David Dubery: Music for woodwinds and piano

All readers of Homer’s Iliad will recall the monstrous, fire-breathing hybrid: part lion, part goat, and part serpent - slain by the hero Bellerophon riding Pegasus. Dubery recollects that he visited the Archaeological Museum in Florence to see the Etruscan bronze, Chimera de Arezzo (400BC). But the noun ‘chimera has another meaning: “wildly illusory, a fanciful dazzling conception.” The composer told me that Chimera is “about the unpredictability of the scheming beast- weighing up situations and being deceptive.” He has united all these meanings in his eponymous musical picture of the beastie devised for clarinet and piano. Written in 1984, it has been heavily revised in recent years. Lasting for six minutes, there is a stuttering opening section, followed by a lugubrious slow passage, then a dance and closing with a reprise of the opening. Nothing very fearsome here. There is lovely piano writing as well as vivid woodwind passages.

I think that “Sonatina” can be a disparaging word, which reminds the listener of interminable grade studies. But then think of the so-called Sonatinas by John Ireland and Maurice Ravel – hardly studies for the tyro. The Sonatina for clarinet and piano originated as a piece for recorder and piano dating from 1989. The composer explains that he was attracted to the “bolder colour palette, character and dynamics of the clarinet,” so he revised the original in 2016. The Sonatina is in four easy going movements, beginning with a lively syncopated Moderato poco Scherzoso with two barely contrasting themes. The Lento has two elements: firstly, a kind of Theocritean pastoral, and secondly, animated interjections, which sound like “startled birds.”  Movements three and four are combined on one track and are played without pause. The instruction “affrettando” is not one I have come across often; my vade mecum tells me that it means “pressing forward,” or “with increasing urgency,” which perfectly describes this music. It concludes with a “rustic dance.” It is a splendid Sonatina, which sounds anything by easy, that would make a wonderful contribution to their programme for any recitalist.

My favourite number on this disc is Music for an Untold Story, scored for flute and piano. Dubery has suggested that it reflects his love of the cinema, theatre, and crime fiction. I am not sure about the latter. Everything tells me that this is a romance in the spirit of a “Brief Encounter.” Or is it an intrigue set during WW2? Certainly, there are lovely Rachmaninovian piano passages here, accompanying some delightful flute passages. It was written in 1981 and edited in 2016 and 2024.

Remembering Satie, again for flute and piano, needs a little explaining. The composer recalls that he had developed a piano miniature inspired by “an alfresco lunch in my garden on a hot summer day.” Suddenly there was a “mini dust devil” or small, short‑lived whirlwind that “upended the plates and napkins as well as raising soil, grass, and dead leaves.” Then there was a moment of stillness… Dubery was reminded at the time of a Satie Gymnopédie. In 2024, the original piano version was rescored for flute and piano. It is a lovely, relaxed work that truly pays homage to the eccentric Frenchman from Honfleur. Yet, there is little impression of the Dust Devil himself in the detail.

Hommage – In Olden Days is a relatively straightforward work in three-part form, with an introduction and coda. It was written during the Covid pandemic in 2021 but was based on an earlier sketch. The liner notes are correct in suggesting the influence of Francis Poulenc. It is an attractive piece that becomes increasingly enthusiastic as it progresses.

The important Sonata for oboe and piano dates from 1982. It is subtitled Since Dawn is Breaking. The programme notes explain that it was inspired by Paul Verlaine’s poem, Puisque l’aube grandit. The poem is not printed in the booklet; however a helpful summary would be that at daybreak, the speaker feels hope rising again after a long absence, as though morning itself restores the possibility of happiness. They imagine moving forward through life guided by the beloved’s eyes lighting the way, their hand steadying his own - no matter whether the path is soft and mossy or rough and stony. To ease the journey, he pictures himself singing simple tunes, comforted by the thought that the beloved will listen without displeasure. For him, that gentle acceptance is enough; he desires no paradise beyond being heard and accompanied by them. Each movement focuses on a different emotion based on the three verses of the poem. The first presents a pastoral image which is introspective, before exploring a much more optimistic mood. The second movement is a love song, where the “piano and oboe lovingly entwine.” And the finale is a triumphant paean of “joy and happiness” infused by jazzy rhythms, a quieter interlude, and an exultant coda. To be sure, the Sonata makes for easy listening even divorced from the poem and programme. The language is at times Poulenc-ian with some interesting touches of neo-classicism and English pastoral.

