The 'Romanza' for Solo Alto Flute (in G) and String Orchestra is an interesting work in the line of romantic film music, featuring a most beautiful instrument – the Alto Flute in G, sounding a fourth lower than the normal concert flute. In addition to being used in various flute choirs and concert ensembles, alto flutes are also popular in many jazz groups. With its less demanding embouchure, it was often used as a contrast, or alternative, to the saxophone. However, rather surprisingly, it has been little used as a soloist instrument in 'tonally-based' melodic classical music, which is a shame given its wonderfully sweet sound, especially in the lower register, where many experts would agree that it even outshines the normal 'C' concert flute. Only in the very highest register would it appear to lose out to the brilliance of the normal concert flute. Johnstone has sought to exploit these special tone qualities in his Romanza – a romantic Concert Fantasy. After a brief introduction, the soloist enters with a 'cantabile' melody, always sounding ample and noble. This special melody is the essence or 'backbone' to the whole piece, where, in the central part, the soloist opens out in wider registers with flowing scale-like passages. Therefore, one can easily notice the 'fantasy' element coming into play, and although the writing is not primarily virtuosic, one has always the impression that this is a true 'concerto' piece where the 'hero' (the flute soloist) is always in command, and where the backing is of secondary importance. Paradoxically, though, the accompanying harmonic chords are of paramount importance to the structure and phrasing of the work. Finally, in this central part, the gradual increase of tension culminates in a brief cadenza from the soloist. This rather invites the orchestra to set forth and enjoy their one 'tutti' memorable climax, before the intensity is gradually reduced little by little (coinciding with the re-entry of the soloist), until arriving at a final part exceptionally tranquil. The orchestration should be seen as comfortable for even modest chamber and amateur orchestras. The duration of the work is of nearly eight and a half minutes, and can be flexibly inserted into a wide range of orchestral programming, both serious and light. There is also a chamber music version available for Alto Flute and Piano accompaniment, which might be of real interest to those looking for contemporary 'tuneful' recital pieces or by those wishing to prepare better a performance as soloist with orchestra. The beauty of this piece is that it can sound equally impressive played by promising medium level students or by top class soloists!