Taylor began his musical career at the young age of seven years as he began to learn piano theory. Although it is considered a late start by the man himself, his accomplishments and awards prove that he has acquired the skills needed to perform at a much higher standard than the average pianist. Christopher has recently graced the air with a sweet succession of tones in countries around the world including France, Korea, Spain, the Philippines, and the Caribbean. A membership to the American Pianists' Association was granted to him in 2002 to compliment his previous awards such as the Irving Gilmore Young Artists' Award, an Avery Fischer Career Grant, and a first place trophy from the William Kapell International

Moving on to Antonian Dvorak's "Symphony No. Nine" in E minor, the orchestra began to rip through tunes that grabbed my ear on a higher scale. The intense sound of the strings making short, swift attacks on the strings had much more flavor and smoother transitions through the peaks and valleys of the piece. My personal style mostly leans toward funk and reggae with a dash of alternative acid jazz, so this piece was much more soothing to my soul than the others performed by the orchestra.

George Gerschwin's Concerto with Christopher Taylor taking the solo piano part was a little more appealing to me because it had more interesting rhythm in my opinion. I was very impressed by Taylor's piano skills, but I didn't really like his style. He was somewhat awkward to watch and his accents were overdone at times, yet underdone at others. I feel as though I shouldn't criticize someone that is so far ahead of my musical abilities, especially one that plays lead parts on that level when rhythm is my proficiency as a bass guitar player. That was just the way I felt while observing the group working through the pages of notes.

Richard Strauss, born in 1864, enjoyed early success as both conductor and composer. He developed the symphonic or tone-poem to an unrivalled level of expressiveness and after 1900 achieved great success with a series of impressive operas, at first on a grand scale, but later tending to a more classical restraint. His relationship with the National Soci

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