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.67, Guitar Concerto, Op.88
Performers: Craig Ogden – Guitar, Northern Sinfonia (Bradley Creswick – Leader), Richard Hickox – Conductor
Recording: CHANDOS CHAN 9963
Label: Chandos
The English guitar concerto repertoire, while not overly expansive, provides a rich tapestry of stylistic diversity, particularly through the works of Sir William Walton, Sir Malcolm Arnold, and Sir Lennox Berkeley. The present recording, featuring Craig Ogden and the Northern Sinfonia under Richard Hickox, brings together a compelling selection that highlights the unique nuances and textures of each composer’s voice. Walton’s “Five Bagatelles,” originally composed for solo guitar, finds a fresh and engaging interpretation through the adept orchestration of Patrick Russ, while Arnold’s and Berkeley’s concertos showcase the guitar’s capabilities within a more traditional concerto framework.
Walton’s “Five Bagatelles,” written between 1958 and 1970, serves as an exemplary study in the balance between solo and orchestral forces. Russ’s arrangements maintain the essence of the original guitar parts, ensuring the orchestral accompaniment acts as a complement rather than an encumbrance. This is particularly evident in Bagatelle No.3, where the solo bassoon’s introduction flows seamlessly into Ogden’s guitar, creating a dialogue that feels both natural and compelling. The orchestral swell at the conclusion is executed with finesse, drawing the listener into a cohesive musical argument. The second bagatelle retains its delicate charm with minimal orchestration, allowing the guitar’s voice to shine through. The outer bagatelles, treated with a more dramatic flair, effectively frame the set, demonstrating Walton’s ability to blend lyricism with a touch of theatricality.
Berkeley’s “Guitar Concerto,” Op.88, composed for the esteemed Julian Bream, presents a fascinating departure from his earlier tonal works, introducing elements of atonality while still retaining a lyrical quality. Ogden’s interpretation captures this duality with a sensitivity that respects Berkeley’s traditionalism yet embraces his exploratory spirit. The concerto’s structure is meticulously crafted, and Ogden navigates its complexities with remarkable clarity, particularly in the first movement where the interplay of themes allows for a vibrant display of virtuosity. The central lento-vivace-lento movement showcases an oily texture that resonates with jazz influences, a hallmark of Arnold’s style and one that Ogden conveys with a deft touch. The finale, marked by a dramatic glissando, reveals the guitar’s full dynamic range, and Ogden’s technical prowess ensures that this moment lands with the intended impact.
Arnold’s “Guitar Concerto,” Op.67, stands out as a hallmark of the guitar repertoire. Its infectious themes, particularly the Dorian mode of the opening, are brought to life by Ogden’s articulate phrasing and expressive dynamics. The central movement, infused with jazz elements, provides a rich canvas upon which Ogden can layer his interpretations, effectively showcasing the guitar’s unique tonal qualities. The vibrant orchestration by the Northern Sinfonia under Hickox further enriches the texture, allowing the guitar to maintain its prominence without being overshadowed. The recording quality is commendable, with a clear balance that highlights both the soloist and the orchestra, ensuring that the rich sonorities of the guitar are not lost in the ensemble.
The interplay of these works, coupled with Ogden’s nuanced interpretations and the Northern Sinfonia’s supportive orchestral playing, culminates in a recording that celebrates the guitar’s place within the concerto landscape. Each piece contributes to a broader understanding of the instrument’s capabilities and the composers’ distinctive styles, making this disc an essential addition to the catalog of English guitar concertos. With its thoughtful arrangements and the vibrancy of the performances, this recording not only honors the legacy of Walton, Arnold, and Berkeley but also invites contemporary audiences to appreciate the guitar’s rich heritage in orchestral music.
