15 études

Here is the latest volume to come my way from this prolific lady with her alarming knack of writing music that changes from piece to piece in a very chameleonic way. Here the set consists of tiny little scraps of pieces, sometimes only half a page in length, but never longer than one page. The essence is variety with each piece living in its own little sound world.
Therefore, No 1 is a 16-bar Allegro of mostly a single line with the odd bass note by way of accompaniment which meanders its way up and down and stops on a G chord with an added ninth. No 2 is a «Lento rubato«, unbarred and with a 0 for a time signature. It begins pizzicato in the bass and alternates with a higher voiced melody line in natural notes, before continuing pizzicato leading to a coda consisting of four legato chords. No 3 is similar in a way to No 1. It is Allegretto and largely in a single line until two bars from the end when it divides into two voices. N04 is «Molto rubato« again with a 0 time signature and a swiftly moving whirlwind of notes largely in free time. No 5 is a «Moderato dolce« idea in two or sometimes three voices, whilst No 6 is for the majority of its stay using the interval of a seventh as its melodic structure. No 7 is a Presto alternating 4/8 and 3/8 followed by a No 8 Andante with some tambora chords and more than a hint of flexible time.
Space does not permit any more individual mentions but each little movement has a fair amount of dissonance but not completely so; they are all interesting little work outs for the moderately talented players amongst you who may want to venture into Kruisbrink's individual and often engrossingly bizarre little sound world.
Chris Dumigan (Classical Guitar Magazine)