Taylor has written more than fifty compositions, a full catalog of
which is appended to this article. Without exception, each of these
works, large or small, is of importance, and individual. Each bears
analysis, but does not demand analysis for its enjoyment. While the
individuality of his work is not essentially an idiom, and never
a formula, there is always an atmosphere and a color that command
attention. The music is thoughtful, yet spontaneous, reflective
though objective; and so well constructed and designed that the
structure does not impose itself on the listener.
Taylor’s severest critics have accused him of lacking a true melodic
gift. The most superficial study of his music should disprove this
charge. The _Looking Glass_ Suite and _The King’s Henchman_ abound
in melodies interesting in themselves and ingeniously and logically
developed. His best work has the quality of inevitability which is
the supreme test of greatness in art, an inevitability which is never
mere obviousness.
Comparisons are ever futile, and it is rarely profitable to compare
one composer with another. Suffice it to say that we may claim Taylor
as a native born composer, who needs no apology, no qualifying
adjectives, no patriotic propaganda, no press agenting, and no circus
methods for gaining recognition. He has gained recognition not
because of or despite the fact that he is an American, but merely
because he has written beautiful music, worthy to rank with the great
works of the world.
On several occasions Taylor has given advice to young composers,
either through interviews or articles written by himself. The
doctrine he expounds is tersely summarised in an article in “The
Musical Digest,” as follows:—
1. Get to be a professional.
2. Make everything you do count.
3. Try not to avoid criticism, and not to mind it.
4. Try not to make the same mistake twice.
This is not easily given advice to be disregarded by the giver; it is
his own creed, reflected in every work in his list. He has written no
“pot-boilers,” made no concessions to the caprice of a fickle public,
followed no easy paths to a facile popularity.
In an interview in “The Musical Observer” he once stated: “I think
this country will produce some very bad composers and a few very
great ones. Bad ones, because it is so easy to be popular here. You
can please so many people by attaining a certain level—a level which
requires very small gifts. A few great ones because anyone who has
the nerve to be a good composer in this country and is so recognized,
must be big enough to appeal to everybody, as the popular composer is
bad enough to appeal to everybody.”