Friday 5th October

Victoria and Albert Museum, Hochhauser Auditorium, Sackler Centre, Exhibition Road, South Kensington, London SW7 2RL, at 18.30:

Death of a Musical Genius: Samuel Coleridge-Taylor Remembered

Samuel Coleridge-Taylor died 100 years ago, aged 37.  He was born to an English mother in London and a doctor from Sierra Leone. To mark this special anniversary, hear a newly commissioned celebration and talks and excerpts of Coleridge-Taylor’s music, led by prominent and talented artists, scholars and historians who will pay tribute to his musical genius.

TALKS:

Writing ‘From an English Point of View’: Coleridge-Taylor at the Royal College of Music – Dr Katy Hamilton, Junior Research Fellow in Performance History at the Royal College of Music

Shaping the Genius: Influences and Evolution of Coleridge-Taylor’s Music – Richard Gordon-Smith, Composer, Conductor and Music Educator, and Hilary Burrage, Executive Chair of the Samuel Coleridge-Taylor Foundation

To Know Thy Self, Looking Beyond – Coleridge-Taylor from a Composer’s Perspective – Errollyn Wallen MBE, Composer

LIVE PERFORMANCE:

An Original Collective Laudation to the genius that was Samuel Coleridge-Taylor, with poets Malika Booker and Dorothea Smartt and ensemble Music Off Canvas – Introduced by Nkechi Ebite, The Books Project and Diana Roberts, Woodhouse Professional Development Centre Manager(RCM)

PANEL DISCUSSION:

Insight on Coleridge-Taylor – Featuring the musicians, poets, speakers from the evening, with audience Q&A.

H Beard Print Collection, Samuel Coleridge-Taylor

Jointly organised with the Royal College of Music, The Books Project and the Samuel Coleridge-Taylor Foundation.  With special thanks to Black Cultural Archive and Historian Jeffrey Green.

£9, £6 concessions

Book on-line or call 020 7942 2211

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Tuesday 16 October

Camden Local Studies and Archives Centre, 2^nd Floor, Holborn Library, 32-38 Theobalds Road, London WC1X 8P, 18.30 (door open, 6pm):

Samuel Coleridge-Taylor: A Free Talk with Music

Presented by

Richard Gordon-Smith (composer) and

Martin Anthony Burrage (violin, piano)

of the Samuel Coleridge-Taylor Foundation, to mark the centenary of the composer’s death in the street of his birth.

Free

Here Daniel Labonne describes ‘Six Reality Checks Behind A Book’, explaining how he came to set up a regional centre for performing arts in southern Africa, and some quarter century thereafter his charity, FACE (The Foundation for Arts, Creativity and Exchange) and to write the book he has just published, Empowering The Performer.

SIX REALITY-CHECKS BEHIND A BOOK

‘Empowering The Performer’ by Daniel Labonne,

published by TamaRe House with a prologue by Issa Asgarally.

When asked how long it took me to write this book, I tend to reply twenty seven years. That is not a lie. Was it a long painful process? Not at all. More of a gradual realisation that, like in all experiments outcomes are unpredictable. In the best of worlds, there should have been a thriving regional centre of performing arts in southern Africa. Performers from all parts of Africa ought to have been competing hard to be part of the next training programme. Following the applauded stage productions ‘Made in Castle Arts’, orders from producers would have been flowing in for a new stage production or a TV drama concept… The school would have been self-sustainable, if not profitable. But that is not the reality.

First reality check: Africa has generally been treated as an experimental field with this exception that good news is almost unwelcomed… The rare times that the media cares to mention Africa, it is likely to be about the latest coup or another calamity. Our project was neither a coup, nor a calamity. In fact, it was rather cheering news. It was about the arts, about improving education, about tapping into the abundance of life celebrating forms of human expressions…

Second reality check: development has been perceived as a sort of arrival line in an absurd race… Those who have achieved it assume that this state of bliss is forever. A bit irritated by those who are unlikely ever to reach their level of development, the ‘developed world’ grudgingly votes for aid budgets… Then, appointed experts are instructed to instil, very slowly, the wonders of ‘bliss’ into the dreams of the underachievers… In 1987, the UN decided that this perception ought to be challenged. Rightly so, it proclaimed the World Decade for Cultural Development. Unfortunately, the UN is neither very rich, nor is it a very popular organisation. Besides, a decade is not enough to transform attitudes…

Third reality check: while education is universally recognised as the best vehicle towards progress, any system that does not duplicate the primary school to university degree route is perceived with suspicion. Our experiment advocates that there might be another way for young African. For example, why should not it be possible one day to approach mathematics from the art of dance?

