The viola has for centuries been neglected as a solo instrument. Few works have been written for it.

As far as concertos go, the most famous are the William Walton concerto, Paul Hindemith's "Der Schwanendreher" and Hector Berlioz's "Harold in Italy," which he wrote for Paganini.

On the chamber side of the spectrum, Hindemith wrote a number of works, mainly because he was a virtuoso violist himself. There is also Mozart's fabulous "Kegelstatt" Trio, K. 498, for clarinet, viola and piano. And a very few of Brahms' late chamber works include the viola (the trio, op. 114, and the two sonatas, op. 120).

Last year, the meager collection of works for viola was augmented with a Concertino by Utah composer William Wallace. Written for violist and conductor Joel Rosenberg, the work was premiered at the Paradigm Concert Series in 2003.

Rosenberg and the Paradigm Chamber Orchestra are scheduled to perform Wallace's work next weekend to open the series' 10th anniversary. "It's a very attractive piece," Rosenberg said. "It's neo-romantic and somewhat neo-classical, but it's very demanding, even though it's only 15 minutes long."

What makes the Concertino challenging is Wallace's penchant for writing complex rhythms. "It's almost Bartokian in its rhythmic character," Rosenberg said. "A lot of the music in the Concertino is in seven or nine (beats). It's a tricky piece for the orchestra and for the conductor."

The Concertino originally sprang out of a single movement. "Bill called me one day and said that he had sketched a piece for viola and orchestra and wanted to go over it with me," Rosenberg said. "He called it 'Intermezzo,' and we played it in 2002. Then he went ahead and added two more movements. I premiered it a year ago."

Cameron Rose, the chorusmaster for the Orchestra and Chorus of Sandy City, will make his orchestral conducting debut with the Wallace.

Rosenberg will also be featured in another work for viola — Johann Nepomuk Hummel's "Fantasy." Pianist Jed Moss from the Paradigm Trio will accompany. "The 'Fantasy' is based on the aria 'Il mio tesoro' from Mozart's 'Don Giovanni,' " Rosenberg said, adding that there is a strong personal tie between Hummel, who lived from 1778-1837, and Mozart. "He was a student of Mozart's, and one of his favorite pupils. He also lived with the Mozart family for a time."

Hummel's works span the world of classicism and romanticism, Rosenberg said. "You can hear that in the 'Fantasy.' It's almost Schubertian in its romanticism, but it still has a classical feel to it."