Lennox Berkeley: Sonatina For Guitar (Revised ), Commissioned by and dedicated to Julian Bream. (CH) en-GB. Shop for a great value Lennox Berkeley – Sonatina here at London Guitar Studio today! Were passionate about Flamenco and Classical guitars, so pop in and. Sonatina for guitar, revised by Lennox Berkeley · Sonatina for guitar, revised by Lennox Berkeley; Julian Bream; Peter Dickinson;. Musical score .
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An eighteenth-century writer on music once declared that the guitar and the English are incompatible for anyone who was alive and cognizant in the mids, this remark will arouse some mirth.
Yet something of an English guitar school arose even before younger Britons began applying the rudiments of the six-stringed instrument to popular idioms.
Preeminent guitarists Julian Bream and John Williams were at the head of the vanguard and well known on the international music scene. In addition to tapping the relative paucity of past material written expressly for the instrument, they commissioned new works from the leading composers.
Among the most noted English providers for guitar was Sir Lennox Berkeleywho, in addition to concerto and sonata, provided lebnox delightful opus 51 Sonatina, composed from April through June Julian Bream played a triple role in its creation, having commissioned the work, being its dedicatee, and giving its premiere on March 9, Although a sonatina, this compact work is a good exercise for even brrkeley seasoned guitarist in its inducing one to locate patterns on the fingerboard outside of conventional guitar practice, a “stretching out” for the soloist.
In three movements, the opening allegretto is in the expanded modal idiom common to so lennpx post- Elgar English slnatina and features constantly shifting meters.
The overall mood is breezy, even “cheeky” to use that typically British term.
Sonatina for guitar, Op. 52/1
The middle movement, Lento, is by contrast tonally ambiguous and detached in mood; free use of harmonics and, again, shifting meters are featured. An interesting touch is found in the final appearance of the opening theme, in which accidentals are switched berkelye rests are “filled in” with fresh harmonies, a striking example of invention which can be found in even the smallest works of an imaginative composer.
The finale, a rondo, returns to the carefree, winsome mood of the opening movement, the swinging saunter of the main theme twice juxtaposed with a knotty tonal thicket. The third theme is perhaps the most meditative in this overall light work and it segues seamlessly into the final statement of the main theme and coda.
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Lennox Berkeley – Sonatina for guitar (), 52 no.1 – Music Sales Classical
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