The guitar music of Sir Lennox Berkeley and Michael Berkeley reflects in part their family's close friendship with guitar virtuoso Julian Bream, whose lyrical performance style notably influenced the father's Sonatina, Op. 52/1 (1957), and the Sonata in One Movement (1982), and the Impromptu (1983) by the son. Yet the elder Berkeley's guitar works also show the manners and techniques of other guitarists, most clearly Andrés Segovia in the flamboyant, Spanish-flavored Pieces (4) pour la guitare, Op. posth. (1928), and Angelo ...
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The guitar music of Sir Lennox Berkeley and Michael Berkeley reflects in part their family's close friendship with guitar virtuoso Julian Bream, whose lyrical performance style notably influenced the father's Sonatina, Op. 52/1 (1957), and the Sonata in One Movement (1982), and the Impromptu (1983) by the son. Yet the elder Berkeley's guitar works also show the manners and techniques of other guitarists, most clearly Andrés Segovia in the flamboyant, Spanish-flavored Pieces (4) pour la guitare, Op. posth. (1928), and Angelo Gilardino in the more subdued Theme and Variations, Op. 77 (1970). Michael Berkeley's music is more abstract, tailored less to performers' styles than to technical possibilities and motivic manipulation. As a result, his Lament (1979), Worry Beads (1979), and the even the Sonata are fairly rarefied and perhaps not immediately gratifying, even though his tonal melodies and clear harmonies are easy to grasp. Craig Ogden performs the Berkeleys' works with spontaneous expression, clean...
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