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Mark R. (Richard Bush) Taylor
|Mark R. • Mark Richard Bush||Taylor|
Sheet music for Mark R. Taylor
Piano/Vocal/Guitar. By Jimmy Buffett. This edition: Piano/Vocal/Guitar. Artist/Personality; Personality Book; Piano/Vocal/Chords. Sheet Music Anthology. Pop/Rock. Book. 144 pages. Alfred Music #00-37261. Published by Alfred Music (AP.37261).
Piano - Early Advanced; Intermediate; Late Intermediate
Intermediate to Early Advanced Works by 36 Composers. Edited by Maurice Hinson. Masterworks; Piano Collection. Alfred Masterwork Edition. Classical; Masterwork. Book. 248 pages. Alfred Music #00-14714. Published by Alfred Music (AP.14714).
The Group Singing Songbook. Composed by Various. Edited by Peter Blood & Annie Patterson. Vocal. Spiral Bound. Folk. Songbook. 290 pages. Published by Hal Leonard (HL.740330).
Jazz Ensemble - Grade 4
By Earth Wind and Fire. By Al McKay and Maurice White. Arranged by Mark Taylor. Jazz Ensemble Library. R&B, Funk. Score and parts. Published by Hal Leonard (HL.7011231).
Fiddle - Multiple Levels
Composed by Stacy Phillips. Country, Bluegrass, Perfect binding, Tunebook, Tunebooks, American Music. All styles. Book. 268 pages. Mel Bay Publications, Inc #94711. Published by Mel Bay Publications, Inc (MB.94711).
Organ: 2-staff - Moderately Easy
Sacred. Lorenz Publishing Company #70/1885L. Published by Lorenz Publishing Company (LO.70-1885L).
Not to be confused with his near contemporary and near-homonym Matthew Taylor,
the neo-tonal symphonist. As both pianist and composer, Mark R. Taylor was
among the first to attempt a juxtaposition, rapprochment and ultimate fusion of
the concerns of the ‘maximalist’ avant-garde (e.g. Ferneyhough, Finnissy) with
the British ‘experimental music’ tradition (e.g. Skempton, Cardew); the work of
Morton Feldman and French ‘musique spectrale’ were also important influences.
However the roots of MRT’s aesthetic clearly reach much further back: into Scriabin, for instance, and perhaps most
tenaciously into the grimly mystical, ‘Gothic’ Satie of the Messe des Pauvres
and Ogives. This is especially clear in MRT’s piano pieces, which consist
almost exclusively of systematic exploration of the chromatic field through
fluid processes of reiteration and gradual alteration of the constituent
pitches in salient chord-shapes. the effect is often of a kind of chorale (cf
the 12 petits Chorales of Satie), but one radically opposed to any sense of comfort or closure.
Being his most frequently performed works, the piano pieces may give an
unduly restricted impression of this composer’s concerns. The ensemble pieces
are naturally imbued with elements of polyphony and heterophony, and almost
every work involving a non-keyboard instrument employs microtones. It might be
argued that the piano pieces’ searching exhaustion of their own harmonic
premises betokens a metaphysical desire for finer and finer gradations than the
tempered keyboard will allow: and that the frustration of that desire by brute physical facts is an inherent element of theur
expression. In any case their pertinacious homophony does not inevitably rnder
their interpretation simple, or technically easy: the metrically rhythmicized
exploration of a generative spectrum can engender its own severe virtuosity, as
eg in ‘Study’, whose title refers both to Conlon nancarrow’s player-piano
studies and to the electronic ‘studies’ of musique concrete.
From the late 1980s Taylor’s growing concern with music’s potential for
aesthetic (amd, increasingly, political) critique initiated several multi-media
projects, principally in the field of ‘abstract music-theatre’. ‘Victorian
Values’ - arraigning Thatcherism through 19th-century newspaper cuttings;
‘Believe in Love’ - on the life and death of the American gay serial killer
Jeffrey Dahmer; and ‘Silence’ - after the novel by Shusaku Endo - naturally
extend the exploration of alienated states (isolation, obsession, loss) which earlier pieces had pursued in purely musical terms.
(all works for piano unless otherwise indicated):
- Patterns 1 (1973)
- Patterns 2 (6 trumpets or other melody instrument) (1974-6)
- Utter (organ) (1976-8)
- Patterns 3 (1978-80)
- Model-Theoretic (2 pianos, 3 players) (1979-80)
- Xod Konja (guitar) (1982 rev. ‘83)
- ’... estou em Vigo?' (piano and string quartet)
- Variations on ‘Wat Zal Men op den Avond Doen (oboe) (1983)
- 4 Little Piano Pieces (1983-4; No.1 also for trumpet and piano, 1987; No.2 also for clarinet and piano, 1990-91)
- Geological (1985-86)
- Collage (1985-6)
- Sprue (1987)
- Study (1987)
- Untitled (piccolo, violin, guitar, piano) (1985-87)
- Dream Music (large ensemble) (1984-88)
- Final music (1988)
- Appenato (1990)
- Victorian Values, abstract documentary music-theatre (1986- ; whence Piano fragments, 1990; Memorial fragment, 1993; two fragments for violin and piano, 1994)
- Film Music (1994-96)
- Believe in Love, abstract documentary music-theatre (1994- ; whence In hell, 1996, for piano with optional amplification)
- Silence, abstract music-theatre (1994-)
Composer and pianist, a regional finalist of the BBC Young Musician of the
Year, 1978. Studied piano with Alexander Kelly at the RAM and privately with
Susan Bradshaw. After study at Pembroke College Oxford (Classics & Modern
Languages, subsequently Music), studied composition with Howard Skempton
(1984-5) and Horatiu Radulescu (1987). Tutor in Music Department of Royal
Holloway & Bedford new College (1986-1991) and at Oxford (1987-97) Currently
teaches at King’s College, London. Though appearing as a performer at the Almeida
and Aldeburgh Festivals, he has tended to concentrate on
composition. In recent years he has begun to make visual works.