This work is for four guitars and double bass: the score indicates that a contra guitar can be used. In the Full Score we see that guitar 4 replicates much of the contra part, so it could be performed as a quartet: the piece would not sound bare, just a little lightweight. Opening with a gentle lilting accompaniment in F Major, the composer weaves a long line of melody that proceeds effortlessly and satisfyingly, though with the occasional chord that felt a little too piquant in an otherwise well-shaped tune. The piece does not stay static: its character changes a little, with some delicious tension from the harmony lines. Some very capable classical writing takes us to other keys. and here the little moments of heartache seem less forceful and more pleasingly resolved. For much of the piece, guitar 4 plays an ondulating accompaniment, but from time to time the texture changes, and a passage in artificial harmonics precedes some effective writing in parallel octaves a
t full volume, where guitars 1 and 2 venture as high as fret 15. Although the piece is set in conventional SATB for the most part, the top three lines do share a little of the limelight.
Much of the writing is modest in technical ability, and the relaxed speed facilitates the more awkward passages. Notwithstanding that, there are some tricky moments. and the big closing chords need skill in order to sound effortless. A Grade 6 ensemble could «knife and lork« their way through, but a high standard of ensemble is needed for the piece to sound relaxed. The work lasts over six minutes and it is not at all repetitive with a convincing melody and structure. Dynamics are amply indicated. There is no fingering but in one or two places, string numbers are used.
Derek Hasted (Classical Guitar Magazine)
