Cinderella, Aladdin and Rapunzel. Whether Aladdin feels at home as a thorn between two roses, and whether he accepts the label «fairy« remain unanswered having read and played these excellent little pieces. Suited to a novice quartet with a teacher or an intermediate quartet on its own, these show every sign of being written with a real understanding of the aspirations and abilities of a quartet that is starting out. Rhythms are straightforward and interlock nicely. Such chords as are used, are plucked, pardon the pun, from the stock of easy and well-recognised shapes. The writing is harmonic, resonant and satisfying on the ear, and yet with just a hint of modern harmonies to inspire rather than overwhelm. Cinderella is a pleasing waltz, set in D, but with natural Cs, giving a modal folk-quality to the piece. The relaxed gentle melody stays with guitar I. Although the melody does not develop quite as much as it might, the piece harmonies evolve to ensure a piece that is both pleasant and shaped, and well under the fingers in the first and second positions. Aladdin is brusquer, with an atmospheric introduction - one can almost feel the tension and mystery. Eastern melodies sing out over a tambor drumbeat before a more discordant yet still easy to play section increases the mood with harmonic and dynamic surprises. A neat little reprise rounds the piece off to finish in an almost classical structure. Rapunzel - the flowing hair captured with a flowing arpeggio part - and there is a gorgeous poignancy in the gently unfurling melody. The excursion to D major brings a crisper rhythm, richer harmonics and an almost majestic feeling. There is again a reprise to the opening melody, but though the ending is still poignant, it has a great deal more substance to the harmony and rounds off the piece delightfully. With first time appeal, these are excellent concert pieces for a school ensemble, though of course gentle pieces do require a little more preparation than brash ones if they are to give of their very best. For a teacher seeking to bring on the musical, as opposed to technical, qualities of a junior ensemble there is much here that is ideal for the introduction of position work, vibrato, phrasing and general presentation. The book is fairy good indeed!
Derek Hasted (Classical Guitar Magazine)
