The mixed ensemble is five guitars, a bass guitar that doubles Guitar five, but in bass clef, plus claves, shakers (maracas, cabasa or shekere) and a bass tom or conga.
And we're off! Four bars of percussion and I defy anyone to sit still. The key of A is such a fine key for a bright and joyful sound and in come most of the guitars with some gloriously interlocking syncopations setting the scene for the main theme. And we're off again to newer heights with a lively tune and some fun chord progressions, all wrapped up in a hip-swivelling bossa rhythm.
Just when the rhythm starts to sound effortless, triplets appear on top of it all and build the volume and intensity still higher.
There's an elegant key change from three sharps to two flats and the contrast between the brashness and excitement of the former with the mellowness of the latter couldn't be more marked. The piece still motors along - the percussion doesn't stop to draw breath, even when the piece wriggles its way back, rather elegantly into its home key.
From, the intensity of the percussion and the general feeling of exhilaration in this writing, this isn't for five guitars; ifs for fifty-five guitars. It needs to sing out and it needs to be loud.
The rhythm, or rather the mastering of the rhythm, is going to make or break this piece, and a good sense of rhythm is required of every single line. There is no hiding place - one can't leave it to the percussionists - their rhythm is different to the bass, which is different to the middle parts, which is different to the tune. It looks complex on paper, it sonnds complex to the ear, but my goodness it's fun!
(...) the overall presentation and clarity are exemplary.
In fact it's pretty darn fine all round. Now we need to find some players out there with a darn fine sense of rhythm...
Derek Hasted (Classical Guitar Magazine)
