THE ROMEROS AT CALTECH

Concerts by the four guitar-playing Romeros have taken on an air of predictability lately. Repertory has settled into a pleasant mixture of solos--usually an assortment of familiar plums by Spanish composers--and ensemble pieces--usually an assortment of familiar plums by non-Spanish composers.

The quartet’s appearance at Beckman Auditorium, Caltech, on Saturday was no exception, save for one disturbing departure--ragged playing. Disagreements in tuning and attack surfaced with regularity, and technical mishaps marred both solo and group endeavors.

A low point in the latter category was reached in an endless, out-of-tune arrangement of Bizet’s “Carmen” Suite. Constant tuning and mood-shattering applause between sections augmented the agony.

Similarly, “Torrobiana,” a bit of fluff inspired by tunes of Moreno-Torroba, made little impression. Only in a movement from Bach’s Third “Brandenburg” Concerto (misidentified in the program) and in pieces by Falla (“Miller’s Dance” and Spanish Dance No. 1) did the players--Celin, Angel, Pepe and their newly mustachioed father Celedonio--achieve their expected bravura.

Results proved more pleasing in solos by three of the four (a back injury restricted Celin to ensemble chores). Angel impressed in pieces by Torroba and Tarrega, as did Pepe in Albeniz’s overplayed “Sevilla” and “Leyenda.” Celedonio’s reading of his own Fantasia, however, proved only mildly interesting.