Due to their evident aesthetical and linguistic proximity, the English composer Cyril Scott (September 27th, 1879 – December 31st, 1970) was known to Debussy himself. Besides being an expert in occultism, he was, like many other composers of his time, also a painter, writer, and poet. His Sonatina for guitar (1927) did not meet with the enthusiasm of its dedicatee, Segovia, who performed just the first of its three movements and later let it fall into oblivion. The dreamy atmosphere of the first movement – which, not by chance, was called Rêverie by the Spaniard – reintroduces the use of open strings. They produce the superimposition of fourths which had been already cherished by the French composer and by De Falla in his Homenaje. His request for the production of harmonics (not always realizable) is punctuated by harmonizations of the six-tone scale in different keys, by short and sinuous melodies making abundant use of chromaticism; and this is even more evident in the ironic and lively second movement. The third recalls the Andalusia evoked by De Falla, in its thick chordal rhythmic sections, broken by arpeggiated ninth-chords, closer to the Hommage à Rameau. Included in the Cd "Debussy – A Guitar Perspective (Transcriptions, Dedications, Inspirations)" - Da Vinci Classics 2022 available...