola, even though the writing style does not naturally lend itself to the instrument's most characteristic nature.

The third movement named, "Elegy," is muted throughout, with the tempo of 40 to the quarter, much of it marked pianissimo or less. The last movement, double-named "Gigue" and "Rondo," seems the most approachable. It is a string of 6 sections, 15 to 20 measures long, plus a coda. The notion of a returning idea is evident, and there is rhythmic continuity, so the notion of dance is present also, if some what clouded. In performance, a necessary page-turn would need to be solved. The Peters Corporation should be thanked for publish ing this work, which certainly does not hold the promise of great commercial success. A professional violist would find it a major technical accomplish ment to include it in recital, and it would be a satisfYing achieve ment for the player. It would take a special audience to share that sense of satisfaction.

Thomas G. Hall Chapman Cniversity