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Music for Cello and Piano: Matthew TAYLOR (b.1964) Five Fantasy-Pieces Op. 30 (Composed between March and August, 2002):- 1. Allegretto innocemente [3:42] 2. Misterioso, sotto voce, sempre sostenuto [3:37] 3. Molto vivace [2:09] 4. Liberamente, tranquillo [4:36] 5. Vivo [1:41] Anniversaries and Intermezzi (compiled in this grouping in 1999):- 1. Blumenstück (Flower-Piece) (1995) [3:30] 2. Allegro misterioso (1982, rev. 1999) [1:10] 3. Tango (1998) [1:19] 4. Intermezzo (1993) [3:01] 5. Alla Valse (1999) [2:37] 6. A Belated Birthday Prelude (1999) [3:21] Robert SCHUMANN (1810-1856) Fantasiestücke Op. 73; Jean SIBELIUS (1865-1957) Three Pieces Op. 78.  Diane Porteous (cello); Matthew
Taylor (piano) Rec. 21 November 2002, St. Cyprian's Church, Glentworth Street, London, NW1 6AX DUNELM RECORDS DRD0196
[50:56] |
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AVAILABILITY £10-00 + 95p p & p, from 2 Park Close, Glossop, Derbyshire SK13 7RQ
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A rewarding disc, even if some the cello playing is slightly uneasy at times and external noises from around and above the Baker Street area of the recording venue may be picked up by alert listeners with sensitive equipment. Matthew Taylor writes extremely well, his compilation of six solo piano pieces ‘Anniversaries and Intermezzi’ (a mix of three birthday tributes to friends and colleagues: Jessica Duchen, Robin Holloway and Giles Easterbrook, plus a mysterious mood-movement and a couple of charmingly witty dances), is the highspot here after his engaging Fantasy pieces which reflect his love of Schumann. Their juxtaposition after that composer’s trio of miniatures entitled Fantasiestücke, in their cello rather than clarinet version, make them the more telling and to conclude there is a nice balance of three relatively unknown miniatures by Sibelius. Diane Porteous’s playing is warm of tone, at her best in the Religioso, the third of the Sibelius pieces. Taylor is an excellent pianist and sensitive partner throughout, predictably authoritative in his own music, and ranks as one of the most notable of our present day composers. With a formidable pedigree of composition teachers to set him on his way (Robin Holloway, Edward Gregson and Robert Simpson), and having myself conducted one of his orchestral works (‘The Needles’) I remain convinced that his name is one to watch out for. |
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