African British composer, conductor, and teacher Samuel Coleridge-Taylor (1875-1912) was affectionately referred to in his time as the African “Mahler.” His most popular work, Hiawatha’s Wedding Feast for soli, chorus and orchestra (listen below), is a shining example of his command of musical form, texture, harmony, and orchestration, which resulted in overnight fame and respect among colleagues that few men of color could have hoped to enjoy in the early twentieth century.
After his “Hiawatha,” Coleridge-Taylor’s most well known works are his 24 Negro Melodies; his Ballade in A minor; his Symphony in A major; African Dances for violin and orchestra; and a host of chamber music — his compositional output is substantial and varied. A review of the comprehensive works list compiled by famed scholar Dominique-René de Lerma reveals that Coleridge-Taylor also wrote at least 95 songs for solo voice and piano.
Because of his incredible success in a field dominated by white males at a time when racism in America was peaking, Coleridge-Taylor’s influence on African-American artists and intellectuals was powerful and far-reaching. For this reason, many consider Coleridge-Taylor to be the father of African-American art song. His legacy still leads and inspires the American musical community, just as he did a century ago.
