Author: Kelly Sedinger

You know how when I get hyper-focused on finishing a writing project, I push everything else aside and work only on that? Sure you do! I spent the bulk of this week’s leisure and writing time on finishing second-round edits on The Savior Worlds (The Song of Forgotten Stars, book 4), but I got that done last night, so at long last let’s turn to the music of Samuel Coleridge-Taylor.

Coleridge-Taylor was English by birth, and he was mixed race: his mother was a white Englishwoman, and his father was a Sierra Leone Creole physician. Coleridge-Taylor quickly achieved success as a musician and was one of the more popular composers of his day. Musicians in New York even referred to him as the “Black Mahler,” so successful was his brand of late Romanticism. Coleridge-Taylor’s most famous works are a trio of cantatas he composed based on Longfellow’s Song of Hiawatha, and the most successful of those was Hiawatha’s Wedding Feast, a work which would have made Coleridge-Taylor a very wealthy man had he not sold the rights for 15 guineas in a moment of financial need. Coleridge-Taylor was far from the only composer to make this mistake; Sergei Rachmaninov would have been extremely wealthy had he retained the rights to his Prelude in C-sharp minor. Alas, the artist must often be concerned with the here and now at the expense of the future, and financial distress may well have contributed to Coleridge-Taylor’s ill health that led to his early death when he was just 37.

A year after the trio of cantatas was complete, Coleridge-Taylor added an overture, which we hear today. It is a thrilling, brooding, and lyrical piece of late Romanticism, most reminiscent of Antonin Dvorak in its melodic feel and its enticing energy. Coleridge-Taylor, as an Englishman, was primarily influenced by the music coming from the continent and not from the early threads that would become jazz in America. He belongs to a tradition that was already shifting in new directions, and one wonders what he might have done had he lived to see the dawning of Modernism.

Here is the Hiawatha Overture by Samuel Coleridge-Taylor.

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Continuing an exploration of work of black composers in this, Black History Month, I turn to William Grant Still, one of the best-known black composers. The difficulty black composers have faced in history can be illustrated in the fact that Still lived from 1895 to 1978, dying in my lifetime, and yet many of his works are already lost. Still was born in Arkansas, where his musical life began, but his life later took him to Ohio, New York (where he is considered part of the Harlem Renaissance), and finally to Los Angeles, where the house in which he lived is now designated a Los Angeles Historical Monument. Still was a prolific composer over his long life, and he achieved things in music that would be the pride of any composer, much less a black one from a country not historically known for rewarding the creative efforts of its minorities.

Still wrote his symphonic poem Africa in 1930, after he had spent his youth working in W.C. Handy’s band and studying composition with Edgar Varese. Still’s style combines African-American sounds–blues, spirituals–with traditional orchestral writing. Africa comprises a musical depiction of a continent to which Still never traveled, and he would describe the work as “the Africa of my imagination.” He even opens the piece with distant drums tapping an almost tribal rhythm before the more plaintive orchestral writing begins. Still described his work, which traces three movements, in a letter thusly:

“An American Negro has formed a concept of the land of his ancestors based largely on its folklore, and influenced by his contact with American civilization. He beholds in his mind’s eye not the Africa of reality but an Africa mirrored in fancy, and radiantly ideal.

I. He views it first as a land of peace; peace that is partly pastoral in nature and partly spiritual.

II. It is to him also a land of fanciful and mysterious romance; romance tinged with ineffable sorrow.

III. Contact with American civilization has not enabled him to completely overcome his inherent superstitious nature. It is that heritage of his forebears binding him irrevocably to the past, and making it possible for him to form the most definite concept of Africa.”

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Africa is a lyrical and rhythmic work that seems to sway and dance with sound that recalls blues and spirituals, but in a more distant way, hinting at the ancestral home of the musical traditions that African-Americans would make central to their often sad experiences in America. It’s a fascinating piece.

Here is Africa by William Grant Still.

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February is Black History Month, so each of this month’s regular music selections (Tone Poem Tuesday and Something for Thursday) will feature music either composed, or performed, or both, by black musicians.

George Walker (1922-2018) was the first black composer to win the Pulitzer Prize for music, for a work entitled Lilacs. Walker was a teacher, a composer, and a performer of note, and he had what was by all accounts a long and successful musical life before he died at the age of 96. This work is an exuberant bit of modern dance that he wrote on commission from the Las Vegas Symphony, in commemoration of that city’s centennial celebration. Hoopla: A Touch of Glee is a bright and bold orchestral showpiece that thrums with the odd optimism of Las Vegas, a city that has no reason to exist other than to be a place where the kinds of things that go on in Vegas…go on. I’ve been listening to this oddly infectious work for several days now, and it’s not easy to forget.

Here is Hoopla: A Touch of Glee by George Walker.

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