"These are both works that retain the listener's affection and attention through repeated listening, and reward that listener with the sense of having discovered something of import."* Henry Fogel, Fanfare.
from 1892 and 1902 respectively, both of these sonatas were written
for the viola alta, an ephemeral instrument meant to fall between
the viola and cello in sound and character. Thus, they have a little
of the mien of Schubert's Arpeggione Sonata and, performed
here on a regular viola, the wistful melancholy and resigned lyricism
of the latter work infuses both sonatas with the exceptions of