(Note from the composer, Matthew Taylor).

Oboe Concerto, Op. 60 (2020–21)
The Oboe Concerto was commissioned by my old friend Keith Stanley who, over a very agreeable lunch in Malvern, suggested that I should compose one. Having played the oboe during my youth (though never with much flair), I found the idea most appealing. I was thrilled when George Vass premiered the work at the Presteigne Festival in 2021,
especially since James Turnbull was the soloist. I have admired James’ artistry since I first met him at the Junior Academy many years ago.

The Oboe Concerto is scored for the slightly unusual combination of two cors anglais and strings, the exact pairing that Haydn used so imaginatively in his ‘Philosopher’ Symphony, No. 22. By including cors anglais rather than oboes, the tone qualities of the oboe soloist can be more vividly exposed.

The Concerto begins, Largamente, with a slowly unfolding ascent which leads to
the first entry of the soloist. The oboe introduces the main idea. A faster middle section, Poco Allegretto, introduces new combinations of colours, culminating in a brief climax, after which the original tempo is resumed over softly sustained chords. The final phrase of the oboe kick-starts the central Scherzo, Allegro molto  , which is full of wry humour and bubbling textures, often demanding much agility and flamboyance from the soloist.

The Adagio finale is nature-painting, inspired by Colmer’s Hill, one of my favourite places in Dorset where I often go for walks with my family. I have tried to capture the sense of inner peace and stillness at the beginning and end of this movement. The oboe seemed to be the natural instrument to convey such beauties. The Concerto is dedicated to our eldest daughter, Emily.