{"id":9194,"date":"2020-10-12T16:38:25","date_gmt":"2020-10-12T15:38:25","guid":{"rendered":"http:\/\/kennethwoods.net\/blog1\/?post_type=product&#038;p=9194"},"modified":"2024-06-13T06:10:45","modified_gmt":"2024-06-13T05:10:45","slug":"matthew-taylor-symphonies-4-and-5-bbc-national-orchestra-of-wales-english-symphony-orchestra-nimbus","status":"publish","type":"product","link":"https:\/\/kennethwoods.net\/blog1\/product\/matthew-taylor-symphonies-4-and-5-bbc-national-orchestra-of-wales-english-symphony-orchestra-nimbus\/","title":{"rendered":"Matthew Taylor &#8211; Symphonies 4 and 5, BBC National Orchestra of Wales, English Symphony Orchestra (NIMBUS)"},"content":{"rendered":"<p><iframe loading=\"lazy\" title=\"Matthew Taylor - Symphony No. 4 Adagio and Interview\" width=\"1080\" height=\"608\" src=\"https:\/\/www.youtube.com\/embed\/QIDJOoHGS7I?feature=oembed\"  allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><a href=\"https:\/\/kennethwoods.net\/blog1\/wp-content\/uploads\/2020\/10\/Taylor-4-and-5-Cover-1.png\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-9227\" src=\"https:\/\/kennethwoods.net\/blog1\/wp-content\/uploads\/2020\/10\/Taylor-4-and-5-Cover-1.png\" alt=\"\" width=\"500\" height=\"502\" srcset=\"https:\/\/kennethwoods.net\/blog1\/wp-content\/uploads\/2020\/10\/Taylor-4-and-5-Cover-1.png 1610w, https:\/\/kennethwoods.net\/blog1\/wp-content\/uploads\/2020\/10\/Taylor-4-and-5-Cover-1-744x747.png 744w, https:\/\/kennethwoods.net\/blog1\/wp-content\/uploads\/2020\/10\/Taylor-4-and-5-Cover-1-1200x1204.png 1200w, https:\/\/kennethwoods.net\/blog1\/wp-content\/uploads\/2020\/10\/Taylor-4-and-5-Cover-1-420x422.png 420w, https:\/\/kennethwoods.net\/blog1\/wp-content\/uploads\/2020\/10\/Taylor-4-and-5-Cover-1-768x771.png 768w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/a>Worldwide release date &#8211; 6 November 2020<\/p>\n<p><strong>Critical Response<\/strong><\/p>\n<p><strong>RECORDING OF THE YEAR<\/strong> &#8211; Audiophilia Magazine<\/p>\n<p>&#8220;The ESO responded with playing of sustained emotional power such as carried through this movement\u2019s plangent twin climaxes and on to its resigned coda. Not that there was any lack of commitment earlier \u2013\u00a0Kenneth Woods\u00a0having set a suitably headlong tempo for the first movement as left his players unfazed, then characterising the central intermezzi with regard for their subtly different auras. A fine rendering of a piece which amply reinforces Taylor\u2019s standing as a symphonist of stature.&#8221;\u00a0<a href=\"https:\/\/arcana.fm\/2019\/06\/13\/eso-kenneth-woods-matthew-taylor\/\">Richard Whitehouse &#8211; Arcana.FM<\/a><\/p>\n<p>&#8220;I regard Matthew Taylor\u2019s new piece to be a masterwork of genuine symphonic thinking, given a performance of which any composer would have been thrilled.&#8221;\u00a0<a href=\"https:\/\/www.eso.co.uk\/live-review-english-symphony-orchestra-kenneth-woods-matthew-taylor-symphony-no-5-mendelssohn-beethoven\/\">Robert Matthew-Walker &#8211; Classical Source<\/a><\/p>\n<p>Five Stars. \u201cWritten in memory of John McCabe, another fine symphonist, Taylor\u2019s Fourth Symphony erupts like an unstoppable (or, indeed, inextinguishable) force of nature\u2026The scoring is imaginative, with evocative use of woodwind, harp and percussion, yet none of the instrumentation is allowed to detract from the musical argument, which is unfailingly rewarding&#8230;.Premiered in 20219 [as part of the ESO\u2019s 21st C. Symphony Project], Taylor\u2019s Fifth Symphony is a powerful utterance\u2026 an imposing, personal and deeply felt work that offers a substantial counterweight to commentators who write off the symphony as an irrelevant form. Matthew Taylor\u2019s control of pace and grasp of structure\u00a0 is especially striking throughout and helps to create a sense of inevitability that is the hallmark of a\u00a0 score of real substance&#8230;Kenneth woods is an inspiring guide to these three works. in the Fourth Symphony and the Romanza, the playing from the BBC National Orchestra of Wales is spontaneous and polished, while the English Symphony Orchestra\u2019s committed advocacy brings both purpose and poetry to the Fifth Symphony. Recording and documentation are exemplary. This is an outstanding release.\u201d<a href=\"http:\/\/kennethwoods.net\/blog1\/2020\/12\/23\/cd-review-matthew-taylors-fourth-and-fifth-symphonies-bbc-national-orchestra-of-wales-and-english-symphony-orchestra-nimbus\/\"> Paul Conway, Musical Opinion<\/a><\/p>\n<p>&#8220;With this release Taylor&#8217;s standing as a major British symphonist of our time, in the tonal, northern European tradition, is further reinforced. The first movement revels in the kind of bravura extrovert exuberance which is an essential and unmistakable trademark of Nielsen&#8217;s symphonic style; bold, commanding, imperturbably sweeping all before it&#8230; The Fifth Symphony&#8230;. is a more intense, strenuous work than its predecessor. The first movement is a tense, combative sonata-(ish)-Allegro, that sounds little like the Beethoven but shares its concise, shattering impact, with enormous momentum built from cascading short motifs&#8230;.The huge Adagio-finale &#8211; almost as long as the other movements combined &#8211; is a memorial to the composer\u2019s mother. The Mahlerian feel of the slow movement of the 4th is equally present in the early part of this sombre music, which becomes increasingly vehement and tragic as it passes through two extended development or variation episodes on the main material of the movement. The explosive timpani solo from the first movement interrupts this precipitous descent into darkness which is replaced by a sorrowful string threnody, cut short by the leaden echo of a terrifyingly bleak brass chord.