Fourth reality check: what today is a newly independent state full of promise can become an ostracised country in a decade or two. That is the sad reality of Africa, east, west and south since the independence years. Of late, Northern Africa has been swept by the same ‘tsunami’, for whatever reasons… In our case, when the project had matured to secure the support of a sovereign host country, we assumed that the condition had been created to ensure lasting stability and progress. Unfortunately…

Fifth reality check: you can’t build your house with other people’s money! It’s best to work harder and raise your own. We tried hard to build a consensus. We attempted to make friends with everyone and accepted funding from varied sources. The task is exhausting.  The various vested interests are set in their ways and they prefer conflict to consensus. Fellow Africans often play into the game of favourites and division. Non-Africans are encouraged to have their own partial view of ‘their own’ Africa…

Sixth reality check: there is a time for anybody to perform at the best of his or her ability… I gave the best of my resources, invested my past experience, as a stage artist, a researcher and an entrepreneur to push this unique experiment. At first, it sounded more like a vague dream than a feasible venture. What exactly was meant by an ‘inter-African school of theatre’? Having devoted a good part of a decade and my energies to sorting out the various implications up to the pilot project, I needed to move on. Until time proved that the experiment has remained unique and unmatched over two decades. I had to tell the story before getting too old.

Hence, the book EMPOWERING THE PERFORMER…

Daniel Labonne, M.Phil.

Read the book EMPOWERING THE PERFORMER by Daniel Labonne, edited by TamaRe House.

Order online from Amazon.com

You, the reader, are also most welcome to add as a Comment (below) your own contributory link to this post, in appreciation of Samuel Coleridge-Taylor and his enduring legacy.

Samuel Coleridge-Taylor (1875-1912), Britain’s Foremost Black Classical Composer: The Centenary Legacy

Just a few days after this year’s Slavery Remembrance Day, on 23 August, we will mark also the centenary legacy of the black British music composer Samuel Coleridge-Taylor, who died one hundred years ago, on 1 September 1912.

Only 37 years old at his death, Coleridge-Taylor was at the height of his career, in the midst of plans to visit musicians he admired in Europe (he was learning German) alongside his never-ending duties as a teacher, conductor, festival adjudicator and composer.  He had already travelled to the USA three times; he had twelve years previously, aged only 25, become a founder-supporter in 1900 of the new London-based Pan-African Conference (later, Congress); and already he had some 100 full musical works, many of them substantial, to his credit.

To modern observers, taking antibiotics for granted, it feels particularly sad that the cause of Coleridge-Taylor’s death was simply a chest infection: he was always over-worked, and it’s said a heavy smoker, and he caught a chill awaiting a train in his hometown of Croydon.  With better health this unique man of music might well have lived into contemporary living memory.  It would have been fascinating to see how his thinking developed, both in music and in respect of equality, the other field in which in his short life Coleridge-Taylor made an outstanding and compassionate contribution.

Nonetheless, to most followers of classical music Samuel Coleridge-Taylor is known only as the creator of the Song of Hiawatha trilogy, that ever-present element of the annual calendar of the Royal Albert Hall and many other concert venues around Britain in the 1920s and 30s and well beyond.  The image of native American squaws and head-dressed chieftains is embedded in our perception of Coleridge-Taylor the composer; and yet, whilst Hiawatha is indeed a fine addition to the repertoire, it is by no means his only potential contribution to the classical canon.

As we demonstrate on the Samuel Coleridge-Taylor Foundation website – where a full list of works and recordings, generously donated by Dr Dominique Rene de Lerma, may be found – there is beyond Hiawatha some significant early chamber music, a whole range of vocal scores (some of them substantial) and even a violin concerto and some full symphonic works: impressive by any standards as the output for someone still in his thirties when he died.

But there are also other aspects of the life of Samuel Coleridge-Taylor which make him special and deserve much greater acknowledgement.

