Coleridge-Taylor: Symphonic Variations on an African Air
SAMUEL COLERIDGE-TAYLOR
Born: August 15, 1875 | London, United Kingdom
Died: September 1, 1912 | Croydon, United Kingdom
SYMPHONIC VARIATIONS ON AN AFRICAN AIR, OP. 63
Composed: 1906
Performance Time: 20 minutes
Samuel Coleridge-Taylor married fellow Royal College of Music student Jessie Walmisley (1869-1962) in 1899. They had two children, Hiawatha (1900-1980) and Avril (1903-1998), both of whom were musicians. Samuel succumbed to pneumonia at age 37 and is buried in Bandon Hill Cemetery, London.
Featured Fictional Interview with Composer Samuel Coleridge-Taylor
Smith: We are joined by composer Samuel Coleridge-Taylor, who kindly agreed to discuss his work Symphonic Variations on an African Air. Mr. Coleridge-Taylor, music critics and concertgoers alike nearly all agree that this composition is one of your finest works. It follows success after success, commencing with your blockbuster debut, Hiawatha’s Wedding Feast, premiered in 1898 when you were only 22. What do you think makes this piece such a fan favorite?
Coleridge-Taylor: I think it’s popular because it’s a good work with memorable tunes that people like. There’s also a deeper appeal as a classical work of an African melody, written by an Anglo-African. That’s not too common in my line of work! I’ve always believed that the musical public favour compositions that are easily identifiable with a composer’s image. Of course, that’s dependent on what the public think a composer’s image is. The average concertgoer might associate Dvořák with the Slavonic Dances, Sibelius with Finlandia, or Smetana with Má vlast— or even Coleridge-Taylor with Symphonic Variations on an African Air. All of these are nice works, but they have a cultural component, which I believe strengthens how the listener understands and relates to the music. You see, most composers write in whatever style works for their talent, but each of us heavily uses themes, ideas, and melodies that speak to our identity, our heritage; that is, who we are as a person. So, when you write a piece that gives homage to your heritage – such as African Air – the public generally pay more attention, and if it’s a good piece, they seem to love it even more! Look, I’m an Englishman from Surrey, and my compositions sound like those of an Englishman. But since my biological father is African, I am, and will always be known of, as an Anglo-African, not an Englishman. This wasn’t something I gave that much consideration to early on. I did not have much exposure to African history, or culture, or music, aside from a few books. You know, I never met my biological father. And since my mother’s family and my step-father’s family are Anglo-Saxon, I didn’t have anyone around me that knew anything about African heritage. Actually, my entire exposure to African culture is the result of my relationships with my African brothers and sisters in the United States. It was these relationships that taught me my heritage and how to express my heritage in my music – one example being African Air.
Smith: Fascinating! You’ve toured the United States, right?
Coleridge-Taylor: Why, yes, I have. Four times, actually. In July of 1900, when I was 25, I attended the first Pan-African Conference. Good fortune I didn’t have to travel far since it was held in London; otherwise, I might not have had the opportunity to go due to my schedule! By then, I was already known in England as a composer, thanks to Hiawatha’s Wedding Feast, and especially thanks to my dear friend Ed [Edward Elgar] and Arthur [Arthur Sullivan of Gilbert & Sullivan]. The Conference organizers wanted me to participate as a delegate. The main goal of the meeting was to raise awareness of the horrid conditions endured by African people throughout the British Empire. But it also helped Anglo-Africans and African-Americans get together and discuss their culture and heritage. At the Conference I was introduced to chaps like W.E.B. Du Bois and Paul Laurence Dunbar. It was through these connections, specifically Paul, that I was able to arrange a visit to the United States in 1904. Oh, it was quite an event! Aside from all the musical engagements, I was able to learn about the initiatives in promoting racial equality in America. I also met my now good friend, Booker T. Washington, who has become something of a father figure for me with respect to my racial identity. He’s a great mentor, and he exposed me to the rich and powerful Negro spirituals collected after the Civil War from former slaves. In fact, Booker wrote the preface to my piano work 24 Negro Melodies, which is based off of the melodies I discovered while in America. These trips gave me the tunes I used in most of my works honouring African melodies, including African Air. But the trips weren’t just about collecting tunes. I did a lot of sightseeing and I learned a lot about this great land.
Smith: I understand that you visited the White House as a guest of honor during your time in the United States.
Coleridge-Taylor: I did! A rare honour for a man like me. President Roosevelt, good egg, invited me as a musical ambassador of sorts. But there were also discussions that focused on the rights of African-Americans. Specifically, I learned about the current Republican initiatives to form the National Association for the Advancement of Colored People [NAACP]. It was encouraging to see many white supporters of racial equality. Of course, my visit to the White House was not well received by the President’s political opponents. But it was encouraging to see an honest attempt to address the basic needs of their citizens of colour, and for that I commend them.
Smith: That’s encouraging! But I’d probably hold the political accolades and see how the next century unfolds.
Coleridge-Taylor: Devil, you! Point taken. Politics is full of poppycock and politicians are as much use as a chocolate kettle. In any event, I very much enjoyed my time in the United States. In fact, during my recent trip in 1910, African Air was performed in the Metropolitan Baptist Church in Washington, D.C. It was a sight! Seeing the Grand Poobahs of Washington in the same room as former slaves, a beautiful rainbow of musical enthusiasts, listening to works by composers of colour. It was inspirational. There’s just nothing like America! I’ll never forget that magical evening, and I do hope some of that magic is on display for the performance today.
Smith: Mr. Coleridge-Taylor, thank you for sharing your story.
Coleridge-Taylor: You’re quite welcome. Cheerio!
Lakeview Orchestra will perform Samuel Coleridge-Taylor’s Symphonic Variations on an African Air on Sunday, October 24, 2021 at the Athenaeum Theatre in Chicago, IL.