Matthew Taylor (b. 1964)
Symphony No 6, Op 62 (2021)
Oboe Concerto, Op 60 (2020/2021)
Clarinet Concertino, Op 63 (2021)
Violin Concertino, Op 52 (2016)
James Turnbull (oboe), Poppy Beddoe (clarinet), Mira Marton (violin)
BBC National Orchestra of Wales/Matthew Taylor
rec. 2022, Hoddinott Hall, Millenium Centre, Cardiff, UK
Toccata Classics TOCC 0708 [63]

Matthew Taylor, a composer of distinction, is a multi-faceted musician: he is also a distinguished conductor (see my review of a twenty-years-old recording of Robert Simpson’s Eleventh Symphony). He conducted Malcolm Arnold’s works, so it should not be a surprise that his Symphony No 6 was commissioned by the Malcolm Arnold Trust to mark the composer’s centenary in 2021; the piece is dedicated to Katherine Arnold. The Symphony is more lightly scored than its two predecessors, with more emphasis on transparency and lightness. One should also notice the fairly prominent parts for piano, timpani and harp; they open the first movement and reappear throughout the work. Taylor also keeps any allusion to, or quotation from, Arnold’s music at arm’s length.

Piano, timpani and harp begin the first movement softly, while a new theme slowly emerges. The music gradually builds to a lyrical climax, after which piccolo joins harp and piano. The main Allegro leggiero is launched with “quiet energy”, as the composer has it. The music progressively builds towards a full orchestral climax, capped by a short reminiscence of the opening Allegro. The second movement Andante tranquillo is a calm fugue in which the theme is continually varied in instrumental colour and texture, and then it ends with a last transformation on piano and harp.

The last movement, Vivo, combines scherzo and finale. Taylor says that much of the music is a freely composed variant of the clarinet tune that opened the symphony, “but this time the mood is capricious and jolly”. He also suggests that this music is perhaps the most obviously Arnoldian in spirit, though not necessarily in idiom. “There is plenty of revelry here – with the odd deftly placed banana skin which [I think] Malcolm might have enjoyed”. This is a beautiful, superbly crafted and argued piece, and a splendid homage to Malcolm Arnold. It is perfectly realised without ever attempting to imitate Sir Malcolm’s music; this is, I think, one of its greatest merits.

Taylor wrote the Oboe Concerto at about the same time as the Sixth Symphony, and it was first performed at the Presteigne Festival in 2021. It is scored for two cors anglais, two horns and strings, so the soloist is never drowned by large orchestral forces, and can stand out quite clearly. The first movement opens Largamente “with a slowly unfolding ascent leading to the first entry of the soloist”. The central Poco allegretto section brings some contrast, and leads to a short climax, after which the opening is briefly restated.

The ensuing Scherzo begins without any pause. The animated texture calls for considerable brilliance on the soloist’s part. Taylor describes the last movement of the Oboe Concerto as “nature-painting, inspired by Colmer’s Hill in Dorset”, apparently a favourite haunt of the composer and his family. Here, again, Taylor remains true to himself with beautifully peaceful music of clearly pastoral vein, but it is miles away from the postcard pastoral clichés. All in all, this is a magnificent addition to the repertoire, and any oboist should be quick to seize it.

Taylor composed the somewhat shorter Clarinet Concertino for the present soloist, Poppy Beddoe. The idea originated in a performance of Malcolm Arnold’s Second Clarinet Concerto, which she played and Taylor conducted. The work is laid out in three concise movements, played without a break. The opening Andante sereno is “mostly chamber music”. The clarinet introduces the main idea, and is later joined by the strings. The central movement has a tripartite layout, in which the slow outer sections contrast with the more nervous fast central section. The Allegretto semplice final movement rounds off the work with “an amiable, carefree little tune on clarinet”. We have here, to put it simply, a jolly good piece of music, enjoyable while not lightweight in any way.

The shorter still Violin Concertino was commissioned by Sussex House School. Its three compact movements (Hornpipe, Andante con moto, Vivace) make for a highly entertaining work, simple but in no way simplistic, which still calls for agility and good technique. This is a delightful little piece of greatly appealing music.

Needless to say, these superbly convincing performances are immaculately played, with the composer at the helm. This fine release is a welcome addition to Matthew Taylor’s slowly expanding discography. Those who are already aware of his music will know what to expect, while newcomers may find much to enjoy.

Hubert Culot

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