Samuel Coleridge-Taylor, I listened to your music to camera and it seems very charming, plus we can perceive the spiritual elements in his music, someone else has heard of this composer's works apart from his chamber music?
whenever I think of Coleridge, it is impossible not to remember the music of boulogne, more commonly known as black mozart, both musics are excellent :'(
Try the Violin Concerto. There are a couple of commercial recordings available.
Dont forget the Clarinet Quintet... especially the 2nd movement.
Regarding commercial recordings of C-T's orchestral music, these are all very worthwhile:
Ballade in A minor & Symphonic Variations on an African Air [with MacCunn and Butterworth] (RLPO/ Grant Lllewellyn) Argo 436 401-2
Violin Concerto, Legend & Romance [with Julius Harrison] (Lorraine McAslan/ LPO/ Nicholas Braithwaite) Lyrita SRCD.317
The Bamboula [with 'Hiawatha's Wedding Feast'] (Bournemouth SO/ Kenneth Alwyn) EMI Eminence CD EMX 2276
Symphony in A minor [with Cowen's 6th] (Aarhus SO/ Douglas Bostock) Classico CLASSCD 684
The Symphonic Variations were subsequently re-issued as a coupling for the complete 'Hiawatha' trilogy by Decca in 2002, but the Ballade was unfortunately not included in this repackaging. Likewise 'The Bamboula' (a 'Rhapsodic Dance' lasting some ten minutes) was reissued by EMI under the Classics for Pleasure imprint in 2005, but coupled with Sargent's 1962 recording of 'Hiawatha's Wedding Feast'. The original Alwyn disc is worth seeking out!
The VC is utterly gorgeous. It even gets a pretty regular airing on Classic FM!
With his recently-rediscovered and newly-edited opera Thelma due to be premiered next year and Stephen Banfield's 1983 revival of A Tale of Old Japan now in the BMB archive, it might be worth mentioning that a substantial new biography of Coleridge-Taylor has just this year been published -
http://www.pickeringchatto.com/monographs/samuel_coleridge_taylor_a_musical_life (http://www.pickeringchatto.com/monographs/samuel_coleridge_taylor_a_musical_life)
Despite already having Geoffrey Self's very readable volume (The Hiawatha Man) and this new publication being quite expensive, I'm still putting it on my Christmas list!
;D
Probably of no interest to anybody, with the possible exception of Eric, is the fact that the vocal score of A Tale of Old Japan at IMSLP,
http://imslp.org/wiki/A_Tale_of_Old_Japan,_Op.76_(Coleridge-Taylor,_Samuel) (http://imslp.org/wiki/A_Tale_of_Old_Japan,_Op.76_(Coleridge-Taylor,_Samuel))
although not labelled as such, is actually a second edition.
The most obvious differences between the two are: in the first edition the substantial orchestral passage (second edition pp 46-48) is entirely missing; in the second edition much of the contralto solo has been rewritten taking it from the 'Clara Butt' register to something that might actually be heard above a large orchestra.
:)
Actually, I'm interested too! :) I'm very glad he produced that second edition, given the power of the inserted passage that you refer to.
Coleridge-Taylor was very sensitive to criticism, especially from Jaeger at Novello, and was perhaps all too ready to give in to suggestions for revision after scores were printed.
I've also got both editions of The Atonement (1903), again neither is labelled 'first' or 'second', but in the latter a baritone solo (Christ) Be not afraid, a tenor solo for Pilate Breath of my life and a subsequent love duet for Pilate and Mrs Pilate Ye mighty gods of ancient Rome are all quietly excised. When first performed at Hereford in 1903 these items were deemed 'vulgar'.
:o
That's interesting. I knew that Elgar was very sniffy about The Atonement and that Jaeger had told Coleridge that the first version of Hiawatha's Departure "wouldn't do at all". And that, in correspondence with Elgar and others, Jaeger had been scathing about some of Coleridge's other works. Nevertheless, in the (sadly) unlikely event of The Atonement ever being professionally recorded, I trust the conductor will elect to include the 'vulgar' passages so we may judge for ourselves.
Jaeger was safely dead by 1911 and so Coleridge escaped any criticisms he might have leveled at The Tale of Old Japan! :-X
I second the comment about the clarinet quintet: absolutely beautiful, especially the slow movement. Apparently Stanford challenged his pupils to write a work in the genre not influenced by Brahms' example, and when C-T produced this exclaimed 'He's done it'. Though the influence of Dvorak instead is perhaps discernable.
