The first half consisted of six pieces from the Iberia suite by Catalonian composer Isaac Albeniz. Depicting various towns and dances throughout Spain, the pieces were arranged for the group from the original piano version. As much of the piece was influenced by traditional guitar music, it is thoroughly appropriate to perform the work in this form. The opening Evocation conjures up impressionistic visions of the peninsula, while El Corpus en Sevilla, a miniature tone poem, celebrates the annual festival of that city, from the procession preceding the festivities and including simulated church bells. The animated rhythms of Rondeña, a dance from the city of Ronda, were followed by the darker colors of Málaga. Triana takes its name from a colorful district of Seville known for its easily identifiable local music. To finish the set, the group chose El Albaicin, which begins softly in a single guitar then builds to foot-stomping gypsy rhythms for a most effective exit.

On the second half the Quartet gave a brief tour of Brazilian music. Hector Villa-Lobos is the only composer of that country to enjoy an international reputation, though the group chose some thoroughly delightful works by lesser names. The lively Intermezzo by Alberto Nepomuceno, considered the grandfather of the Brazilian nationalist school, was taken from his Quarteto Brasileiro No. 3. The charming serenade Modinha by Francisco Mignone with its chromatic syncopations preceded a fast-paced rondo Lundu, the 4-guitar version arranged from piano 4-hands. The two short pieces by Camargo Guarnieri could not have been more dissimilar, the romantic Valse No. 9 contrasting entirely with the quirky, unpredictable harmonies of Dança.

In nine works which he called Bachianas Brasileiras, Villa-Lobos attempted to combine the style and character of J. S. Bach's music with native Brazilian melodies. The first of these (like the most famous, No. 5) was originally written for cellos and transfers quite naturally to guitar quartet. Indeed, the second movement Preludio (Modinha), a serenade of melancholy mood, strikes me as even more idiomatic to the guitar than to the cello. The final movement is in the form of a fugue Conversa or Conversation which with its intricate counterpoint accelerated into more of a spirited debate than casual conversation.

The encore, another short work by Mignone, was a most welcome addition to this highly enjoyable afternoon.

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