Cervo Sonatina

Set in three movements, the opening Allegro is chirpy and light with staccato markings in abundance throughout both parts. Beginning in E major it dances around for two bars before moving down a tone to D, and the again a further tone to C before wending its way further a field for a few moments, only to return slightly varied for a repeat. An element of the rhythm repeats and becomes the basis of a new idea in longer note values. This in turn builds to a short climax and duly heralds in the return of the first theme set in a higher register. A varied repeat leads yet again to the second idea the climax for which essentially closes the movement.
The second movement sub-titled Le Scale is an oddly harmonised little two-pager, which begins in a run of thirds before settling on a dissonant ten-note chord. After a momentary pause, the main idea enters gradually rising painfully semitone by semitone over a static chord. The harmonies change each time the scale is attempted, before the idea is reversed and the scale run descends into the depths of the 6th string then repeating slightly varied before landing on a suitably enigmatic chord. AlI that remains is for the opening thirds idea to return to close the movement.
The final Allegro begins with both guitars in unison on a semitonal run before turning into octaves. Guitar 2 now rocks over an uncertain G base with a prominent F sharp above which Guitar 1 tries its hardest not to put its rising melody anywhere on the beat. This frenetic activity continues for some time before settling on a new idea which sets three notes against four, sometimes on separate guitars, sometimes not. A Quasi andante section in harmonics leads back into Tempo I with the main material now rushing headlong in thirds before a resumption of most of the opening material.The coda brings a change of metre and a stringendo semitonal run up the fingerboard before a final flurry of heavily accented staccato quavers brings this work to a close.
Not atonal, this piece nevertheless inhabits an unusual tonal landscape that makes for fascinating playing and (one assumes) listening; whilst not the easiest of pieces, I can see that a moderately advanced duo might enjoy this. Nicely printed and presented as always with D'Oz.
Chris Dumigan (Classical Guitar Magazine)