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Dickinson's earlier Organ Concerto (1971) [listen -- TROY 360 track 23, 0:00-0:53], like the piano concerto, shows a similar manner of integration of the solo instrument into musical development, and the weaving of one long movement. It is less the integration and more the manner in which this is accomplished for the soloist to bind the elements. Again, there is simplicity in basic material, this time one theme only, and that a bluesy song by Dickinson. Orchestra and organ face plenty of virtuosic writing, which gives the listener continuous satisfaction in noting developments. Jennifer Bate, as soloist on the Royal Festival Hall organ, gives a satisfying account, with some dazzling pedal cadenzas.

On the concerto disc is also a choral work with a libretto devised to show the cruelty of man to beast and bird. Outcry (1969) draws on poetry by Clare, Hardy, and Blake, making a powerful protest [listen -- TROY 360 track 14, 4:10-5:08]. Dickinson has numerous works for voice, with a varied selection on two of the CDs. If some composers set words principally as a platform for musical decoration, Dickinson sets words as an equal partner with purpose and involvement implicit within the music. He draws from major writers -- John Clare, e e cummings, W H Auden [listen -- TROY 365 track 18, 0:59-1:57], Dylan Thomas, and so on. The resultant songs -- some in sets and cycles -- strike home, however unexpected the approach [listen -- TROY 369 track 12, 0:29-1:28].

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