Charles Kaufmann is introduced before screening of Samuel Coleridge-Taylor and His Music in America, 1900-1912. at Boston University, March 17, 2014
Professor Allison Blakely at screening (Photo by Rochelle Li)
The Longfellow Chorus
(Link to full piece)
Portland, Maine
April 1, 2014
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"Nowhere is the work of Coleridge-Taylor more
appreciated than in the United States, and this
is true both of white and black Americans.
First
came his music and it thrilled and captivated
the nation. Then came Mr.
Taylor himself. We,
who are colored, watched the experiment
with some
interest and excitement because we
wondered if there was enough of
artistic feeling
in the United States to receive a man of negro
descent
as a great artist in a country where the
color line is so decidedly
drawn. . . . He left
America, as elsewhere in the world, a beautiful
memory."
—Du Bois, W. E. B. (William
Edward Burghardt),
1868-1963. Coleridge Taylor, ca. 1925. W. E. B.
Du
Bois Papers (MS 312). Special Collections
and University Archives,
University of Massachusetts
Amherst Libraries
Writing for the Boston Musical Intelligencer, a virtual
journal about the classical music scene in Boston --
an online magazine that ties itself historically to
Dwight's Journal of Music -- music critic Geoffrey
appears to be the work
of a man with a mission.
Charles Kaufmann seems determined to make
Samuel Coleridge-Taylor a household name once
more among music lovers,
and has spared no
pains in ferreting out fascinating details of the
composer's personal and artistic development.
To anyone interested in
social history or musical
history or both at a time of considerable
ferment, this film can be wholeheartedly
recommended."
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