Editions of Tale of Old Japan: noting!
hrm. yes, it was composed in 1910, not 1911, which makes more sense- the first edition might have been published in 1910, the first performance (in Albany, NY under Arthur Mees) that same year perhaps, and a second edition maybe in 1911 judging from the copyright (unless the copyright is still for the first edition and the date of publication of the 2nd edition is later, which given that the plate numbers would seem to place it in about 1911 too, is a bit confuzzling, but... not unknown)
Quote from: eschiss1 on Thursday 17 November 2011, 07:14hrm. yes, it was composed in 1910, not 1911, which makes more sense- the first edition might have been published in 1910, the first performance (in Albany, NY under Arthur Mees) that same year perhaps, and a second edition maybe in 1911 judging from the copyright (unless the copyright is still for the first edition and the date of publication of the 2nd edition is later, which given that the plate numbers would seem to place it in about 1911 too, is a bit confuzzling, but... not unknown)
A Tale of Old Japan was largely composed during the Summer of 1910 but the orchestration was not completed until April 1911 and the first performance was given by the London Choral Society conducted by Arthur Fagge at Queen's Hall on 6th December 1911.
The first edition of the vocal score is copyright 1911.
:)
hrm. the program notes to a 1922 performance would have it that "The union gave up the right to the first performance to a choral society at Albany, N.Y., directed by Arthur Mees (as we could not give it at once)... the second performance ... by one of our socieies, the Winsted Choral union, the third by the entire union in the Music shed." (from notes to a June 1922 performance by the Litchfield Choral Society. not sure who the notes are by - Rev. John C. Goddard, president or someone else?)
Well, as you see, the edition of the vocal score that we have (courtesy of Sibley) is copyright 1911 - if we have the 2nd edition, wouldn't it have a different copyright date? That's (one of many things, but the relevant thing) confusing me... and is the reason I was conjecturing an earlier publication date for the 1st edition, since the 2nd edition was copyright 1911, ergo... !
Quote from: eschiss1 on Thursday 17 November 2011, 07:33
hrm. the program notes to a 1922 performance would have it that "The union gave up the right to the first performance to a choral society at Albany, N.Y., directed by Arthur Mees (as we could not give it at once)... the second performance ... by one of our socieies, the Winsted Choral union, the third by the entire union in the Music shed." (from notes to a June 1922 performance by the Litchfield Choral Society. not sure who the notes are by - Rev. John C. Goddard, president or someone else?)
Well, as you see, the edition of the vocal score that we have (courtesy of Sibley) is copyright 1911 - if we have the 2nd edition, wouldn't it have a different copyright date? That's (one of many things, but the relevant thing) confusing me... and is the reason I was conjecturing an earlier publication date for the 1st edition, since the 2nd edition was copyright 1911, ergo... !
Eric, these are references to the first performance in the US, which came
after the UK premiere.
If two editions of a score (or anything else) were
both published in 1911, they would surely both have that date. There would clearly be no need to wait for another year to roll round before issuing a revision.
:)
ah, ok. And while it surprises me, I see no reason to doubt the last. got it!
Likewise with plate numbers: Novello (and most other London publishers) regularly re-engraved revised pages, added pages, removed pages etc. without giving any change of plate number. Often there would be nothing to indicate to a prospective purchaser that a revision had taken place - to do so would admit that it was in some way a 'problem' piece.
The only instance of a Coleridge-Taylor second edition that is actually indicated as such by Novello is The Blind Girl of Castel-Cuille, written for the 1901 Leeds Festival, where the second edition is headed Revised Edition.
:)
I do know that when Emil Kross edited/elaborated violin parts to a number of concertos and other works and these were released by Schott around 1890 (as a sort of collection) Schott did so with - well, in the case of, say, Lange Jr.'s violin concerto of 1878 (plate 22370) the Kross "edition" has plate 22370b (issued in 1890, d'apres HMB.) A poifect guide to dates plates'r'n't...
Hrm. Coleridge-Taylor not allowed to conduct the premiere of A Tale and must pay for own seat at concert.
Quote from: eschiss1 on Thursday 17 November 2011, 08:05Hrm. Coleridge-Taylor not allowed to conduct the premiere of A Tale and must pay for own seat at concert.
