The Fantasia, which lasts around six minutes, is a valuable addition to the concertante viola literature. In the introductory Andante, the viola begins with a "free" vocal part, which is accompanied by arpeggios from the orchestra. The interplay between the soloist and orchestra then intensifies, building up increasing tension and creating a highly expressive sound enriched with dissonances. This is followed by a free, unaccompanied, elegiac melody in the viola, which leads to the Allegro via a ritardando. This Allegro is motoric in the tradition of Hindemith: a play of movements and rhythms, spirited, with surprising dialogues between the orchestra and the soloist, interrupted by expressive melodic motifs, rhythmic changes marked by accents and a dynamic that changes at short intervals. At the end, Hummel leads the music back to the Andante and to free playing by the solo viola in a fully composed concert cadenza.

The Fantasia still has a tonal effect and is centred on the note d. But its tonality expands and transcends the boundaries of tonal harmony and incorporates dissonances to intensify tension and energy. Coming from the school of Genzmer, this work impresses with its sound craftsmanship, which is also evident in the fact that it is composed from knowledge of the viola's playing technique and tonal possibilities. The interaction with the orchestra is multi-faceted, ranging from restrained accompaniment to polyphonic density.

The clearly arranged Schott edition of the solo part and the piano reduction by Cornelius Hummel is ideal for study and concerts. For advanced pupils and students, the Fantasia is a highly musical introduction to New Music. In a concert performance, many registers of solo viola playing can be pulled out here, creating an exciting and expressive concert between soloist and orchestra. An important addition to the viola literature.

Franzpeter Messmer