Robert Docker is pro-bably best known as a composer of film music (including a contribution to Chariots of Fire). His Legend, which opens this collection, is a tuneful example of a miniature ‘film concerto’ musically rather more distinguished than the similar works written by others for Dream of Olwen and Cornish Rhapsody, and with a sweeping secondary theme nearly as good (but not quite) as Addinsell provided for the Warsaw Concerto. The engaging Scene du bal – in spite of its French title – is a very English waltz in the genre of Geoffrey Toye’s Haunted Ballroom. The Three Contrasts for oboe and strings bring delightful playing from David Presley, with the lovely pastoral ‘Romance’ framed by a perky ‘Alla marcia’ and a sprightly ‘Rondolet’. The best-known piece here, the bouncy Tabarinage, is in the best traditions of English lighter morceaux de concert. Then comes a suite of Scenes de ballet of comparable delicacy and charm. The Air is just that, gentle and winsome.
There are also some spirited folksong arrangements. Blue Ribbons is based on Oh dear, what can the matter be? and the Fairy Dance Reel is appropriately introduced by the solo flute. The Spirit of Cambria was written for St David’s Day in 1972 (although the composer is a Londoner) and effectively uses four different traditional Welsh melodies. The closing Pastiche Variations, opening with an evocative horn solo, is more ambitious, but witty, too. Based on Frere Jacques, it has something in common with both Dohnanyi’s Nursery Theme variations and the Symphonic Variations of Cesar Franck. The piano introduction of the theme, echoed by the clarinet, is most seductive, and the romantic diversions which follow are pleasingly inventive, both melodically and in their orchestral palette, with a brilliant and infectious finale. William Davies proves a most persuasive soloist. All this music is played with vivacity, warmth and crisp ensemble by the Dublin Radio Orchestra under Barry Knight, and is very well recorded.'