Welcome

This is a collection of program notes, lectures and other writings by Dr. Laurence R. Taylor (1937-2004). Most of them were written for the Princeton Symphony and Opera Festival of New Jersey but some were for the Newtown Chamber Orchestra and Greater Princeton Youth Orchestra as well as some recitals. I am trying to get these online as fast as possible. There will be some strange formatting. Whenever you see a phrase in ALL CAPS he meant italics. Somehow pressing that little i button was too much trouble :) I will edit them to make that change when time allows. Suggestions are also welcome. Also you will find that LRT used British orthography even though he lived most of his life in New Jersey. Those spellings will remain since in his words "[I have had a] Close lifelong with British musical life – with annual return visits to refresh the soul by rejoining British friends, and drinking in a wide range of musical life there."


You may reprint any of the materials posted here for no charge as long as credit is given in the printed material to Laurence R. Taylor. I'd be delighted to receive a copy too.

Gene De Lisa


Saturday, January 27, 2001

Faure Nocturne from Shylock

Nocturne from Shylock

Gabriel Faure (1845-1924)

Although he would eventually create a true operatic landmark in his Penelope (1913), for many years Gabriel Faure never went beyond composing occasional sets of incidental pieces for theatrical productions, one of which would become his best-known orchestral composition, the Suite from Pelleas Et Melisande--- the very play which would be the basis for Debussy’s landmark opera of 1902, as well as orchestral works by Schoenberg and Sibelius.

An example of Faure’s incidental music is the set of pieces composed for an 1889 production of a play loosely based on Shakespeare’s Merchant Of Venice, Shylock.. One tiny movement, the jewel-like Nocturne is the best known of these pieces. Here, in a work for string orchestra, we hear Faure, the great melodist and composer of haunting songs (the glory of the French tradition of “melodies”), the violins soaring over a sustained, subtly-shifting harmonic background. This is indeed a genuine “song without words.”

NCO concert

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