Peter Dickinson - Complete Solo Organ Works

Naxos: 8572169

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Peter Dickinson - Complete Solo Organ Works

Label:

Naxos

Catalogue No:

8572169
(8.572169)

Discs:

1

Release date:

30th March 2009

Barcode:

0747313216970

Length:

76 minutes

Medium:

CD (download also available)
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Peter Dickinson - Complete Solo Organ Works


Dickinson:

A Cambridge Postlude

World Premiere Recording

Prelude

World Premiere Recording

Postlude on ‘Adeste Fidelis’

World Premiere Recording

Prelude on Song 46 (Orlando Gibbons)

World Premiere Recording

Prelude on Song 20 (Orlando Gibbons)

World Premiere Recording

Prelude on Song 34 (Orlando Gibbons)

World Premiere Recording

Toccata

Meditation on ‘Murder in the Cathedral’

Study in Pianissimo

Dirge

World Premiere Recording

Three Statements

World Premiere Recording

Carillon

World Premiere Recording

Paraphrase

Blue Rose Variations(dedicated to Jennifer Bate)

Millennium Fanfare

World Premiere Recording


Jennifer Bate (Organs of St John’s Duncan Terrace, St James’s Muswell Hill & St Dominic’s Priory)

CD

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Peter Dickinson’s strikingly original approach to organ music, which the composer himself has described as ‘far from the English cathedral tradition’, reflects a background that was not typical of British organists or composers during the mid- to late-twentieth century.

The award-winning, internationally-renowned organist Jennifer Bate is an ideal interpreter of his works, which range from the introspective A Cambridge Postlude to the improvisatory Three Statements and the awe-inspiring Millennium Fanfare.

This disc includes several world première recordings.

A recent recording of Peter Dickinson’s work was described in the following glowing terms by Fanfare: “A top notch CD, and by the end of the year possibly a Want List recommendation.”

“Jennifer Bate [is] a remarkable organist… Needless to say Jennifer Bate's performances are superb….Well worth investigating.” MusicWeb International on a previous recording

Peter Dickinson: A Cambridge Postlude

A Cambridge Postlude

Peter Dickinson: Prelude

Prelude

Peter Dickinson: Postlude on Adeste Fidelis

Postlude on Adeste Fidelis

Peter Dickinson: Prelude on Song 46 by Orlando Gibbons

Prelude on Song 46 by Orlando Gibbons

Peter Dickinson: Prelude on Song 20 by Orlando Gibbons

Prelude on Song 20 by Orlando Gibbons

Peter Dickinson: Prelude on Song 34 by Orlando Gibbons

Prelude on Song 34 by Orlando Gibbons

Peter Dickinson: Toccata

Toccata

Peter Dickinson: Meditation on Murder in the Cathedral

Meditation on Murder in the Cathedral

Peter Dickinson: Study in Pianissimo

Study in Pianissimo

Peter Dickinson: Dirge

Dirge

Peter Dickinson: 3 Statements

No. 1.

No. 2.

No. 3.

Peter Dickinson: Carillon

Carillon

Peter Dickinson: Paraphrase 1

No. 1.

No. 2.

No. 3.

No. 4.

No. 5.

No. 6.

No. 7.

No. 8.

No. 9.

No. 10.

Peter Dickinson: Blue Rose Variations

Theme

Variation 1

Variation 2

Variation 3

Variation 4

Variation 5

Variation 6

Peter Dickinson: A Millennium Fanfare

A Millennium Fanfare

Gramophone Classical Music Guide

2010

“The student pieces that begin this fascinating disc demonstrate the expected ability to identify with the musical worlds of Vaughan Williams and Herbert Howells, though one piece at least – the Postlude on Adeste fideles – shows signs of a more abrasive idiom, as if Ives were waiting in the wings. The Meditation on Murder in theCathedral is another, quite different kind of early acknowledgement that the dissonance and a sense of disquiet so common in contemporary concert music by 1958 could be no less relevant to the organ loft.
When Dickinson exchanged Cambridge for New York in the late 1950s, that potential for responding to changes taking place in the wider musical world began to be realised with interest.
The organ works from the 1960s which followed his return to the UK reveal the edgy, angular perspectives stemming from Dickinson's familiarity with composers as different as Copland and Cage. However, neither Three Statements nor Paraphrase 1 are pale imitations of such composers – nor, for that matter, of other Dickinson enthusiasms such as Satie and Berners. Only with the exuberant, ebullient absorption of blues and rag music found in Blue Rose Variations (1985) do specific stylistic associations emerge, and this piece remains an invigorating blast of fresh air, a kind of secular equivalent to Messiaen's ecstatic spiritual dances.
The Dickinson journey is traced here in supremely well articulated and strongly characterised performances by Jennifer Bate. The three organs involved are recorded with maximum fidelity and no sense of distortion, even in the loudest passages. The disc is a fine birthday tribute to a composer who has escaped the confines of the predictable without ever ceasing to communicate.”

Gramophone Magazine

July 2009

“The Dickinson journey is traced here in supremely well articulated and strongly characterised performances by Jennifer Bate. The disc is a fine birthday tribute to a composer who has escaped the confines of the predictable without ever ceasing to communicate.”

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