Six Preludes for solo piano using vocabulary from both the classical and jazz traditions.
The modern classical pianist has such a rich, deep, and varied history of repertoire to choose from: from the pristine clarity of Mozart to the unabashed romanticism of Liszt; from the liquid meanderings of Debussy to the rhythmic drive of Prokofieff. Yet we still tend to program the same "war-horses" over and over again; audiences tend to hear the familiar and their imaginations remain unchallenged, their souls untouched by new ideas.
A possible solution is to program repertoire that is both innovative yet immediately accessible in purpose and effect.
A successful new set of pieces, written for piano, has come along, and pianists and audiences will react in utter amazement. Rarely do the intent and execution of fresh ideas meld into an offering of such breadth of emotion and style as in Bill Dobbins Preludes. In these masterpieces of form and sound, Bill has combined the seemingly impossible-a vehicle for the classical pianist to explore a fresh harmonic and rhythmic palette of colors, and for the jazz pianist to investigate an array of ever-changing ideas within a pre-existing "classical" format. In these gems, Dobbins has provided means of expression for both the classical and the jazz pianist-not only can we can live respectfully side by side, but we can borrow from each other, learning and nurturing along the way. Tony Caramia, Eastman School of Music, Rochester, NY