I'm sure Coleridge-Taylor trusted Arthur Fagge (1864-1943) to give his work a good send-off. Although largely forgotten now, Fagge was one of London's leading choral conductors and founded the London Choral Society (renamed the London Chorus in 2000) in 1903 with the express intent of giving the first metropolitan performance of
The Dream of Gerontius. The performance in February 1904 was a great success.
Fagge directed the chorus (which besides the premiere of
A Tale of Old Japan, also gave the first complete rendition of Bantock's
Omar Khayyam in 1910) until 1940.
The conductor recounted that he persuaded Coleridge-Taylor not to attend rehearsals of
A Tale until the choir was well advanced with the score and that
the pleasantest recollection I have of Coleridge-Taylor was when he stood at the piano in the Memorial Hall, where we rehearsed, when the work was ready. He beamed; he had nothing to suggest; he thought the results could not be improved.S C-T probably got into Queen's Hall on 6th December 1911 for free.
;D
Thanks for mentioning the Jeffrey Green book, Albion. I've ordered a copy from Amazon Japan. I read Avril Coleridge-Taylor's biography many years ago, but it was most unsatisfactory, as family memoirs often are (apologies to Ursula VW, Imogen Holst, Beth Britten, etc.). The story of his birth seems only to have been recently discovered, as he seems to have been illegitimate, which was not explicitly mentioned for a long time, due to social stigmas.
It will be a hundred years since Coleridge-Taylor died next year. I am planning a chamber music concert in London devoted to him next Autumn. He was born In Theobalds Road, London. though the building has long since gone and even the street numbering has changed. I have started to investigate the possibility of a Blue Plaque. It might be the time to lobby for some of his other works to be performed.
Quote from: giles.enders on Sunday 20 November 2011, 14:18
It will be a hundred years since Coleridge-Taylor died next year. I am planning a chamber music concert in London devoted to him next Autumn. He was born In Theobalds Road, London. though the building has long since gone and even the street numbering has changed. I have started to investigate the possibility of a Blue Plaque. It might be the time to lobby for some of his other works to be performed.
I couldn't agree with you more, Giles, about lobbying for some of the other works to be performed. On the matter of Blue Plaques, there is one on the house at 30 Dagnall Park where he and Jessie lived after their marriage (until 1902, I think) -- I don't know if there are any rules about people being allowed only one Blue Plaque!
I have an original Novello full score(1899) of Coleridge-Taylor's Four Characteristic Waltzes for full orchestra.
Any interest?
Reading the new biography now. It's very good on sociological detail, but makes no comments at all on the merits of the music, unless that is all reserved for the end. Still, it's better written than the Balfe biography I recently read, which reads like a lecture or a set of research notes.
Listening to the BMB download of "A Tale of Old Japan", I really, really want to hear a recording made of this: it strikes me as much stronger than "Hiawatha" and a sign of what he might have gone on to do had he lived longer.
Quote from: Jimfin on Saturday 10 December 2011, 22:12
Listening to the BMB download of "A Tale of Old Japan", I really, really want to hear a recording made of this: it strikes me as much stronger than "Hiawatha" and a sign of what he might have gone on to do had he lived longer.
Hear hear! Coleridge-Taylor himself regarded it as a better piece of work than Hiawatha and who are we to disagree? Who do you reckon would do the best job of a modern recording, Jim? David Lloyd-Jones, maybe?
I'd be grateful for anyone to do it, but Lloyd-Jones would be good. Or Martyn Brabbins, who recorded the Violin Concerto, a real revelation which I think shows that he was still developing as a composer. Then again, I'd love Brabbins to be occupied with recording more Havergal Brian, who I think is more dependent on a good conductor than C-T
An extremely interesting feature on today's Music Matters (Radio 3), discussing Coleridge-Taylor's recently-rediscovered opera Thelma, is well worth a listen -
http://www.bbc.co.uk/programmes/b01br0v6 (http://www.bbc.co.uk/programmes/b01br0v6)
The work has just received its premiere production by Surrey Opera (the last performance is this evening) - I sincerely hope that somebody had the enterprise to make a complete recording of this!
???
Between the wars Hiawatha was as sung (literally!) as any choral work in the repertoire. Now it has all but disappeared. There's a splendid recording made in 1990 under Kenneth Alwyn featuring Helen Field, Arthur Davies and a young Bryn Terfel which I've just bought - and I have to confess that I didn't know a note!
