At approximately one-page-perpiece these preludes are about the same size as the Brouwer Simple Etudes. Like Brouwer they inhabit their own harmonie universe which the composer, it seems, has often discovered by arranging patterns on the fingerboard. No 1 is marked Misterioso, Ritmico and begins running down a sort of Cmaj7 with a suspended fourth and then upwards on an enigmatic arpeggio with a clashing G sharp and G natural. After stating it again he fingers two notes on strings 5 and 6 at fret one and then plays an upward arpeggio including the two open strings above. He then transfers this pattern one up to the next four strings. After repeating the process two more times, running downwards to a bottom E, he brings in an idea consisting of 3rds and 4ths leading to four unusually juxtaposed triads low down on the fingerboard before a pause on a G leads back to the opening idea repeated. No 2 is a furioso semiquaver idea again mainly based on odd 3rds and 4ths places together. No 3 is marked Insideux and consists of two main ideas one based on a repeated idea in single notes, one full of heavily accented dissonant chords.No 4 is slower and whose main idea consists of parallel ninths. No 5 , a Con moto begins in the unusual 5/8 + 8/8 time signature, changes metre four more times and is only nine bars long.
Space does not permit a full analysis of the remaining items but I think a flavour of the composer's style is hopefully apparent.
Chris Dumigan (Classical Guitar Magazine)
