Elliot Weisgarber’s Allegro assai was completed on Christmas Day 1963 as the final movement of his Viola Sonata No. 2. During rehearsals for the Sonata’s first performance, violist Hans-Karl Piltz and pianist Frances Adaskin recognized that, whereas the other three movements clearly represented Weisgarber’s increasing immersion in Japanese music, this movement remained an example of his 1950s style. In consultation with the composer, the decision was made to remove this movement and allow it to stand alone with its tempo indication as its title. The rest of the Sonata became known as the Suite for Viola and Piano.

Articulations in the viola part have been edited according to Piltz’s markings in tandem with a recording of his 1984 performance at the University of British Columbia.