What a brilliant work it is - no wonder it was once so popular. How many of you 'out there' know it?
Agree, Alan! This recording is absolutely splendid. I will never forget my astonisment at the beauty of this music (and its excellent performance)... so many yers ago :-)
I've known and loved that recording for years, and Hiawatha has remained my favourite work of Coleridge-Taylor's, to which I listen quite often. It's a terrific piece and it's easy to understand why it was once so popular, not so easy to fathom it's fall from grace, but I predict that if the BBC's current wokeness persists it'll be in for a revival soon enough, even if unfortunately not on the merits of the music alone.
The trouble is that to programme and/or record large scale choral works is unfortunately prohibitively expensive. Other choral works of Coleridge Taylor are just as equal in quality- Meg Blane, for instance (which is much shorter than the Hiawatha trilogy), so the BBC would be well-advised to seek out his other choral works even if, as Mark says, this is done under the banner of woke "political correctness" Nevertheless it is the music that is all-important, and there is still much of SCT's output to be explored and enjoyed!
Having said which, I didn't think the Symphony recently played at the Proms was much to write home about.
If, as Martin says, the other choral works match Hiawatha's quality then I would really welcome their revival by the BBC under whatever pretext. As for C-T's other works, the Symphony's debt to Dvorak is all too obvious but lack's his energy, and most of the other major orchestral and chamber works I've heard are similarly pleasant and tuneful but haven't lingered in my memory the way Hiawatha does.
His best music can be found in the Violin Concerto - gloriously lyrical and melodically memorable.
Maybe I don't have the best recording - Philippe Grafin with the Johannesburg Philharmonic? I've never been too impressed by it.
It's pretty good, although there's also Marwood/Hyperion and Little/Chandos. I see that when I last made comparisons elsewhere on the forum I favoured the latter, mostly because of the superior orchestral playing and recording. I'm listening to it now and it's certainly very fine:
https://www.prestomusic.com/classical/products/8077759--tasmin-little-plays-british-violin-concertos
What strikes me with the Little/Chandos recording is how much closer the whole thing sounds to Elgar in places. I stand by my sense that this is among C-T's very best works - hardly surprising, I suppose, since it dates from the year of his death.
Thanks, maybe I'll invest in the Little/Chandos, then, and hope for a Damascene conversion.
The RCM Library have recently digitised a number of S C-T's autograph manuscripts: https://archive.org/details/@royal_college_of_music_london?query=coleridge-taylor
Thanks, Lollard.
For those who may have doubts about SCT's music in general,I would suggest that his early chamber music contains some of his most impressive work - in particular the Op2 Nonet. For those who don't know this work, I would heartily recommend it! Obviously the clarinet quintet is far better-known, but nevertheless a fine work too.
In about 1962, as a schoolboy, I learnt my part in Hiawatha , along with Vivaldi's Gloria and Handel's Dixit Dominus, for one of the local choral society's annual concerts. At that time, it was up there with Elijah and Messiah in terms of popularity. I still have a soft spot for it, and it would be satisfying to see it back in favour - for reasons PC or otherwise. ;D
How about C-T's superb Ballade in A minor for orchestra? It was excellently done by the Royal Liverpool PO under Grant Llewellyn on an Argo CD, downloadable here:
https://www.prestomusic.com/classical/products/8050436--butterworth-coleridge-taylor-orchestral-works
It reminds me a bit of Dvorak and maybe Dukas - and, as ever with C-T, it's extremely catchy. And exciting!
Interesting, Alan. Shows how different we all are. For me, it sounds Sullivanesque, and could even be an alternative Overture to Ruddigore. A sense of melodrama seems to permeate the whole piece, and I love it!
This may be of interest (perhaps just to those in SE England anyway):
https://www.londonmozartplayers.com/whatson-event/a-fresh-take-on-samuel-coleridge-taylor/?venue=20893
SUNDAY 9 OCTOBER 2022
The World of Samuel Coleridge-Taylor
Fairfield Halls
Vaughan-Williams Fantasia on a Theme by Thomas Tallis
Coleridge-Taylor Violin Concerto
Elgar The Spirit of the Lord
Coleridge-Taylor Hiawatha's Wedding Feast
Richard Cooke conductor
Fenella Humphreys violin
Royal Choral Society
Croydon Philharmonic Choir
Composer Samuel Coleridge-Taylor was a household name in the early twentieth century thanks to popularity of his biggest hit Hiawatha. Every summer for some 30 years, thousands of people descended on the Royal Albert Hall for 'Hiawatha Season'; a dedicated two-week stint of Coleridge-Taylor's immense choral work, sung by the Royal Choral Society.
