Tobias Matthay (1858-1945)

 

 

 Tobias Matthay was one of the most influential figures in twentieth-century piano teaching. Glorified by some and villified by others, he left copious theoretical writings which today are little studied by serious pianists and teachers. 

 

Most of his professional life was spent at the RAM. He served as a sub-professor there from 1876 to 1880, and became an assistant professor of pianoforte in 1880, before being promoted to professor in 1884. 

 

So many students were soon in search of his insights that two years later he opened the Tobias Matthay Pianoforte School, first in Oxford Street, then in 1909 relocating to Wimpole Street, where it remained for the next 30 years.

 

In 1922, Frederick Corder, composition professor at the RAM, wrote that Matthay had revolutionized piano teaching and brought British pianism to new heights internationally. For his entire life, Matthay revered science and sought to apply the scientific method to piano instruction - his theories fell on stony ground at the RAM and he was forced to resign because McEwen (his former student who was then the academy's Principal) publicly attacked his teaching. 

 

Although Tobias Matthay taught most of his pupils in London, many were also received in his beautiful home 'High Marley', which is nestled up in the Surrey hills, just south of Haslemere.  The house, built from scratch stands about 700 feet above sea level and on a clear day, you can see all the way to the English Channel.

 

 

The orchestral works were all written between the 1870s and 1890s before he focused instead on piano technique and teaching. They include two symphonies, some concert overtures and several piano concertante works. They were all forgotten for many years, resurfacing at a Sotheby's manuscript auction on 30 November 2006, won by the Royal Academy of Music.

 

In May - Symphonic Overture (1883)

Entire work is now on Youtube with full score - see link at bottom of page

 

The score has two cover pages, both of which are very heavily annotated. The first includes an extremely detailed analysis of the work by the composer.

 

The second has a dedication (to Arthur Sullivan) and other miscellaneous annotaions.

 

The main motif is always heard on the brass section..

 

 

This rhythmic pattern is constantly heard throughout the piece

 

SAMPLE: In May - start

The middle section features a new phrase which is interwoven in complex counterpoint with numerous harmonic shifts. It builds to a grand climax with the full orchestra.

 

 

 

 

 

SAMPLE: In May - middle

The final part brings all the principal themes back in a unified whole.

 

SAMPLE: In May - end

The whole work is now on Youtube with the follow-along score included. 

LINK: "In May" - Symphonic Overture