I missed the original release of
this CD on the Marco Polo label (8.223837) when it was issued around 2000. It
was part of that record label’s wide-ranging survey of British Light Music.
Many volumes have in recent years been reissued. A good overview of Robert
Docker’s life and achievement by Philip Scowcroft can be found here.
The programme opens with Legend.
This is written for piano and orchestra and is in the same genre as Richard
Addinsell’s Warsaw Concerto, Hubert Bath’s Cornish Rhapsody and
Charles Williams’s The Dream of Olwen. Docker’s work sits somewhere
between light music and something a little more “substantial.” I do not believe
that there is a “programme” behind the Legend – it is just a deliciously
romantic piece, with several beguiling tunes. It was composed sometime before
1959 and was based on a theme from a trio for piano, viola and horn that Docker
had been working on.
Scène de bal is chockful of melody, sweeping strings and cool orchestration. It epitomises everything that we imagine light music to have been in the 1950s. The liner notes are correct in suggesting that “any interlude in the early days of television would have been graced by the addition of this piece to provide an easy background to the visual image.” Despite its French title, this waltz is very English in mood and effect. I am surprised that it has not found its way onto Classic fm.
The Three Contrasts for oboe and orchestra is really a concerto in all but name. To be sure, it is a collection of three discrete numbers, rather than deploying classical structures, such as sonata or cyclic forms. The finale is a vigorous Rondolet, which does fit the formal bill. The first movement is a jaunty Alla Marcia which is full of interest. The “trio” section contrasts well. The heart of this work is the dreamy Romanza which is full of pastoral musings. Just the sort of music that Elisabeth Lutyens seemingly despised (but listen to some of her documentary film scores), but that I love. It is a drowsy summer’s day somewhere in the Home Counties or a London Park. Sheer perfection.
Another example of “classic” light music is the light-hearted Tabarinage (Buffoonery) which dates from 1961. It is one of Docker’s best known pieces. This is a kind of “take” on the Can Can which is “outrageously cheeky without being vulgar,” it is full of a bouncy kind of humour.
Unfortunately, the liner notes give virtually no information about the four Scènes du ballet, save that they were published in 1958. The writer is not sure if they were ever used to accompany dance. On the other hand, they make an attractive Suite. The four dances are, Prelude, Allegretto, Adagio and Finale. The best description of this work is captivating. Once again, the orchestration is beyond reproach.
The Air from Docker’s Air and Jig is a delightful bit of English pastoralism. It was penned in 1963 and would have been in direct contrast to much of the serious music composed at this time. It is a short, but near flawless meditation. It is a pity that there was not enough room on the disc for the Jig.
In 1972, Robert Docker wrote The Spirit of Cambria as part of that year’s St David’s Day celebrations. This is not an original work, but an arrangement of four “well-known” Welsh tunes. Sadly, the liner notes do not list the melodies used, and my knowledge is not sufficient to give a definitive list!
We are on safer grounds with Blue Ribbons which is based on O dear, what can the matter be? The added value in this arrangement is the superb orchestration. Occasionally, Docker uses some wayward harmonies. Relaxation is provided in the “middle eight” by a passage for solo violin. The success of this arrangement is that Docker manages to avoid the sense that the tune is just played over repeatedly, but louder each time.
The Fairy Dance Reel unsurprisingly, is based on an Irish Dance. It dates from 1958. This is a well-wrought arrangement that exploits the genre, especially the opening phrase played on the flute. Once again, the listener will be surprised by the virtuosity and delicacy of Docker’s orchestration.
The final composition on this conspectus of Robert Docker’s music is the Pastiche Variations. It has been likened to Ernst von Dohnányi’s Variations on a Nursery Theme. From the opening notes on the solo horn it is clear that the theme is the French folksong/round Frère Jacques. That said, the theme is not stated in full until after two minutes of music. The variations that precede and follow it are full of romance, humour and excitement. The finale is particularly persuasive with its wit and virtuosity. The Pastiche part of the title refers to Docker’s contention that each variation “assumes the style of a different composer” who have been influential his career. It is just a pity that the liner notes do not give a list of allusions. Never mind. The listener can have fun trying to guess.
The booklet notes, by Barry Wright, are admirable and give a splendid introduction to both the composer and the present repertoire. I would have appreciated the dates of all the works on this CD. Details of the performers are included. The playing by the RTÉ Concert Orchestra and their conductor for this CD, Barry Knight, is warm, sincere and clearly enthusiastic. The piano soloist, William Davies gives a good account of the Legend and the Pastiche Variations, whilst David Presley’s oboe playing in the Three Contrasts is delightful and committed.
Track Listing:Robert DOCKER (1918-92)
Legend (1959)
Scène de bal
Three Contrasts for oboe and strings (c. late 1950s)
Tabarinage (Buffoonery) (1961)
Scènes de Ballet (1958)
Air and Jig (1963)
The Spirit of Cambria (1972)
Fairy Reel Dance (1958)
Blue Ribbons
Pastiche Variations (1980)
William Davies (piano), David Presley (oboe)
rec. 27-28 March 1995, O’Reilly Hall, University College, Dublin, Ireland
RTÉ Concert Orchestra/Barry Knight
NAXOS 8.574322
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