Craig Ogden in Concert Guitar Chandos

Craig Ogden in Concert

DOMENICO SCARLATTI

Sonata, KK 380 ( date unknown)

5:38

in E major • in E-Dur • en mi majeur

for Keyboard

Arranged for Guitar by Owen Bunting

Andante commodo

Sonata, KK 322 (date unknown)

3:37

in A major • in A-Dur • en la majeur

for Keyboard

Arranged for Guitar by Peter Batchelar and Richard Wright

Allegro

NAPOLEON COSTE

Le Départ, Op.31 (1856)

7:28

(The Departure)

Fantaisie dramatique

(Dramatic Fantasy)

for Guitar

A Monsieur Adan, Director général des Douanes du Royaume de Belgique

Introduction. Andante largo - Allegro assai - Andantino - Tempo I - Agitato -

AUGUSTIN BARRIOS MANGORE

Julia Floria (1938)

3:46

Barcarola

(Barcarolle)

for Guitar

To my intelligent and highly esteemed disciple

the distinguished young lady

Allegro moderato - Meno mosso - Più mosso - Meno Mosso - Tempo I

Vals, Op.8 No.4 (1923)

3:39

in G major • in G-Dur • en sol majeur

(Waltz)

for Guitar

A mi querido y aventajado discipulo D. Dionisio Basualdo

Introduccuón - Tiempo de vals con brio -

Trio. Lento - Campanella -

Tempo I - Coda

ARMAND COECK

Constellations (1986)

7:07

for Guitar

for Gino Herman

Largo - Poco più mosso - Più mosso - Meno mosso - Più mosso -

Calmo - Calmo - [Più mosso]

ISAAC ALBÉNIZ

Sevilla, Op.47 No.3 (1885)

4:17

Sevillanas

from Suite española

for Solo Piano

Respetuoso y carñoso recuerdo a la Exma: Sra: Condesa de Morphy

Arranged for Guitar by Gordon Crosskey

Allegro moderato - Meno mosso - Più mosso - Meno mosso - Tempo I

Torre bermeja, Op.92 No.12 (1888)

4:17

Serenata

(Serenade)

from Doce piezas caracteristicas

for Solo Piano

A mi querida amiga Señorita Isabel de Lisboa

Arranged for Guitar by Cragi Ogden

Allegro molto - Meno mosso - Poco più mosso - Meno mosso (cantando) - Tempo I

JOHANN SEBASTIAN BACH

Four Movements from Suite, BWV 996 (c.1712-17)

in E minor • in e-Moll • en mi mineur

for Lute

Arranged for Guitar

[Präludium.] Passaggio - Presto

2:28

10.

Sarabande

3:35

11.

Bourrée

1:12

12.

Gigue

3:20

ENRIQUE GRANADOS

13.

Andaluza (1890)

4:49

No.5 from Doce danzas españolas

for Solo Piano

A Alfredo G. Faria

Arranged for Guitar by José de Azpiazu (1912-1986)

Andantino quasi Allegretto - Andante - Andante molto - Tempo I

HEITOR VILLA-LOBOS

14.

Chôros No.1 (1920)

4:31

for Guitar

À Ernesto Nazareth

Quasi Andante - Moderato un poco - Tempo I

DJANGO REINHARDT

15.

Nuages (1940)

3:59

(Clouds)

for Jazz Quintet

À Jean-Baptiste Reinhardt

Transcribed for Guitar by Roland Dyens (1955-2016)

Modéré - Vigoroso - Come prima

LUIGI LEGNANI

16.

Fantasia, Op.19 (c.1822)

7:01

in A major • in A-Dur • en la majeur

for Guitar

Largo - Allegro

MIROSLAV TADIC

17.

Walk Dance (c.1991)

3:20

Based on a Traditional Macedonian Folk Dance, Kalajdzisko oro

(Coppersmith's Dance)

for Guitar

from Laments, Dances and Lullabies (2008)

Realised by the Composer from improvisation

To Scott Tennant

Allegro vivo

Total time: 74:04

Solo: Craig Ogden guitar

“… Opening with a pair of often-transcribed Scarlatti sonatas (K380+322), Ogden displays a solid connection to his guitar and to the music, enlivened with tasteful tonal shadings and pristine ornamentation, plentiful but not overdone. Le Depart, Napolean Coste’s Op. 21, is played virtuosically, with breathtaking speed and clarity… New to most ears is Belgian composer Armand Coeck’s ‘Constellations’ (1986), a unique piece in the guitar’s repertoire written in a contemporary language, using the guitar well and, thanks to Ogden’s intelligent and sensitive interpretation, is accessible to listeners…Serbian Miroslav Tadic’s ‘Walk Dance’ concludes this excellent recital.”

James McCutcheon – American Record Guide – November/December 2021

“… There’s a firm suppleness, a bravura, running like a live wire from Ogden’s opening Scarlatti, with its miniature rococo orchestrations, through to the final work, Miroslav Tadic´’s exuberant Walk Dance…”

Richard Bratby – Gramophone magazine – July 2021

Performance **** Recording ****

“… Ogden, as ever, puts his own convincing mark on works such as the Granados Andaluza and the Villa-Lobos Chôros No. 12 … the style varies from Scarlatti to Tadic, the latter’s Walk Dance ending the programme with vibrant and earthy punch, in stark contrast to the more obviously refined Scarlatti sonatas which open the recital…”

Sarah Unwin Jones – BBC Music magazine – July 2021

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