The Longfellow Chorus: 'Samuel Coleridge-Taylor and His Music in Pasadena'

[Samuel Coleridge-Taylor (1875-1912) is profiled at AfriClassical.com, which features a comprehensive Works List and a Bibliography by Dr. Dominique-René de Lerma, www.CasaMusicaledeLerma.com. We are collaborating with the Samuel Coleridge-Taylor Foundation of the U.K., www.SCTF.org.uk]

Pasadena City College business major Bradley Miles is the Longfellow Chorus representative for college campus screenings in California of "Samuel Coleridge-Taylor and His Music in America, 1900–1912."

The Longfellow Chorus Portland, MaineSeptember 24, 2013 East Colorado Boulevard in Pasadena, California has a lot of very tall, slender palm trees. It's the main route of the yearly Rose Parade; near historic Arts and Craft style houses and the astounding archives and botanical gardens of the Huntington Library. It's immortalized in an old Beach Boys song. Yesterday, it was where you could find a screening of "Samuel Coleridge-Taylor and His Music in America, 1900–1912," in the student center at Pasadena City College. The screening was part of the Jackie Robinson Arts and Humanities Lecture Series. Robinson attended PCC for a couple of years; he's famous for breaking the color barrier in major league baseball in 1947 as a member of the Brooklyn Dodgers.  There is an appropriate parallel to be made between Robinson and Samuel Coleridge-Taylor, who broke the color barrier in classical music at the beginning of the 20th century. Jackie Robinson is a household name in the United States. Well, perhaps if Coleridge-Taylor had stolen home during the first game of the 1955 World Series between the Brooklyn Dodgers and the Yankees, he'd be a household name, too. As it is, household name status for SC-T is pending. There was strong interest among students at last night's screening in knowing how Coleridge-Taylor faced racial discrimination during his lifetime. Most of the students present were members of the American history class of Professor Christopher D. Jimenez y West. Pasadena City College has a student enrollment 49 percent Hispanic/African American, 23 percent Asian or Pacific Islander. This interest was reflected in the difficult questions I faced during a lengthy question and answer period after the film, and in the comments left in the surveys I handed out: "There could have been a little more information on discrimination he experienced," wrote one. "I feel as though there should have been more insight into discrimination because of his racial background because it strengthens his image as a triumphant pioneer composer," wrote another. Other comments offered praise and some criticism: "Great film providing background, not just on Coleridge-Taylor, but African American performers." "I thought the orchestra and chorus sounded exquisite, as well as the direction of the film. The quality was well done." "Absolutely remarkable performances!" "I liked the performances in the film. It was amazing. Your film is a valuable reference." "I liked the many performances, almost as if it was a mixed media piece itself. [It needed a] BIGGER AUDIENCE." "I found myself becoming lost at certain moments in the story line, however, the set up of the musical performances and the transitions were significant." "I loved how Coleridge-Taylor's music was the centerpiece of this film, not only that, but the director's passion in music really shone." "I would like to have a more dynamic and personal connection to Coleridge-Taylor." "What I saw was fascinating and the musical selections wonderful, especially the Violin Concerto. I also liked the archival footage. Thanks for your research and effort to renew his legacy." Whatever Your Opinion . . . There is no other organization in the world that has in its repertory such forgotten Longfellow masterworks as Coleridge-Taylor's Scenes from The Song of Hiawatha; Arthur Sullivan's The Golden Legend; Franz Liszt's The Bells of Strasbourg Cathedral; Edward Elgar's Scenes from The Saga of King Olaf and The Black Knight, as well as the many new songs and cantatas premiered through The Longfellow Chorus International Composers Competition. The Longfellow Chorus is a 501 (c) (3) not-for-profit performing arts organization in Portland, Maine. Please consider a tax-deductible contribution to The Longfellow Chorus that will help support our on going, groundbreaking mission here in Portland, Maine. Many thanks! Charles Kaufmann, Artistic Director The Longfellow Chorus PO Box 5133 Portland, Maine USA 04101