Amanda Röntgen-Maier (1853-1894)

[Alan Howe]

Yes, perhaps you could contact Mr Starr and get back to us, please, Jim? Try this email address: noteworthymusic@zasu.us

We're all on tenterhooks.... 

[JimL]

I don't mean the metronome marking.  I mean "Allegro", "Moderato assai" or whatnot.

[Mark Thomas]

Mr Starr will have the answer for you, Jim.

[JimL]

Done!

[JimL]

I tried emailing Mr. Starr at the address above.  Several times.  The DAEMON bounced it back at me saying that his mailbox was full and this was a "permanent error".  Any other ideas?

[Alan Howe]

Try snailmail - it's cheaper for you than for us!>>>

Noteworthy Musical Editions
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[Double-A]

After listening to the recording I feel the urge to add something to the qualifications given in various posts.  Whatever the merits of the work in comparison with others:  It is worth pointing out how very violinistic the solo part is written and how the soloist never needs to force the tone.  This happens when the composer is also a master violinist.  Most of the great "sung" concertos from the 19th century were written by non violinists and in many of them one can not fail to notice that (excepting the ones by Paganini, Wieniawski and others who wrote them for themselves, but how many of them are truly "sung"?).
On the negative side:  Why is the cadenza--which is indeed great--at the conventional location shortly before the end?  It interrupts the movement and kills the momentum which is supposed to carry us through the coda.   If I wrote a concerto in one large sonata movement I'd put the cadenza in a more strategic location e.g. at the end of the development section and use it to lead back to the recap.  Or else--like Bruch--no cadenza at all.

[Alan Howe]

I've listened to the piece a number of times now. It does sound very violinistic, but I'm bound to say that, despite its attractiveness, it's not a work I'll be going back to very often. I'm looking forward to the Gernsheim VCs in the hope that a superior composer will have more to say...

[JimL]

I finally got hold of Mr. Starr and emailed him.  The single movement is in tempo Allegro risoluto.  There are a couple of "Poco meno mosso" indications, probably for secondary material, and of course, the cadenza, but the overall indication is the aforementioned.

[Alan Howe]

Thanks, Jim. I'd forgotten about your quest for this information. I must say I'd forgotten about the piece too. I'll have to give it another listen...

[Mark Thomas]

I just have. It's not a masterpiece, but it's a very engaging and well-written piece of work. A most satisfying listen.

[pedrito]

I only happen to know the violin sonata, and coincidently even ran through it with a violinist friend a couple of weeks ago. A first glance at the score immediately shows the resemblance to Schumann's first violin sonata opis 105, the piano figure in the opening bars very closely mimicking the writing in Schumann's work. There is of course no shame in taking Schumann as an example (2nd movement of Brahms' second sonata is also clearly influenced by the second movement of this same sonata). Overall I find it an enjoyable piece, not very original perhaps, but fun to play, and certainly very idiomatic for both instruments, and well within the limits capable amateurs should be able to reach.
p