Artist description Composer of stage music and symphonic works that have been performed around the world.

Music Style Musicals, movies, soft rock, crossover

Musical Influences Various

Artist History Extract from the Virgin Encylopedia of Film and Stage Musicals (published 1999) Taylor, Bernard J. A versatile and prolific composer of powerful, romantic musicals since the late 80s, Taylor’s early musical tastes ranged from rock’n’roll to the works of the great theatre songwriters. His first musical show, Neighbors And Lovers, for which he wrote both music and lyrics, failed to arouse any interest even from amateur dramatic groups, so he produced it himself at the Oast Theatre, Tonbridge, in 1987. Although it attracted a great deal of attention and favourable reaction, Taylor decided to abondon it in favour of creating a musical based on a universally known story. He selected Emily Bront�’s classic Wuthering Heights, composing the music, and collaborating on the lyrics with Eric Vickers. A concept album was released in 1991 with an excellent cast, including a former ‘Phantom Of The Opera’, Dave Willetts, as Heathcliff, opera diva Lesley Garrett (Cathy Earnshaw), Bonnie Langford (Isabella Linton), Clive Carter (Hindley Earnshaw), Sharon Campbell (Ellen ‘Nellie’ Dean) and James Staddon (Edgar Linton). The romantic, sweeping score contained several appealing melodies, particularly the impassioned ‘I Belond To The Earth’. Endorsed by the Bront� Society, Wuthering Heights was initially beset by contractual difficulties, but eventually received its world premiere in Holland. Meanwhile, Taylor turned his attention to something entirely different. Success! was a backstage musical, loosely based on Faust, and set in New York. Peppered with parody and pastiche, with additional lyrics by Vivian Wadham, its typical, and often cynical, view of the ups and downs of showbusiness was accompanied by a jazzy and sometimes tender score, with Claire Moore, Lon Satton, Kathryn Evans, Jessica Martin and Maurice Clarke forming the CD cast. By the time Success! made its debut at the Civic Theatre, Rotherham, in September 1995, Taylor had returned to the classics, in the form of Jane Austen’s Pride And Prejudice. With Claire Moore as Elizabeth Bennett and Peter Karrie in the role of Darcy, the concept album also featured Gay Soper, Janet Mooney, James Staddon and Christopher Biggins as Mr. Collins. Stand-out tracks were considered to be ‘Through The Eyes Of A Child’, ‘Good Breeding’ and ‘Thank God They’re Married’. Pride And Prejudice was introduced to US audiences, complete with five new songs, by the Public Theatre Company of Peoria, Illinois, in January 1995. Taylor’s musical interpretation of the Austen novel was considered to be closer to its source than the 1959 Broadway version, First Impressions (Austen’s original title for the book), which starred Hermione Gingold. In direct contrast to the subtleties of Pride And Prejudice, Taylor’s Nosferatu: The Vampire (lyrics with Eric Vickers) proved a haunting, sombre affair. It was based on the silent black-and-white film of the Dracula tale by the German director F. W. Murnau. Prominent in its sung-through score was the opening ‘Wild Talk Of Vampires”, along with mysterious and unsettling items such as ‘And Sheep Shall Not Safely Graze”, ‘Worms Feed On My Brains’, ‘Ship Of The Dead’, ‘Blasphemy’ and ‘Somewhere At The Edges Of Creation’. Once again, the album cast was led by Claire Moore (as Mina) and Peter Karrie (as Nosferatu), supported by Mario Frangoulis, Mark Wynter, Barry James, Annalene Beechey and Simon Burke. The world premiere was staged at the Madison Theatre, Illinois, in September 1995, and the show had its first European performances a month later in Eastbourne. Both productions were extremely well received. Having achieved considerable success with his adaptations on Bront� and Austen, Taylor did what several other composers, notably Cole Porter (Kiss Me Kate), and Leonard Bernstein and Stephen Sondheim (West Side Story), had done before him – looked to the works of William Shakespeare. In this case it was the bard’s Much Ado About Nothing, abbreviated to Much Ado (additional lyrics: Vickers), that came in for the Taylor treatment. Once again, there was a stellar CD cast, which included Paul McGann (Benedick), Claire Moore (Beatrice), Simon Burke (Claudio), Janet Mooney (Hero), Barry James (Leonato), David Pendelbury (Dogberey) and Peter Karrie (Don John). Once again, Taylor’s skill in writing convincing period music was apparent in songs such as ‘If I Could Write A Sonnet’, ‘I’ll Never Love Again’, ‘The Sweetest Kiss’, ‘Now I Hear Symphonies’, and ‘This Strange

