Music Reviews

Miniatures in Style: Six Original Piano Solos in Baroque, Classical, Romantic, Impressionist, and Contemporary Styles, by Mona Rejino, published by Hal Leonard; Intermediate

March/April 2016 – Clavier Companion

Celebrated pedagogical composer Mona Rejino provides pleasing new repertoire options for students in this collection, stating that the pieces are “in the style of the keyboard works of the masters…designed to provide a link between early-level method books and intermediate masterwork repertoire.” The inside cover provides short descriptions of the five styles represented.

The two Baroque-style pieces, Bouree in G Major and Menuet in G Major, are charming works that feature typical Baroque devices such as imitation and sequence. Ornaments are notated: for example, a trill beginning on the upper note appears as four sixteenth notes, tied to the following principal note. Slurs and staccato marks are abundant, and they help the student get a feel for the conventions of Baroque articulation. The pieces are similar in character and writing to some of the works in the Notebook for Anna Magdalena Bach, but are just slightly easier to play.

The first movement of Classical Sonatina in C Major, with its simple melodies, primary chord harmonies, and Alberti bass accompaniment, sounds like it could be found among the compositions of Attwood or Latour. The slow second movement and quick finale, however, include some adventurous harmonies that give them away as modern works.

The order of the next two pieces is somewhat confusing. Although the table of contents lists the Romantic-style Romance before the Impressionistic Shimmering Sea (as one would expect in a chronological listing), the order of the two pieces is reversed in the score. Perhaps this publishing change was for layout reasons, but adding a blank page would have maintained the logic.

Fluttering sixteenth notes in Shimmering Sea are reminiscent of Debussy, but harmonies rooted in C minor and touched with chromaticism (along with the dramatic melody of the middle section) are more German Romanticism than Impressionism, Nonetheless, the piece is engaging and enjoyable.

The lyrical and lovely Romance which is filled with colorful modulations, might pass for a Disney tune. To me, it sounds more popular than nineteenth-century Romantic, but many students are sure to enjoy it.

The piece in Contemporary style, “Aurora: New Dawn,” is a contemplative work containing numerous parallel fifths and constant pedaling. It is tonally, rhythmically, and metrically simple, and very accessible to students.

An enjoyable new collection. -Reviewed by Suzanne Schons

December/January 2015/2016—American Music Teacher 

Hal Leonard has released a new volume of works in its Composer Showcase series, which features collections of works by well-known composer/pedagogues such as Phillip Keveren, Tony Caramia, Eugenie Rocherolle and Jennifer Linn to name just a few! The latest volume by pianist and teacher, Mona Rejino contains six works (really eight if you count all the movements of the sonatina) that are early-intermediate to intermediate in level and cover a wide range of styles and genres.

The collection begins with a “Bouree” and “Menuet,” written in the baroque style. These works are of similar difficulty both musically and technically when compared to the easiest works in Bach’s Anna Magdalena Notebook. It begs the question: “Why do we need to play these pieces when students could play the actual works by Bach?” That being said, the “Menuet” and other works in the collection regularly feature melodic material for the left hand, which will help students develop independence of the hands. The sonatina is written very much in the style of a classical-era sonatina, with no surprises.

The most successful pieces are the two works written in the romantic style. “Shimmering Sea” features broken chords split between the hands, a contrasting middle section, and well-written figuration in the coda that will fit nicely in the hand of younger students. “Romance” is a beautifully lyric work and in it we hear more of the composer’s own voice, and in this writer’s opinion, that is what makes these two works successful. One can imagine these compositions being popular recital options for students at the intermediate level, as they sound a bit more difficult than the pattern-oriented writing would indicate.

As always, Hal Leonard’s editions are clearly laid out, with thoughtfully placed page turns. The fingering is excellent, with appropriate pedal indications where needed. The background material in the front is adequate, although a little more information about the dances and character pieces (country of origin, typical form and the like), would be helpful. Because of the excellent idiomatic keyboard patterns they contain, these works would make excellent sight-reading material for more advanced students, as well as recital selections for students seeking out more unique repertoire choices. -Reviewed by Scott Beard, NCTM, Shepherd University