Born in Holborn and raised in Croydon, Coleridge-Taylor was regarded, by Elgar no less, as the most talented composer in Britain. So why don't we hear more about him today? Joined by the Royal Choral Society in their 150th year, this concert celebrates all things Coleridge-Taylor, including an exploration of his Croydon connections, his experience as a black composer in Edwardian London and a delve into the context of the original Hiawatha text and its depiction of native American culture.
In this concert, which includes Coleridge-Taylor's Violin Concerto, we reimagine Hiawatha for a modern audience, surrounding it in music from Coleridge-Taylor's contemporaries – Elgar's The Spirit of the Lord and Vaughan Williams' Fantasia on a Theme by Thomas Tallis.
And another concert featuring Coleridge-Taylor - this time in Westminster:
https://www.sjss.org.uk/events/royal-orchestral-society-2 (https://www.sjss.org.uk/events/royal-orchestral-society-2)
Sun 13 November - 7.00pm
£20, £16
ROS 150th Season Choral Concert
Ron Corp OBE
CONDUCTOR
Royal Orchestral Society and The London Chorus
Eleanor Dennis
SOPRANO
Oliver Johnston
TENOR
Beethoven
Egmont Overture Opus 84
Sir Arthur Sullivan
Festival Te Deum
Dvorak
Mein Heim Opus 62
Samuel Coleridge Taylor
Hiawatha's Wedding Feast Opus 30
Of course, there was a time when Hiawatha's Wedding Feast was standard fare, at least in the UK...
Well maybe two concerts featuring it in two months in London alone is encouraging in that respect.
I see Chineke! have also just released a large album of his music:
- Othello Suite
- African Suite
- Ballade in A minor
- Petite Suite de Concert
- Violin Concerto
- Romance for violin
- Nonet
Plus a piece by his daughter Avril Coleridge-Taylor "Sussex Landscape"
https://music.apple.com/gb/album/coleridge-taylor/1635779871 (https://music.apple.com/gb/album/coleridge-taylor/1635779871)
(https://is2-ssl.mzstatic.com/image/thumb/Music122/v4/15/0e/14/150e14b4-6931-8e65-f65f-13d9a77e4df4/22UMGIM75064.rgb.jpg/500x500bb.webp)
Every year during the 1920s and '30s, Samuel Coleridge-Taylor's cantata trilogy Hiawatha was performed in London by thousands of amateur singers. Today, the composer's other works are, at last, getting their deserved place in the sun. Chineke! Orchestra offer a generous selection of the Black British composer's other works, including his beguiling African Suite (1898), inspired by the ideals of Pan-Africanism, the Othello (1909), complete with a heart-melting trumpet solo in "The Willow Song", and the Nonet (1894), written during Coleridge-Taylor's student days at the Royal College of Music. The album's standout work, the Violin Concerto in G Minor, receives a deeply affecting performance from Elena Urioste and Chineke! under the empathetic direction of Kevin John Edusei. They reach top form in the work's rhapsodic slow movement, shaping its exquisite melodies and emotional fluctuations with spellbinding sensitivity. The composer's daughter Avril Coleridge-Taylor was a fine composer in her own right—as a delightful album bonus, her atmospheric orchestral suite Sussex Landscape here receives its world premiere recording.
Coleridge-Taylor
Every year during the 1920s and '30s, Samuel Coleridge-Taylor's cantata trilogy Hiawatha was performed in London by thousands of amateur singers. Today, the composer's other works are, at last, getting their deserved place in the sun. Chineke! Orchestra offer a generous selection of the Black British composer's other works, including his beguiling African Suite (1898), inspired by the ideals of Pan-Africanism, the Othello (1909), complete with a heart-melting trumpet solo in "The Willow Song", and the Nonet (1894), written during Coleridge-Taylor's student days at the Royal College of Music. The album's standout work, the Violin Concerto in G Minor, receives a deeply affecting performance from Elena Urioste and Chineke! under the empathetic direction of Kevin John Edusei. They reach top form in the work's rhapsodic slow movement, shaping its exquisite melodies and emotional fluctuations with spellbinding sensitivity. The composer's daughter Avril Coleridge-Taylor was a fine composer in her own right—as a delightful album bonus, her atmospheric orchestral suite Sussex Landscape here receives its world premiere recording.