Albums Nosferatu, Wuthering Heights, Pride&Prejudice, Success!, Much Ado, Liberty! (The Siege of The Alamo, Child of The eaerth (song cycle sung by Claire Moore), Claire Moore Sings Songs from the musicals of Bernard J. Taylor, Peter Karrie sings Bernard J. Taylor, A selection from The Musicals of Bernard J. Taylor, Love Songs, Mellow Moods, Passion's Progress, Millennium Suite

Press Reviews NOSFERATU Featuring Claire Moore, Peter Karrie, Barry James. "The vigorous, wide-ranging music of Nosferatu resembles a lusty love child of a blood wedding between Carmina Burana and Les Miserables, orchestrated and performed with an onward driving force which almost recalls Bernstein in its progressive, narrative energy. Taylor may achieve for vampires something of what Spielberg did for dinosaurs." - Margaret Sillwood, Kent and Sussex Courier. "Nosferatu is dark and sombre yet with an inherent beauty - eerie, ethereal and passionate. The real fascination proves to be the depth and grandeur of the abundance of haunting melodies...Bernard J. Taylor has once again displayed his exceptional talent. Surely it cannot be long before that talent is fully rewarded and recognised." - Mike Gibb, Masquerade, Issue 19, 1995. "One of Taylor's trademarks is fine ballads, and once again he does not disappoint with what I consider are three outstanding examples. But there are lots of other good things to be savoured throughout this excellent recording." - Terry Wardrope, Words and Music. "It sounds like no show you have ever heard before. It is certainly the most original show music I have heard. It is very different in style to Taylor's previous work and any other show on the West End or Broadway, and is likely to have far wider appeal than most musicals." - CD, Beneath The Mask (the journal of the Phantom of the Opera Appreciation Society) "A sweeping melodic score which is missing from most new shows." - Baz Bamigboye, Daily Mail. "This is very much a rock score with strong beat numbers alternating with romantic ballads." - Michael Darvell, What's On. "The musical has a number of good songs. If you like full-blooded vampires with a definite melodramatic edge then this disc is a must-have." - Tina Rath, Journal of the Vampyre Society. WUTHERING HEIGHTS (Featuring the Philharmonic Orchestra, Lesley Garrett, Dave Willets, Clive Carter, Bonnie Langford, James Staddon and Sharon Campbell) “Various other attempts at adapting Wuthering Heights for the stage have been submitted to the Bronte‘ Society in the past but Bernard Taylor’s adaptation is the first that I have really approved of and would be prepared to support.” - Dr Juliet Barker, former Curator and Librarian of the Bronte Museum, Haworth, West Yorkshire, and author of numerous publications about the Bronte’s. “Bernard J. Taylor’s big, sweepingly romantic score sustains a feeling of dark passion entirely appropriate for an adaptation of Emily Bronte’s novel concerning the ill-fated love between Cathy and Heathcliff.” - Show Music Magazine, USA, Summer, 1992. “This is what stage music should be - passionate, powerful, melodic . . . If you buy only one album this year, make it this one!” - Mike Gibb, Masquerade Magazine. “The whole thing is tailor-made for the West End stage, where it is sure to go down a storm.” - Huddersfield Daily Examiner. “Every so often a show comes along that remains a landmark of musical theatre. The concept recording of Wuthering Heights shows that it has the potential to be another. The music is powerful, moody and romantic, and every number produces images of how it would appear on stage. Every number, whether vocal or instrumental, packs the kind of emotional punch that musical performers and audiences cry out for.” - Sarah Hopkins, “Behind the Mask”, Summer 1994 issue. “In the mould of the classic musicals of Jerome Kern and Richard Rogers.” - Jersey Evening Post, November 1991. “A dark, brooding score, fiery and dramatic as the subject.” - Terry Wardrope, Words and Music. “Something to shiver about!” - House & Garden (British edition), March 1992. PRIDE AND PREJUDICE featuring Peter Karrie, Claire Moore, Gay Soper, Janet Mooney, Christopher Biggins and James Staddon. “Pride and Prejudice boasts a plethora of glorious melodies . . . The ravishing ballads that are Taylor’s trademark are plentiful, but the score also contains several light and jaunty pieces that serve to create a sweet yet flamboyant mood . . . Pride and Prejudice is pastoral and precious, poignant and pure. In an era when originality is increasingly rare and shows cobbled together from vintage music is in vogue, composers like Bernard J. Taylor must be welcomed and revered.” - Mike Gibb, Masquerade, Summer, 1994. “Bernard J. Taylor has proved to be a considerable talent. With his latest offering, based on the Jane Austen novel, he has returned to the past and fashioned what I consider to be his best