Born in London in 1875, illegitimate and of mixed race, the boy Samuel took courage to make the most of every opportunity to take his formidable talents forward.  His complex extended family supported him as best they could and by his early teens Coleridge-Taylor’s musical gifts were recognised by others too.  He gained sponsorship to attend the newly-established Royal College of Music aged only 17, and, produced his first few opus-listed works the following year.  (How withering to repute is time; received to acclaim when initially presented, we discovered Coleridge-Taylor’s Opus 1 Piano Quintet, probably unperformed since 1895, buried deep in the RCM archive a full century later.)

But to return to the chronology.  Just before the end of Victoria’s reign, Coleridge-Taylor’s concern for fairness and decency led him to engage in the increasingly urgent calls for racial equality.  Whilst Victorian London was more varied of skin colour than some imagine, Coleridge-Taylor nonetheless  knew at first hand both of discrimination by ‘race’, and of the shared objective by others of a more even playing field for all; and he had by then formed a friendship with the poet Paul Laurence Dunbar, who became a major influence on the composer’s thinking.  Hence also Coleridge-Taylor’s involvement in the Pan-African Conference of 1900, held in Westminster Town Hall, London from July 23rd to the 25th, and timed to take place just before the Paris Exposition in order to allow tourists of African descent to attend both events, and focused on persuading world power governments to introduce legislation to abolish racial discrimination.

It was also at the Pan-African Conference of 1900 that Samuel Coleridge-Taylor (and his friend John Archer of Liverpool, who became the first black Mayor of Battersea)  met the writer W.E.B. DuBois, who was during the next few years to prove a great influence on Samuel as his contacts with the United States developed.  How, had Coleridge-Taylor lived longer, this collaboration would have influenced the later Pan-African Congresses we can only surmise.

And so, one hundred years after his death, the story and legacy of Samuel Coleridge-Taylor, the British child of mixed heritage born with little initial privilege but so much to offer, now unfolds.

There is much still to tell, as the AfriClassical website and other e-media report.  This is a story told at all levels: local (Croydon and London), national (the UK), the USA and truly internationally.  A considerable amount of Coleridge-Taylor’s repertoire has recently become available, but much remains still to be explored.  The legacy of his support for a fairer world will doubtless likewise continue to be a matter of interest for scholars and activists alike for decades to come.

For our part, having worked since the 1990s to bring unknown music by Samuel Coleridge-Taylor to public performance, the establishment two years ago of the Samuel Coleridge-Taylor Foundation (a Community Interest Company of which I am the founding Executive Chair) has offered a new way forward.  We have ensured there is room for exchange and debate between musicians, historians and scholars across the world, we seek always to achieve wider community engagement, and we have positioned to look forward as well as back – most recently by commissioning a new Nonet from the composer Richard Gordon-Smith (himself a son of Croydon) which embraces both the instrumentation and something of the essence of the work of Samuel Coleridge-Taylor.

What comes next remains to be seen.  September 1st 2012 will pass as a day to reflect and remember, but it is also a milestone in the journey to a better understanding of a young man who died a century ago but leaves still the gifts of talents and ambitions pursued, decency and hope.  That is why, as well as looking backwards to the past, we must look forward to the future.

More information…

Website: The Samuel Coleridge-Taylor Foundation

Twitter: SColeridgeTaylorFdn

Facebook: Samuel Coleridge-Taylor Foundation

LinkedIn: Samuel Coleridge-Taylor (1875-1912): Britain’s Greatest Black Classical Composer

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Centennial of the Death of Samuel Coleridge-Taylor is Occasion for A Revival of Interest, and Continued Exploration of His Musical Legacy (by William Zick, on the AfriClassical website)

The English historian Jeffrey Green has written an authoritative biography, Samuel Coleridge-Taylor, a Musical Life, published by Pickering & Chatto (2011).  It has been the source of several blog posts and substantial website revisions.  On the Centennial of the death of Samuel Coleridge-Taylor on Sept. 1, 1912, we excerpt a few additional facts about the composer’s passing.  Jeffrey Green writes on p. 202:

“Enquiries about the violin concerto coming from Germany and from all over Britain suggested that 1912 was a year of immense promise to the composer, who wrote to Clarence White ‘telling of his new works and of what he had accomplished during the pas season and how he was looking forward to his early autumn work.’”

