Concerto de Bayoán (score)

pour guitare et orchestre 3-3-3-3, 4-2-2-0, timbale, 3 perc., guit., cordes

matériel en location 

This is the conductor's score (the parts are only for hire), and it's a handsome, spiral-bound, edition that is larger than four sheets of A4 paper. And what a treat! The opening movement, Homage to Rodrigo, takes some of the opening of the Concierto de Aranjuez and imbues it with a Caribbean rhythm. Corny? Oh no. This is inspirational. It's rich and full and positively uplifting. The guitar has little bursts of solo glory, and some of these have that slightly acrid edge that Rodrigo so often used before returning to the solidity and joy of the key of D in its bright simplicity. It's as if the orchestra is laying a luxurious carpet of sound for the guitarist to walk on. When the guitar is present, it has some heroic jobs to do on top of a sympathetic supporting harmony. And when the guitar is absent, the orchestra powers onwards in that way that touches the very soul. This is spectacularly embracing music, and it's not so much “feel good” as positively life-affirming. It has the harmonies of Rodrigo and the raw energy of dance music. How can we follow this? Are we going to have something more passionate than the Aranjuez's slow movement now? Not at all. The second movement, Homage to Atahualpa Yupanqui, the Argentian folk guitarist begins with a flute - almost a bird call, and some slow and slightly poignant chords that allow the guitar to build on this definitely outdoor feel. Evocative harmonies and a gentle tremolo in the strings feel like a breeze blowing on trees heavy with leaves. Campanella arpeggios from the guitar have an almost Japanese harmony - definitely folk-based. There is some rich harmony that reminds me of the rural pictures Vaughan Williams could conjure, and then within seconds some dramatic, almost thunder-like percussion from the guitar and then peace. This is curiously restful and it's delightful in its evocative simplicity. The final movement, Homage to Antonio Lauro opened with vibrant and pungent harmonic rhythms that reminded me of some of the more energetic music in West Side Story, but this is much more virtuosic and colourful. And suddenly it falls away to nothing, but even the slow and gentle chords have a 3+3+2 feel to their pace. The guitar has a wonderfully melodic chow sequence with a chromatic bass - really rather lovely. This is a long movement, almost 350 bars, and it has given the guitar a chance to play extended solo passages where the attack of the guitar punches nicely into the luxurious harmonies. And the finish is not for the faint-hearted performer! This is a remarkable work - it deserves to be heard, and you deserve to go and hear it. This is exactly the slyle of writing that will bring guitar back into the spotlight. Get out there and enjoy it. Derek Hasted (Classical Guitar Magazine)