This is a treasure-trove for guitarists. It begins around 1928 when Lennox Berkeley wrote his Quatre Pièces for Segovia, who probably never played them. They were discovered as recently as 2001 when Angelo Gilardino was going through Segovia’s library: he edited the score which was published a year later.

The other two works are both classics with several recordings available, including historic ones by Bream close to the dates of composition. The Sonatina was written for him and the Theme and Variations for Gilardino. John Duarte in these pages (6/95) found Craig Ogden’s début recording impressive but considered that the young Australian ‘still had far to go’. These technically assured and scrupulously musical performances confirm that Ogden has indeed made it.

Michael Berkeley’s works all come from a four-year period around 1980, the time of his anti-nuclear oratorio Or shall we die? As with his father, Bream is involved – Lament was a 50th birthday present and the sonata was written for him. The Lament is a series of improvisatory variations on a kind of folk melody and the Impromptu is the type of catchy tune mesmerised by ninth chords that Berkeley père admired from his friend Poulenc. Michael’s works respond to the intimate guitar world with obvious relish and Ogden makes the most of everything; he’s well recorded, too.