This 2022 publication in the MASTER MUSICIANS SERIES offers a surprisingly wide study of the composers works, each ‘period’ in a separate chapter that is prefaced by a biographical chapter appropriate to those years.
The language is American English: functional rather than elegant, and period prices are translated into today’s equivalents in dollars. The content is up to date and is at its best in filling in the gaps in earlier biographies. Thus, it concentrates on earlier scores which have only come to light in recent years. I found the sections on VW’s musical teachers to be informative and helpful. Saylor examines and explodes earlier pigeon-holing of Ralph as a ‘cowpat’ / pastoral composer or one obsessed by English Folksong. The composer that Saylor portrays is far more multi-dimensional and, whilst quirkily original, one who contributed to the advance of European music.
The book suffers, in my opinion, through having been shoe-horned to fit a series format. I feel that Saylor had more to give and if a second edition is ever considered, I would vote for 50% extra length based, initially, on the waste bin in his Editor’s cutting room.
The language is American English: functional rather than elegant, and period prices are translated into today’s equivalents in dollars. The content is up to date and is at its best in filling in the gaps in earlier biographies. Thus, it concentrates on earlier scores which have only come to light in recent years. I found the sections on VW’s musical teachers to be informative and helpful. Saylor examines and explodes earlier pigeon-holing of Ralph as a ‘cowpat’ / pastoral composer or one obsessed by English Folksong. The composer that Saylor portrays is far more multi-dimensional and, whilst quirkily original, one who contributed to the advance of European music.
The book suffers, in my opinion, through having been shoe-horned to fit a series format. I feel that Saylor had more to give and if a second edition is ever considered, I would vote for 50% extra length based, initially, on the waste bin in his Editor’s cutting room.
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