Fair enough, but I would hardly call the first and fifth Bagatelles Spanish sounding or Mediterranean. I have always likened the last bagatelle to the furioso primitivism in Villa-Lobos' last Etude, and I'm not sure what sort of musical language is used in the first (simply saying jazz inflected would be an oversimplified cliche). I think that a set of works with the title "bagatelles" (which means musical bonbons, as you say) is always going to be viewed lower down the pecking order from an extended work with musical unity. However, it is probably a pointless exercise to compare the two, other than to say that for the average listener, the Bagatelles are more accessible.PaulHardy wrote: ↑Sat Aug 12, 2017 7:26 amYes but it comes the closest of the pieces on the disc, according to him. And it's still among the very best we have.Sean Shibe wrote: ↑Sat Aug 12, 2017 3:35 amCuriously enough in a recent review a prominent critic made clear that he considers it doubtful that Nocturnal is a masterpiece: https://www.gramophone.co.uk/review/dre ... olo-guitar
Adrian I'm sorry I have to concur with Mr Yeoman and place the the Nocturnal above the Walton Bagatelles, even though I adore them.
Walton did a marvellous job producing something so engaging, so interesting and yet so avowedly diatonic in 1971. But the darkness and introspection of the Britten is special in a repertoire heavily laden with sun-soaked Mediterranean charmers or gently bittersweet bonbons. Nothing wrong with those in moderation but a wholr evening of phrygian modes, rasguedos and dramatic scale runs can start to drag imho.
And I know many others will disagree so I'll acknowledge their right to a different view now in a (doomed) attempt to head them off. ❤
As a further point, I have found a video on Youtube where people are able to follow the score of Nocturnal. I will do this now and give it another listen.