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Deems Taylor

Chapter 7: VI
By John Tasker Howard
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About This Book

A biographical study chronicles the life and career of Deems Taylor, tracing his New York origins, education at Ethical Culture School and New York University, and his development from journalist and critic into a self-taught composer. It highlights his versatility—work as critic, editor, translator, speaker, artist, and composer—documents major appointments and lectures, describes his practical demeanor and public success, and considers how his example challenged stereotypes about composers and widened opportunities for American musical creators. The text blends narrative biography, professional appraisal, and selected anecdotes to map artistic achievement and influence.

VI

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.”