Stephen Dodgson: Chamber Music, Volume Two: Three Quintets
These three quintets by the London-born Stephen Dodgson (1924–2013) continue the exploration of his chamber music on Toccata Classics. Dodgson’s musical language inherited something of Shostakovich’s irony, Janáček’s spiky energy and Britten’s polished clarity, occasionally reaching further into the past in passages of Purcellian dignity, all animated with a gentle harmonic warmth of Dodgson’s own. The result, in a typically English paradox, manages to be both elusive and direct.
Tippett Quartet
Emma Abbate, piano (Tracks 1-4, 8-10)
Susan Monks, cello (Tracks 5-7)
Listen To This Recording:
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Piano Quintet No. 1 in C (1966)
- I Largo e sostenuto – Allegro con brio
- II Andantino
- III Allegro assai
- IV Maestoso
- I Allegro moderato
- II Andante
- III Allegretto
- I Allegro comodo
- II Alla Fantasia – Allegretto
- III Moderato e pesante
String Quintet (1986)
Piano Quintet No. 2 (1999)
MusicWeb International :
‘Whilst being recognisably English his music is difficult to describe as being like that of other composers (with the possible exception of Janacek, whom Dodgson admired) because its voice, like that of Britten, is relatively original.
[…]
There is no competition but, fortunately, all the performances are absolutely splendid and quite beautifully recorded and balanced, with a pleasingly wide sound stage. The piano sound in particular is exemplary. Booklet notes are by John Warrack and are models of their kind. Toccata can be proud of this generously-filled offering which is a very worthwhile and welcome addition to the discography of an unjustly neglected composer.’
—Bob Stevenson, MusicWeb International
Klassisk Musikk :
‘Dodgson may not be as familiar a name as his music deserves but after listening to this disc of his two Piano Quintets (dating from 1966 and 1999 respectively) separated by his String Quintet of 1986, I am sure you will agree he should be much better known. Do not be fooled by the dates into thinking this a programme of difficult “modern” music: Dodgson’s quintets are written in a tonal language that is approachable and appealing (yet never easy) yet recognisably late twentieth century in idiom.
Refinement is the best word to describe these first-class performances by the Tippett Quartet, joined by the nimble-fingered Emma Abbate in the Piano Quintets and Susan Monks as the additional cellist in the String Quintet; a model of chamber ensemble playing. With superb sound, this is as marvellous a disc as the Matthews Piano Trios I reviewed two months ago.’
—Guy Rickards, Klassisk Musikk
Musical Opinion :
‘The performances by the Tippett Quartet and the nimble-fingered Emma Abbate in the Piano Quintets and Susan Monks as the additional cellist in the String Quintet are a model of chamber ensemble playing. Their understanding is palpable and the ensemble flawless, the effect one of total refiniment – just like Dodgson’s music. The sound is superb, the recordings having been made in the church of St Silas the Martyr in Kentish Town. A truly wonderful disc and another winner from Toccata Classics.’
—Musical Opinion
British Music Society :
‘[Piano quintet No.1 which is] ingenious, vitalising work should be far better known. It’s full of rich piano chording, bell chimes, undulating melodic lines, persuasive colour and profuse incident. If that sounds like too much of a good thing, it’s simply a good thing. […]
And Dodgson’s mastery of lilting lyricism can be felt in the pesantefinale, a delightfully sprung conclusion to this charming work [Piano Quinet no.2]. […] Dodgson balances the string distribution with real control and manages to travel from questing uncertainty to ultimate triumph with conviction.
The performances are uniformly splendid[…].
Let’s hope there are many more such excellent discs before the centenary of Dodgson’s birth in 2024.’
—Jonathan Woolf, British Music Society
Fanfare :
‘[…] I found it to be fun and adventurous listening. Much credit for the success of this must go to the performers. The Tippett Quartet, along with pianist Emma Abbate and second cellist Susan Monks, have delivered nigh unto perfect performances of this difficult music. The recorded sound is also exemplary in the CD-resolution download that I listened to. It is close-up and every musical texture is exposed without sacrificing ensemble blend. The church acoustic never obscures the instrumental details, but allows the ensemble just enough breathing room […].’
—Fanfare