Tarentelle

Guit. I-IV, cb.

This arrangement is for four guitars and contra. The contra part can be played on an ordinary guitar, or, (with a small amount of surgery) absorbed into part four, so this arrangement will suit a variety of ensembles. This is a long piece (five pages of part score, all with page turns situated at rests). Those unfamiliar with the work will find a very straightforward construction in 6/8 time with plenty of gusto, little imitative motifs and dozens of rumbustious accents. There are comprehensive dynamics and articulation marks and there are some natural harmonics too. Part one ventures up to top E but is particularly straightforward and would be a confidence boost to someone just learning the upper reaches of the neck. Line two is a little more modest. Line three has extended writing at double speed, and it's nice to see an inner part with something musically and technically substantial. Line four has one section of barred arpeggios which might, I suppose, end up being the teacher's part in such an ensemble - all to the good really, as the learners can take a little more of the glory that is the upper parts. With the exception of some off-the-beat work in the climax to the piece, this is a quintet that will stick together like glue. For an intermediate piece it produces an impressive wall of sound, though at the expense of the romantic expression found in much else of Mertz's work. Mr Levesque's knack of making each part feel good and 'under the fingers, is particularly evident in this piece.
(Derek Hasted, Classical Guitar Magazine, August 2003)