MusicatlasMusic
Guitar with orchestra
- Concertino for 2 guitars and strings (1998)
- Concerto No. 1 for guitar and small orchestra (1959)
- Concerto No. 2 for guitar and small orchestra (1972)
- Duo Concerto for violin, guitar and string orchestra (1990)
Guitar chamber music
- Capriccio for flute and guitar (1980)
- Dialogues for harpsichord and guitar (1976)
- Duo for cello and guitar (1974)
- Duo Concertante for harpsichord and guitar (1968)
- Echoes of Autumn for viola and guitar (1998)
- High Barbaree for recorder, guitar and harpsichord (1999)
- In Search of Folly for flute and guitar (1986)
- Pastoral Sonata for flute, cello and guitar (1959)
- Quintet for guitar and string quartet (1973)
- Sonata for three for flute, viola and guitar (1982)
Guitar songs
- Four Poems of John Clare (1962)
- London Lyrics (1977)
Solo guitar music
- Etude-Caprice (1980)
- Fantasy-Divisions (1969)
- Legend (1977)
- Merlin (1978)
- Partita No. 1 (1963)
- Partita No. 2 (1976)
- Partita No. 3 (1981)
- Partita No. 4 (1989)
- Stemma (1988)
- Studies for guitar (w/ Hector Quine)
- The Midst of Life (1994)
- The Troubled Midnight (1989)
- Three Attic Dances (1989)
Two guitars
- Double Take (1986)
- Pastourelle (1992)
- Promenade I (1988)
- Riversong (1994)
- Studies in Duo (1986)
- Take Two (1976)
Guitar ensemble
- Change Ringers (1996)
- Divertissement (1983)
- Follow the Star (1979)
- Hymnus de Sancto Stephano (1983)
- Intermezzo (1987)
- Personent Hodie (1980)
- The Selevan Story (1992)
Other works include 6 piano sonatas, a viola de gamba concerto (1961), a sonata for brass (1963), the opera Margaret Catchpole (1979) and a flute concerto (1991).
Life
Stephen Dodgson was educated at the Royal College of Music, where he later taught theory and composition. He served in the Royal Navy, and then went on a travelling scholarship to Italy. From 1957 he began to broadcast on the radio. His works cover many genres, and involve almost every conceivable combination of instruments. His guitar music in particular has gained recognition, despite the fact that he does not play the instrument himself. His remarkable grasp of the instrument’s capabilities in a distinctly non-Spanish idiom deserves to be heard more widely. Although some might think his style an ‘acquired taste’, the structural skill of his pieces is a joy in itself. John Williams premiered many of his guitar works, including the first Partita and the first guitar concerto.
