Xingú

The music begins with a one bar motif that starts with Guitar 3 and sees three more of the remaining guitars come in, each starting the same motif but displaced by two, one and finally three beats. It's a one-bar round with the four players a beat apart - a slightly hypnotic opening to the piece. It's the same principle as the brooms that open a Stomp stage show. The fifth guitar enters with a slow bass and the burbling finally ceases after 16 bars. The centre of the piece is a more conventional van der Staak composition with a straightforward but nonetheless delightful chord sequence - Am, Dm, G7, C, Bm7, E7, Am, Am6, over which the melody climbs higher each time the chord sequence repeats. Whilst Guitar 1 soars higher, the other lines have subtle changes to their parts. This would suit a novice or intermediate ensemble of mixed ability - Guitar 5 is all crotchets and minims, but the other parts are in quavers. As we move up the orchestration, the parts venture increasingly far up the neck, but nothing goes above fret ten, and there are very few accidentals. With a conductor or teacher in charge, I think this would be a very straightforward and delightful piece. For a quintet that is not conducted, the initial entries require accurate counting - coming in after four and three quarter bars, and playing the same melody, but out of step with everyone else, needs confidence and precision. With a number of dynamic markings but no fingering, this is very accessible piece that has first time appeal with an audience at, let's say, a school concert.

Derek Hasted (Classical Guitar Magazine)