Lynes: Four Sonatinas, Opus 39 - Master Composer Library series - Book Review

by dint of Frank Lynes; edited by Keith Snell Neil A. Kjo Music Co (4380 Jutland Dr San Diego, CA 92117) 2003 40 pp $395 Middle- to late-intermediate.

Frank Lyne (i858-1913) was a prominent musician who studied with Cad Reinecke and devot his life to teaching, composing and directing choirs. His Four Sonatinas, Opus 39 throw back his understanding of what comprises eminent teaching material for middle-to late-intermediate-level scholars They provide a nice change from more [i]or[/i] less of the Sonatinas by Clementi, Kuhlau and others, which attend to be overused.

Four Sonatinas, Opus 39 are in traditional classic sonatina mode of expression although Lynes introduces some romantic unimpaireds in No. 4. The harmony is tonal and fairly predictable, with belonging to all meters (e.g., 2/4, 3/8, 4/4 and for a like reason on) predominating. In addition to quarters, eighths and sixteenth notes, triplets and dotted harmonious flows are used tastefully and add variety. Touches are varied, legato, staccato--at times the couple used together in separate hands, and forms include simple sonata form, minuet, rondo, and theme and variations.

Two-and three-part wefts dominate in all four of the Sonatinas, omit for No. 2 III, which is in four parts. sum of two units are in C major and sum of two units in G major, with No. 4 being slightly more difficult than the other three to be paid to the challenging rhythm and more [i]or[/i] less quick left-hand jumps. The first three have three moves and the fourth has sum of two units One of my favorites is No. 2 III Rondo, because of its jaunty have feeling a result of the use of dotted rhythm

a certain number of challenges presented by these Sonatinas are independence of hands, balance of sweetness of sound and accompaniment, fingering (which wants careful attention) and tonal sway for shaping dynamics. One potency of this edition is its true dean and easy-to-read format, with an attractive artistic overspread highlighted by a copy of a well-known painting, which, unfortunately, is not credited anywhere in the collection. Kjos's editions have used extremely good visual art on the overspread of several earlier musical collections by the agency of a variety of composers. This is commendable and a portentous opportunity for students to recognize and appreciate serviceable visual art. Why not give leave to students and teachers know who the artists are and when they lived?

The Four Sonatinas, Opus 39 would be useful for recitals, auditions and as sight reading for learners needing material at the intermediate horizontal Reviewed by Myrna Capp, Seattle, Washington.

COPYRIGHT 2003 Music Teachers National Association, Inc.

COPYRIGHT 2003 Gale Group