Commissioned by the Guitar Ensemble Association of Japan, this is a big piece, with the part scores running to eight sides of paper. The outer sections of the work are jazzy and light, whereas the centre section begins slowly in an almost classical fourpart harmony.
The opening is brisk - one-bar-a-second - and much of the writing is in quavers (eighth notes), so we’re proceeding at six-notes-a-second. The texture is light, with frequent changes of tone and volume, and the paletle of dynamics and Italian terms that the composer uses is both extensive and expressive. Some of the harmonies are dark, with closely spaced notes quite low in the guitar’s register, and some of the imitation is astringent but very effective. But there is also some writing that is light and sweet and the contrast is all the more effective. The concept of a waltz being in 3/4 gives way to some 7/4 and 6/4 writing, and an increase in the note density and volume.
The central section is almost chorale-like with extended harmonic passages, and a tempo that’s one-third of the opening theme. The challenge here is in keeping the parts in step as the passage moves from one-note-per-beat to two, then via triplets to three, then four, then five and finally six-notes-per-beat.
The closing section reprises the opening. but the harmony is thicker and darker,
Although the forces are broadly assembled in order of pitch, Guitar Four does venture high up the neck, and even when underpinning the other parts, has a line that is satisfying.
It’s a big and competent piece of writing aimed at Grade 8 standard, and it’s an interesting listen.
Derek Hasted (Classical Guitar Magazine)
