Composer: Sir William Walton, Sir Malcolm Arnold, Sir Lennox Berkeley
Works: Five Bagatelles for Guitar and Chamber Orchestra (adapted by Patrick Russ), Serenade for Guitar and Strings, Op.50, Guitar Concerto, Op.88, Guitar Concerto, Op.67
Performers: Craig Ogden – guitar, Northern Sinfonia, Bradley Creswick – leader, Richard Hickox – conductor
Recording: CHANDOS CHAN 9963 [66:18]
Label: CHANDOS
The English guitar concertos presented in this recording reflect both the rich tradition of the genre and the individual approaches of their respective composers. Sir William Walton’s “Five Bagatelles,” originally conceived for solo guitar, has been adeptly arranged for guitar and chamber orchestra by Patrick Russ. This adaptation captures the intimate essence of Walton’s writing while enhancing it through orchestral color, a practice that can easily falter but here finds a commendable balance. The historical context of these works, composed during the mid-20th century, aligns with a burgeoning interest in the guitar as a solo instrument, particularly among British composers, who were increasingly drawn to its expressive capabilities.
The performance by Craig Ogden, alongside the Northern Sinfonia under Richard Hickox, shines particularly in the articulation of Walton’s Bagatelles. In Bagatelle No. 3, the seamless transition from a solo bassoon to the guitar highlights a remarkable understanding between the soloist and ensemble. Ogden’s phrasing is both lyrical and precise, and the orchestral accompaniment remains unobtrusive, allowing the guitar’s voice to emerge as a central narrative. Noteworthy is the delicate interplay established in Bagatelle No. 2, where the light orchestration supports the guitar’s melodic lines without overshadowing it, an effect that is both refreshing and respectful to the original conception.
Sir Lennox Berkeley’s “Guitar Concerto, Op.88” offers a tonal landscape that straddles tradition and modernism. While maintaining a generally tonal idiom, Berkeley introduces moments of atonality that serve to engage the listener in a dialogue of expectation and surprise. The clarity of Ogden’s technique allows for the intricate passages to resonate with a vibrant energy, particularly evident in the lively outer movements. Moreover, the second movement’s exploration of timbre and texture, influenced by jazz idioms, is delivered with an oily richness that showcases the guitar’s versatility, further enhanced by Hickox’s sensitive orchestral direction.
Malcolm Arnold’s contributions, particularly the “Guitar Concerto, Op.67,” stand out as a pinnacle of the guitar repertoire. The first movement’s Dorian mode theme, characterized by its infectious nature, showcases Ogden’s ability to balance technical prowess with expressive depth. The central lento-vivace-lento movement, described as producing an “oily texture,” allows Ogden to demonstrate his remarkable control, navigating the intricate weaving of jazz influences with a deft touch. The finale, marked by its dramatic glissandi, culminates in a thrilling conclusion that epitomizes Arnold’s mastery in integrating guitar with orchestra.
The engineering quality of the recording deserves commendation, with the orchestral sound well-defined and the guitar placed at just the right level to ensure clarity without diminishing its presence. This careful attention to balance allows the listener to appreciate the nuanced dialogues between the instruments, a critical element in the successful interpretation of these works.
Offering a rich tapestry of English guitar compositions, this disc serves not only as a tribute to the individual composers but also as an exploration of the guitar’s evolving role within the orchestral context. The interpretations presented are not only technically proficient but also deeply musical, drawing the listener into the intricate interplay of sound. Craig Ogden’s performance, coupled with the Northern Sinfonia’s spirited accompaniment, makes this recording an essential addition to any serious collection of guitar music. The result is a compelling listening experience that celebrates the artistry of both composer and performer while illuminating the profound capabilities of the guitar as a concert instrument.
