Robert DOCKER (1918-1992)
Legend (1959) [7:02]
Scène de bal [4:26]
Three Contrasts for oboe and strings (c. late 1950s) [17:38]
Tabarinage (Buffoonery) (1961) [3:02]
Scènes de Ballet (1958) [13:24]
Air and Jig (1963) [3:19]
The Spirit of Cambria (1972) [7:56]
Fairy Reel Dance (1958) [2:53]
Blue Ribbons [3:23]
Pastiche Variations (1980) [15:12]
William Davies (piano), David Presley (oboe)
RTÉ Concert Orchestra/Barry Knight
rec. 27-28 March 1995, O’Reilly Hall, University College, Dublin, Ireland
NAXOS 8.574322 [78:38]
I missed the original release on Marco Polo (8.223837) in 2000. It was part of a wide-ranging survey of British Light Music, much of it reissued in recent years. Philip Scowcroft’s overview of some of the composers includes a note on Robert Docker’s life and achievement.
Legend for piano and orchestra 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. Composed sometime before 1959, it 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 correctly suggest 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.
Three Contrasts for oboe and orchestra is a concerto in all but name. To be sure, it is a collection of three numbers, not a classical structure such as sonata or a cyclic form. The finale, a vigorous Rondolet, does fit the formal bill. The first movement, a jaunty Alla Marcia, is full of interest. The “trio” section contrasts well. The heart of this work is the dreamy Romanza, full of pastoral musings. Just the sort of music that Elisabeth Lutyens seemingly despised (listen to some of her documentary film scores, though) 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) from 1961, one of Docker’s best known pieces. This is a take on the Can Can which is “outrageously cheeky without being vulgar”, full of a bouncy humour.
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 ever accompanied dance. On the other hand, they make an attractive Suite: 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. Penned in 1963, it would have been in direct contrast to much of the serious music composed then. 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 an arrangement of four “well-known” Welsh tunes but the notes do not list the melodies, and my knowledge is not sufficient to give a definitive list.
We are on safer grounds with Blue Ribbons, based on O dear, what can the matter be? The added value in this arrangement is the superb orchestration. Occasionally, Docker puts in some wayward harmonies. A passage for solo violin offers relaxation in the “middle eight”. Docker successfully avoids the sense that the tune is just played over repeatedly, but louder each time.
The 1958 Fairy Dance Reel is based, unsurprisingly, on an Irish Dance. This well-wrought arrangement 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.
This conspectus of Robert Docker’s music ends with the Pastiche Variations, which have been likened to Ernst von Dohnányi’s Variations on a Nursery Theme. The opening notes on the solo horn make it 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” 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.
Barry Wright’s booklet notes are a splendid introduction to the composer and to this repertoire. I would have appreciated the dates of all the works here. Details of the performers are included. The RTÉ Concert Orchestra and their conductor for this programme, Barry Knight, play with warmth, sincerity and clear enthusiasm. Pianist William Davies gives a good account of the Legend and the Pastiche Variations. David Presley’s oboe playing in the Three Contrasts is delightful and committed.
John France