work to date. His score, which recreates the mood (and musical style) of the period in which the novel is set, is a feast of lovely melodies, wedded to excellent lyrics. If ever a show deserved a production on the strength of its score, it has to be this one. I look forward to hearing lots more from Mr Taylor.” - Terry Wardrope, Words and Music, Autumn, 1994. CHILD OF THE EARTH (Claire Moore’s solo album, with songs by Bernard J. Taylor) “He (Bernard Taylor) has given the album lavish production values and strong arrangements that make Moore seem as if she could be pop music’s next diva. She’s terrific, with a distinctive, expressive voice that brings out the best in Taylor’s songs.” - Show Music, Volume 1, Number 4. “A voice that is quite astounding, effortlessly soaring from a soft purr to an electrifying higher plane. That power and intensity pins you back in your seat and leaves you breathless with admiration. . . . The songs are of a universally high standard” - Mike Gibb, Masquerade, Issue 13. “Great new songs by composer Bernard J. Taylor . . .” - Daily Mail. SUCCESS! with Claire Moore,Lon Satton, Katherine Evans) “Great writers of stage music have always proved themselves to be versatile. In the light of the favourable reaction it received it would have been more than easy for Taylor to follow Wuthering Heights with another show in that same grand scale, but instead he quickly showed his credentials by heading in a totally different direction and in doing so comes up with another admirable piece of work. “Success!” is full of splendid material and is loads of fun.” - Mike Gibb, Masquerade, Issue 13. "An adaptation of the Faust legend, I enjoyed this one very much, and it has some bright, breezy and catchy numbers. The cast includes Lon Satton and Claire Moore. This recording is well worth spending your pennies on, and I will be surprised if anyone who buys it is disappointed with the standard of the songs.” - Terry Wardrope, Words and Music, Issue 17, January 1994. “Taylor’s score has several attractive songs . . . They’re all sung by Maurice Clarke, Claire Moore (Miss Saigon), Kathryn Evans, Jessica Martin and Lon Satton (Starlight Express) as if they are the hottest songs to come from the West End.” - Show Music magazine, USA, autumn 1993 edition. “The whole show is firmly tongue-in-cheek, with a fair amount of parody, and is great fun. It has a contemporary score, very different from Wuthering Heights, with some fantastic jazzy numbers. I loved every second of it.” - Christine Daae, “Behind the Mask”, Summer, 1994. MILLENNIUM SUITE performed by the Polish State Philharmonic Orchestra of Katowice “Bernard J Taylor is a natural composer who can express himself in melodic and dramatic terms. The Millennium Suite is exactly what it purports to be: five atmospheric movements designed to sum up where we are now, how we got here and what should await us. These are “The Birth of Chivalry”, “The Age of Oppression”, “The Enlightenment”, “The Road to Democracy” and “The Triumph of Democracy”. If these titles seem a trifle pompous then listen to them and accept the composer’s integrity. For this is music to enjoy, yet also music to be moved by. I look forward to hearing and hopefully seeing one of the operas. “ - Denby Richards, Musical Opinion, 1997 "Bernard Taylor has managed to write a truly unique work, with the more lush and melodic lines sadly missing from many pieces of this age. The Millennium Suite will, I am sure, become a most popular work and establish the composer among the highest of his contemporaries." - Mark-Andrew James, Director of the Sussex Symphony Orchestra. MUCH ADO (Featuring Claire Moore, Paul McGann, Janet Mooney, Barry James, Simon Burke) “Much Ado proves to be yet another fine slab of musical writing, full of invention and, as with all BJT offerings. dripping with melody. Much Ado possesses an identity all of it own. It also succeeds in capturing the mood of the period courtesy of a medieval English feel amongst the diverse musical influences.” - Mike Gibb, Masquerade. “ Mr Taylor turns his considerable talents to William Shakespeare, and I am pleased to report that his musical adaptation of "Much Ado About Nothing"is another worthwhile addition to his growing portfolio! It's another impressive piece from Bernard Taylor, reinforcing my impression that he is one of the finest British musical talents we have and more than worthy of recognition from a wider audience.” - Terry Wardrope, Words and Music The latest recordings by Bernard J Taylor are LIBERTY (The Siege of the Alamo) - a musical which had its world premiere in Texas in 2000) and Passion’s Progress, a symphonic suite tracing the development of a romantic relationship. Contact bernardjtaylor@hotmail.com

Additional Info see http://www.bernardjtaylor.com

Location Columbus, Ohio - USA

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