JAVS Summer 1989

40

violist and an incorrectly notated harmonic on the last note.

makes liberal use of rather wide leaps. Harmonically, the idiom is largely triadic with added dissonance, making unconventional but largely pleasant vertical sonorities. The viola writing is clean and idiomatic...unstressed. The directions state that Metalogue I may be omitted for concert performance, as Metalogue II restates the material and expands it somewhat. This is an interesting, convincing, straightforward, at times beautiful piece of music. Rather detached in mood, certainly not overpowering, it deserves performance, and certainly should be published. Copies of these pieces can be obtained from Mr. Heller at the Department of Music, Humboldt State University, Arcata, California 95521. --Tnomas Hall Elegy, op, 44 by Glazunov; Albumleaf, op. 33 by Taneyev; Nocturne in D Minor, These three nineteenth-century Russian pieces for viola and piano comprise a worthwhile group of fairly short works. IMC presents a reissue of the Glazunov (relatively well known to violists) and much newer editions of the Tchaikovsky and the Taneyev (1986 and 1987 respectively). The Tchaikovsky piece follows Tertis's exhortation to raid the repertoire of other instruments, (originally a solo piano piece later arranged for cello by the composer with either piano or orchestral accompaniment) whereas the other two are original compositions for viola. Incidentally, the publishers seem to have made something of an error: the composer of Albumleaf op, 33 is given as Sergei Taneyev (1850-1915), who was actually born in 1856, rather than his uncle Alexander Sergeievich Taneyev (1850-1918). All three come in the usual clear, well presented volumes although there are a few printing errors (dots missing, wrong clefs etc.). Two fairly classic examples come in the Taneyev - a vagarious fifth finger advised for the op. 19, no. 4. by Tchaikovsky, transcribed by V. Borissovsky. IMC/Kalmus.

The Taneyev and the Tchaikovsky have been edited by Leonard Davis. The fingerings include one or two odd suggestions and are slightly inconsistent but also produce many idiomatic moments. The same could be said of Joseph Vieland's fingerings in the Glazunov (which includes for example shifts from second to fourth position on the fourth finger). The bowing and expression marks provided form the basis for well characterized readings. The Glazunov despite its title and minor mode is not a particularly dark or somber piece, but more of a 9/8 Barcarole, whilst the marking "Andante sentimentale" for the Tchaikovsky sums up the piece which is full of touches so typical of the composer. However, in some ways the gem of this group is Taneyev's delightful "salon" Feuillet d'Album. All three pieces have a fairly similar level of technical difficulty although perhaps the Taneyev and the Tchaikovsky have slightly more awkward corners. In summary, these are a group of pieces well worth investigating by violists, especially the Glazunov and Taneyev particularly by virtue of being original compositions for the viola. Michael Newman Apt for Solo Viola by John Maxwell Geddes; Capriccio for Solo Viola by David Dorward; Martyr for Solo Viola by Edward McGuire; Rant for Solo Viola by Edward McGuire. Scottish Music Publishing. These four works form part of the first catalogues of solo instrumental pieces launched in 1987 by Scottish Music Information Centre in Glasgow. It could well be argued that they are representative of the catalogue in that the works of these three composers comprise nearly three-quarters of the list. John Maxwell Geddes takes his title Apt from the superscription used by early 17th-century composers "Apt for voices or violas." This is not a work