This is a substantial work and the first clue, that this is not a conventional «theme and variations« comes with descriptions of the strumming and other percussive effects, found just after the foreword. These «effects« are devoid from the theme, which is strictly c1assical in layout and orchestration, with stirring largo arpeggios.
And what is to follow is not simply a set of variations on a theme; it is a set that incorporates many of the characteristic rhythms of the South Americas.
As the strait-laced them draw to a close, there is a page turn and a Joropo mixing 3/4 and 6/8 finds a variation of the theme unfurling slowly over the top of a rhythmic undercurrent. Some demanding strumming and big chords produce a stunning climax. A Samba with an almost funky bass line and a cute little guiro effect contrasts beautifully, before the technical demands are ratcheted up a notch with a Tango, where crisp rhythms and low parallel octaves create a dark and sombre mood. A
Cueca changes the mood again before a Huayno moves the style towards Peru with a variation that is a rhythmic delight. The Corrido that follows seems a little weak in comparison, but there is more magic on its way with a Valsa with some distinctly non-Vivaldi chords and some double-sharps along the way. The variations conc1ude with a Malambo that incorporates percussion and strumming.
The four guitars are broadly separated into tune, countermelodic rhythm and bass, but the parts are surprisingly comparable in complexity - all parts are Grade 6 or higher and a keen sense of rhythm and some nifty strumming are needed.
Derek Hasted (Classical Guitar Magazine)