&#8221; <a href=\"https:\/\/www.recordsinternational.com\/cd.php?cd=11W062\">Records International<\/a><\/p>\n<p>&#8220;In all 3 pieces, Woods secures a dedicated response from the players so Taylor\u2019s exacting yet practicable writing is heard to advantage, not least in acoustics whose immediacy emphasizes this music\u2019s rapt inwardness as keenly as its untrammelled energy.&#8221; <a href=\"https:\/\/arcana.fm\/2020\/10\/26\/matthew-taylor-woods\/\">Arcana.FM<\/a><\/p>\n<p>&#8220;This was my first exposure to the music of Matthew Taylor. I was impressed. Here is a composer who definitely has something to say and who communicates very effectively and directly with his audience. The music is tonal but employs dissonance to excellent effect. The music is thoroughly convincing at all times and I was struck by the assurance with which Taylor writes for the orchestra. On this evidence, he has a fine ear for texture and colour&#8230; I\u2019m sure that the music\u2019s cause is helped greatly by the expert performances that are turned in by the BBC National Orchestra of Wales and the English Symphony Orchestra. Kenneth Woods is clearly committed to Taylor\u2019s music, as is evident from the strength of conviction in the performances and the attention to detail which allows the nuances of the scoring to come through.&#8221;\u00a0<a href=\"http:\/\/musicweb-international.com\/classrev\/2020\/Nov\/Taylor-Syms-NI6406.htm\">John Quinn, MusicWeb International<\/a><\/p>\n<p>&#8220;This was special&#8230; From the onset of Taylor\u2019s opening Allegro\u2014by his own admission, his first essay at a \u201cconcise, vigorous sonata-like Allegro\u201d\u2014two things are immediately recognisable: his distinctive musical voice, rooted perhaps in Beethoven and Nielsen (amongst others) but refracted through the benign yet furioso influence of Robert Simpson (who composed his 11th Symphony for Taylor), and a totally sure sense of symphonic scale\u2026.The second and fourth movements open with threnodic themes that would not have shamed Mahler, bringing out some fine playing from the strings, plus some quicksilver wind writing (which briefly reminded me of Martin\u016f) likewise delivered immaculately. In the finale, the opening span\u2019s anger is transmuted most eloquently into grief. Divided into two substantial paragraphs, the first seems to have found a form of serenity, albeit shot through with a keen sense of loss, which is then blasted away by the final section which reaches its catharsis in the work\u2019s second timpani cadenza. The close, however, is magical: a lovely, lyrical passage for the quartet of cellos followed by a single snarl from the trombones.&#8221; <a href=\"https:\/\/www.eso.co.uk\/concert-review-musical-opinion-on-eso-at-cadogan-hall\/\">Guy Rickards &#8211; Musical Opinion<\/a><\/p>\n<p><iframe loading=\"lazy\" title=\"Matthew Taylor Symphony no  5 (opening). English Symphony Orchestra - Kenneth Woods\" width=\"1080\" height=\"608\" src=\"https:\/\/www.youtube.com\/embed\/_OiHwvu7jTU?feature=oembed\"  allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/album\/4B0RTG52sz8Lv3uP1eBzGO\" width=\"500\" height=\"380\" frameborder=\"0\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<div id=\"wp_fb_like_button\" style=\"margin:5px 0;float:none;height:100px;\"><script src=\"http:\/\/connect.facebook.net\/en_US\/all.js#xfbml=1\"><\/script><fb:like href=\"https:\/\/kennethwoods.net\/blog1\/product\/matthew-taylor-symphonies-4-and-5-bbc-national-orchestra-of-wales-english-symphony-orchestra-nimbus\/\" send=\"false\" layout=\"box_count\" width=\"450\" show_faces=\"true\" font=\"arial\" action=\"like\" colorscheme=\"light\"><\/fb:like><\/div>","protected":false},"excerpt":{"rendered":"<p>Worldwide release date &#8211; 6 November 2020 Critical Response RECORDING OF THE YEAR &#8211; Audiophilia Magazine &#8220;The ESO responded with playing of sustained emotional power such as carried through this movement\u2019s plangent twin climaxes and on to its resigned coda. Not that there was any lack of commitment earlier \u2013\u00a0Kenneth Woods\u00a0having set a suitably headlong [&hellip;]<\/p>\n","protected":false},"featured_media":9193,"comment_status":"open","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":""},"product_brand":[],"product_cat":[995],"product_tag":[],"class_list":{"0":"post-9194","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-cds","8":"first","9":"instock","10":"shipping-taxable","11":"purchasable","12":"product-type-simple"},"_links":{"self":[{"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/product\/9194","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/types\/product"}],"replies":[{"embeddable":true,"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/comments?post=9194"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/media\/9193"}],"wp:attachment":[{"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/media?parent=9194"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/product_brand?post=9194"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/product_cat?post=9194"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/product_tag?post=9194"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}