That's "CD of the week" on Classics FM here in Australia. I think most of the music has appeared on CD before.
Yes, it's all a bit late to the C-T party. In particular, there are multiple competing versions of the VC. I'd say shop around rather than buying this.
There are, as Alan says, multiple competing versions of the Violin Concerto, some marginally more accomplished than others but none of them is a dud. This one is as good as any. This two CD set has some advantages, though. The only complete recording of the Othello music is that conducted by Malcolm Sargent and dates from 1932. The vesrion on Naxos conducted by Adrian Leaper (and recently re-issued) omits the Funeral March.
The African Suite recorded here is not otherwise available: the first three movements are orchestrated by Chris Cameron in a manner so completely idiomatic that had I not known otherwise, I would have accepted them as the composer's own work. SC-T orchestrated the last movement himself, of course, and this had been recorded several times.
Also, the performance of the Petite Suite de Concert, conducted by the American Anthony Parnther, is a real winner. It reminds me of George Weldon's recording with the Philharmonia Orchestra; there's something peculiarly English about it as if it had been recorded by a top flight municipial orchestra on a seaside bandstand! Maestro Parnther also observes the repeats in the first movement which can only benefit a piece that I wish were longer in any case.
I would categorise the recording of the op 33 Ballade conducted by Kalena Bovell as 'acceptable' but it doesn't supplant the wonderful performance by the Royal Liverpool Philharmonic Orchestra under Grant Llewellyn, which contrasts the sections more effectively and is more full of character.
Finally, I must say that I feel Avril Coleridge-Taylor's Sussex Landscape, while a pleasant enough thirteen minutes, shows that she didn't have a quarter of her dear old dad's talent.
I would add that I am very much looking forward to performing (with my fiddle under my chin) in the concert on the 9th at Fairfield Halls referred to earlier in this thread, the link to which I repost here: https://www.londonmozartplayers.com/whatson-event/a-fresh-take-on-samuel-coleridge-taylor/?venue=20893.
The LMP asked me to write an article about the significance of Hiawatha, which can be found on the LMP website here: https://www.londonmozartplayers.com/the-significance-of-hiawatha-2/
Fenella Humphreys will be well worth hearing in the Violin Concerto.
Quote from: Dr Gradus on Wednesday 05 October 2022, 13:12I would add that I am very much looking forward to performing (with my fiddle under my chin) in the concert on the 9th at Fairfield Halls referred to earlier in this thread, the link to which I repost here: https://www.londonmozartplayers.com/whatson-event/a-fresh-take-on-samuel-coleridge-taylor/?venue=20893.
The LMP asked me to write an article about the significance of Hiawatha, which can be found on the LMP website here: https://www.londonmozartplayers.com/the-significance-of-hiawatha-2/
Fenella Humphreys will be well worth hearing in the Violin Concerto.
I was there Dr Gradus - it was an excellent concert, brilliant. Thank you. And yes, Fenella Humphreys really brought out the violin concerto and especially the slow second movement - real goosebumps. I hope this was recorded, it certainly deserved to be.
I notice that Chineke! also had an SCT concert last night in the Queen Elizabeth Hall:
Holst: St Paul's Suite
Joseph Bologne: Sinfonia Concertante in G for 2 violins
Vaughan Williams: Oboe Concerto
Jessie Montgomery: Starburst
Philip Herbert: Elegy: In memoriam Stephen Lawrence
Samuel Coleridge-Taylor: Four Novelletten Op 52
And they have another two coming up in London in November:
https://www.chineke.org/events/european-tour-queen-elizabeth-hall
CHINEKE! CHAMBER ENSEMBLE AT WIMBLEDON INTERNATIONAL MUSIC FESTIVAL
Saturday, 26 November 2022
19:30 20:30
St John's Church, Spencer Hill, SW19 4NZ
Performers
Chineke! Chamber Ensemble
Programme
Samuel Coleridge-Taylor: Nonet
William Barton: The Rising of Mother Country
Valerie Coleman: Red Clay and the Mississippi Delta
Schubert: Piano Quintet in A — the 'Trout'
And
https://www.chineke.org/events/european-tour-queen-elizabeth-hall
QUEEN ELIZABETH HALL
Sunday, 27 November 2022
19:30 21:30
Southbank Centre, London, UK
Performers
Chineke! Orchestra
Leslie Suganandarajah, conductor
Jeneba Kanneh-Mason, piano
Programme
Samuel Coleridge-Taylor: Ballade in A minor
George Walker: Lyric for Strings
Florence B Price (Pace!): Piano Concerto in One Movement
Other concerts also coming up in October, November and March in Bristol, Basingstoke, Dublin, Grenoble, Amsterdam, Brussels, Frankfurt, Eindhoven, Rotterdam, Ottawa, Toronto.
