"[...] Although set as a single movement, there is a single definite change of pace, from a tranquil 41 bars to a more brash and rhythmical section nearer a hundred bars in length. The opening starts with some slow, rhythmical chords. The rhythm is easy, but the chords mix open strings with up-the-neck shapes, and they are easier to play than they are to Sight-read. There are some natural harmonics which are well-fingered and three of the forces are rhythmically in step here to produce chords made out of some glorious bell-like sounds. From here, the three melodic lines start to branch out on ordinary notes with differing rhythms and pitches, underpinned by a slow bass line that mixes straight rhythms with 3:3:2 patterns and tango-like descending passages. There are some confident dissonances here, with chords of B7 set to coincide with chords of E minor, so there is a D# E and F# at the top. [...] The "Vivace" section is very different. Again, it is Guitar Two that does the chordal support (now in the form of rhythmic arpeggios instead of block chords), and Guitar 5 that has an almost 'walking bass' part. Guitars One, Three and Four are sometimes in unison pairs, sometimes in three separate parts, with Guitar Four getting a few more harmonics for his troubles. Almost without exception, Guitar Two plods away with the same rhythm, but it's rather fun to play, mainly first position but with a spattering of flats and some unfamiliar shapes. It's a very effective piece if you don't mind the odd note-clash and would suit a mixed ability ensemble, as Guitar Five is probably Grade 2-3, Guitar Two is probably Grade 4 (though there are some barre chords - the barre could be removed at the expense of some sustain), and the remainder Grades 5-7, though in a large ensemble, keeping it all tight is going to need a bit of spare concentration."
Derek Hasted (Classical Guitar Magazine)
