Soli II is in five movements, which are played without a break: • Prelude • Rondo • Aria • Sonatina • Finale The suite-like design suggests a
neoclassical formal approach, but a constantly evolving treatment of materials in the five movements masks the subtle use of repetition of slight motives and row forms within the continually evolutionary process characteristic of Chávez's work. As in the other works in the
Soli series, each movement features a different solo instrument, though the others are rarely absent, and its harmonic language draws equally on diatonic and chromatic scales, while remaining resolutely atonal. Phrases are generally closed by cadences ending on
major sevenths and
minor ninths. The first movement sets out from the extreme registers, with the movement's featured solo instrument, the flute, descends from its highest notes, accompanied by a rising line in the bassoon. The florid flute solo continues with discreet accompanying chords in the other instruments, eventually reaching a chorale-like closing sonority with all five instruments. In the second movement, the oboe leads a rondo-scherzo with dense ensemble writing. Although the principle of non-repetition underlying all of the works in the
Soli series is in conflict with the recurring tone rows of
twelve-tone technique, the Aria movement of
Soli II is an exception. Twelve-tone technique is used throughout this movement. In fact, both the Aria and the Sonatina are based almost exclusively on
all-combinatorial twelve-tone rows with inherent repetitive properties. The Aria features solo bassoon, while the Sonatina has the strongest neoclassical overtones, with a waltz-like accompaniment to the agile solo clarinet. The Finale is an extended lament, dominated by the horn. ==Discography==