Quote from: Christopher on Monday 10 October 2022, 12:20I was there Dr Gradus - it was an excellent concert, brilliant. Thank you. And yes, Fenella Humphreys really brought out the violin concerto and especially the slow second movement - real goosebumps. I hope this was recorded, it certainly deserved to be.
I am so glad you enjoyed it!
The other day at a private event I played one of SC-T's Spiritual settings, Deep River arranged by Maud Powell, and it was quite fabulous. Also the Florence Price
1st Fantasie for violin. A distinct similarity in language between the two; the distinguished American scholar-pianist Samantha Ege says he was a big influence on black American composers.
Chineke will perform more SC-T music at this upcoming concert:
Samuel Coleridge-Taylor: Othello Suite, Op.79
Stewart Goodyear (a contemporary composer): Callaloo - Caribbean Suite for piano & orchestra
Florence Price: Symphony No.3 in C minor
QUEEN ELIZABETH HALL, LONDON
Saturday, 24 June 2023
19:30 - 22:00
https://www.chineke.org/events/queen-elizabeth-hall-coleridge-taylor-goodyear-price (https://www.chineke.org/events/queen-elizabeth-hall-coleridge-taylor-goodyear-price)
Callaloo is a five-movement musical fantasy, mixing Jamaican mento; Afro-Cuban guaguancó, son, conga and guaracha; and the inter-island soca.
Samuel Coleridge-Taylor's Othello Suite, first published in 1909 and performed in 1911, is a high-drama, five-movement work.
The work, conceived as incidental music to accompany Shakespeare's play, is operatic and grand in style, with both funeral and military marches, along with lyrical, intimate moments.
Florence Price expresses aspects of her African American heritage within a symphonic framework in her Third Symphony, completed in 1940.
Avoiding direct references to existing folk songs and dances, it creates highly distinctive African spiritual moods and uses the syncopated rhythms of the juba in its jazzy third movement.
This concert is generously by supported by the Dyers' Company and through the ABO Sirens fund.
There's a concert including newly-discovered SCT works on 2nd October in London's Cadogan Hall as follows:
https://cadoganhall.com/whats-on/london-choral-sinfonia-in-windsor-forest/ (https://cadoganhall.com/whats-on/london-choral-sinfonia-in-windsor-forest/)
PERFORMERS
The Choir and Orchestra of London Choral Sinfonia
Michael Waldron conductor
Join the Choir and Orchestra of the London Choral Sinfonia for their season premiere this autumn.
This concert brings together the music of two early 20th-century powerhouse composers, both pupils of Charles Villiers Stanford: Ralph Vaughan Williams and Samuel Coleridge-Taylor.
Featuring recently rediscovered choral works by Coleridge-Taylor, the concert includes the sublime Whispers of Summer and the more energetic Sea Drift.
Alongside this, substantial works by Vaughan Williams will be performed by the Choir and Orchestra of LCS: the much-loved Five Variants of Dives and Lazarus and the magical In Windsor Forest.
Duration: approx. 2 hours (incl. Interval)
PROGRAMME
J.S. Bach (arr. Vaughan Williams) - 'Giant' Fugue
Coleridge-Taylor - Sea Drift, Whispers of Summer, Song of Proserpine, The Lee Shore, By the Lone Sea Shore
Coleridge-Taylor (arr. for strings by Owain Park) - Three Short Pieces for Organ: Melody, Elergy, Arietta
Vaughan Williams - Fantasia on Greensleeves
Vaughan Williams - Five Variants of Dives and Lazarus
Vaughan Williams - In Windsor Forest
Monday 2 October 2023, 19:30
https://cadoganhall.com/whats-on/london-choral-sinfonia-in-windsor-forest/#details (https://cadoganhall.com/whats-on/london-choral-sinfonia-in-windsor-forest/#details)
https://www.thelcs.org/ (https://www.thelcs.org/)