The final piece is a travelogue. Written for piano, violin and cello, between 2013 and 2016, the Piano Trio Tre Giorni (Three Days) was inspired by a holiday to Lake Como in Italy, and the surrounding landscape. Dubery gives an incredibly detailed synopsis of the historical and visual background for each movement. The first day, Giorno 1 explores Corenno Plinio, a timeless medieval hamlet that clings to the eastern shore of the lake, crowned by its castle, stone stairways, and ancient walls… Here the movement opens with “lake waters lapping the pebbled shore,” and is succeeded by a scherzo which depicts the “sun dancing” on the lake. A brazen passage suggests the numerous battles fought here by the Lombards, then some windsurfers drift by; finally, quiet is restored in the late afternoon. The long Giorno 2 meditates on the Abbazia di Santa Maria di Piona. It opens with a “Lark Ascending” violin solo, based on a setting of the Agnus Dei. Prayerful music follows, but suddenly it is a question of “Ring out, wild Bells.” What a change of mood. The monks’ prayer is then resumed. The final Giorno is a fantasy about the Villa de Vecchi. This abandoned Lombard mansion is steeped in legend - eclectic 19th‑century architecture, vanished grandeur, graffiti-covered walls, whispered tragedies, occult rumours and ghost‑lore - its crumbling halls drawing seekers of mystery and decay. Dubery’s “take” on all this is almost indescribable- there are shrieks, dripping water, and recollections of children at play in happier days, all expounded in a sometimes-minimalistic, at times dissonant, style. Highly charged and melodramatic is the best description of this movement which brings this remarkable piano trio to a satisfying conclusion. Irrespective of whether the listener observes this “programme,” this is attractive, impressive music that can easily stand on its own feet.

David Dubery (b.1948) is a South‑African‑born British composer, pianist, and vocal coach whose works fuse lyrical clarity with a strong feel for landscape and narrative. Based in Lancashire since 1961, he studied at the Northern School of Music in Manchester between 1964 and 1972, including a post-graduate year. He then built a career as performer, teacher, and collaborator. His output spans songs, chamber music, and characterful scores for woodwind, often inspired by poetry and shaped by his experience working with singers and instrumentalists.

All the performances are sympathetic and technically assured, providing a worthy account of this remarkable chamber music.

The liner notes are produced by David Dubery. They provide an entertaining and informative discussion of all the pieces. Included are biographical notes on the composer and the performers.

This is an attractive disc that features lovely, lyrical, and interesting music, which clearly comes from the heart. Each of these works should be championed in the recital room.

Track Listing:
David Dubery (b.1948)
Chimera: for clarinet and piano (1984, rev.2016, 2021, 2024)
Sonatina: for clarinet and piano (1989/2016)
Music for an untold story: for flute and piano (1981)
Remembering Satie: for flute and piano (2024)
Hommage- in an olden style: for oboe and piano (2021)
Sonata for oboe and piano- Since dawn is breaking (1981-82)
Piano Trio Tre Giorni: for piano, violin and cello (2013-16)
Paul Janes (piano), Sergio Castelló López (clarinet), Stephane Rancourt (oboe), Amy Yule (flute), Zoe Beyers (violin), Simon Turner (cello)
rec. December 2024, Carole Nash Hall, Chetham’s School of Music, Manchester
Prima Facie PFCD256
With thanks to MusicWeb International where this review was first published.