Dodgson - String Trios 1 & 2 - COMPACT DISCS [CD]

Musica Poetica - Trio Sonatas & Sonatas [COMPACT DISCS] date 06/08/1995

While some parts of Stephen Dodgson's work have become relatively well-known - in particular his music for guitar, which has an international reputation - much of his output is known only partially and to a limited circle. His large output of music for harpsichord is the result of a long association with many of it's leading exponents, with resulting requests and commissions, and has attracted a circle of admirers. By contrast, his equally distinctive and idiomatic writing for the piano has in only two instances been prompted by commissions (Sonatas Nos. 2 & 3). All the rest has arisen from purely personal impulses. This recording serves as an introduction to it. Understandably, a good deal of other piano music (including several sonatas) preceded No.l (1959) written when he was 35. No.2 was commissioned by Thomas McIntosh, who gave the premiere at the Queen Elizabeth Hall, London in 1975. It was this work, in addition to several items of chamber music, which introduced Stephen Dodgson to Bernard Roberts. Their association was strengthened when an American admirer of Bernard Roberts commissioned No 3 (1983) especially for him. All subsequent sonatas, now stretching to No.6 (1997) have been premiered by Roberts, who has thereby become an important stimulus in their genesis. Stephen Dodgson was for many years a teacher at the Royal College of Music, London, where he had himself been a student post-war. For 40 years he has been a well-known reviewer/commentator on the radio in addition to supplying many scores for BBC drama productions over the years. He remained active and continued to develop his career as composer from his home in London until the time of his death.

A lost solo piano record from the Night Tripper! Originally put to tape in '82 & '83 for the Clean Cuts tag, these tracks have remained unheard until now. Two numbers feature the doc's raspy growl while his solo piano navigates us through the rest of the train ride, past touches of blues, jazz, and foot stompin' boogie-woogie jive. It's the kind of magic that can only come from a dusty tape box. In 1981, Dr. John began recording his first of two solo piano albums. The InchnewInch performances featured on this are of the same quality as the music on Dr. John Plays Mac Rebennack and The Brightest Smile In Town. His left hand creates a three-note rhythmic pattern that forms the foundation for the performance while his right soulfully plays the melody and then builds off of it in the tradition of the New Orleans piano blues masters. In other songs, it begins as a nostalgic and heartfelt ballad, picking up steam during the performance and switching moods several times before returning to where it began. While it is a real shame that he would never again record a full album of unaccompanied solos (Dr. John enjoyed leading a band too much), the of Frankie & Johnny gives one an additional opportunity to discover just how brilliant and spirited a pianist Mac Rebennack was during his colorful career.