“Coleridge-Taylor left his home to go to the Chinese exhibition at Crystal Palace on Wednesday 28 August 1912, but felt unwell at West Croydon railway station.  He fell down on the platform and returned home, telling his daughter to ask Jessie to come upstairs.  She saw ‘a very distressed husband badly needing immediate care and medical attention’ so sent for the doctor (who was out) and found a preoccupied replacement (he was to marry the next day).  Their regular doctor came on Thursday and found that the composer was delirious.  A nurse was employed, allowing Jessie to administer to the children who were also unwell.  It was an anxious and preoccupied household at St. Leonard’s Road as the last damp days of August passed.”

Chapter 11 Requiem: “Letters and telegrams were sent and received; friends visited; the composer tossed and turned in bed, attended by the nurse.”  “The nurse told Jessie to call Dr. Collard again.  He returned with a colleague and they sent for a special nurse.  The composer, propped up by pillows, conducted an imaginary orchestra.  His mother, Jessie, two nurses and ‘a West African friend’ were all present when a little after six on Sunday evening 1 September 1912 he died from pneumonia.”

On the occasion of the Centennial of the death of Samuel Coleridge-Taylor, we are optimistic that his legacy will be fully explored and celebrated anew, as a result of the tireless efforts of many dedicated people, including Jeffrey Green, the biographer; Hilary Burrage, Executive Chair of the Samuel Coleridge-Taylor Foundation, www.SCTF.org.uk; Prof. Dominique-René de Lerma, www.CasaMusicaledeLerma.com the renowned musicologist who has compiled a Works list and Bibliography; the conductor John McLaughlin Williams, who has focused on the sheet music of the composer; and Charles Kaufmann, Artistic Director of The Longfellow Chorus, http://www.longfellowchorus.com/whose documentary film on the composer in America is to be premiered in 2013.

A number of performances have been organized and presented, including the Annapolis Area Church Choirs in Maryland, which joined in The Atonement of Coleridge-Taylor August 26, 2012.  One of the choir directors is James Fitzpatrick, who writes to us, in part:

“I wanted to thank you for your encouragement of our choirs in performing the selections from Samuel Coleridge-Taylor’s ‘The Atonement’ on August 26. Thanks to your guidance, we were able to enhance the performance with the addition of some wind instruments. By connecting me with Suzanne Flandreau of the Center for Black Music Research, I was able to finally see the original manuscript of the work via microfilm at University of Pennsylvania.  Using the scanner there, I was able to copy the section we were performing and transcribe parts for 8 wind instruments. It added so much to an already powerful work.”

Suzanne Flandreau, Archivist and Head Librarian, was in the final days of a 22-year career at the CBMR when she characteristically threw herself into the effort to meet the needs of people preparing to perform a work of a Composer of African Descent.  We wish her a rewarding retirement, and thank her for more than a decade of successful collaboration with us in the cause of Black Classical Music.

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This commission marks the final chapter in the history of the Liverpool UK charity HOPES, which was the vehicle through which for more than a decade the works of Coleridge-Taylor were explored in an annual community-based festival in which Richard Gordon-Smith (with his RLPO colleague Martin Anthony Burrage) were the musical directors.

The organisational legacy of HOPES is the Samuel Coleridge-Taylor Foundation, set up to continue the exploration of that composer’s life and works, and to engage a community of interest which now spreads quite literally around the globe.

Richard Gordon-Smith has completed his new Nonet to co-incide with the centenary of Samuel Coleridge-Taylor’s death.  He writes:

Richard Gordon-Smith – Nonet Op.49 ‘Aims and Desires’

“There is, of course, a large section of the British people interested in the coloured races; but it is, generally speaking, a commercial interest only. Some of these may possibly be interested in the aims and desires of the coloured peoples; but, taking them on a whole, I fancy one accomplished fact carries far more weight than a thousand aims and desires, regrettable though it may be…”
(Samuel Coleridge-Taylor, African Times and Orient Review, July, 1912)

Samuel Coleridge-Taylor wrote these lines only two months before his untimely death on 1^st September 1912 at the age of 37.  Though he may not have realised it, Coleridge-Taylor’s life and work was itself a prime example of ‘one accomplished fact’ that would ultimately carry weight in the struggle against prejudice in modern society.  With his huge talents as composer, conductor and pianist, he implicitly defied the musical world – and therefore society at large – to ignore him, thereby causing many people to reassess their own racial preconceptions.  He was a prominent delegate at the first Pan African Congress in 1900 and acquainted with many activists, including Booker T Washington, advisor to President Theodore Roosevelt.

I have written my Nonet Op.49 at the request of the Samuel Coleridge-Taylor Foundation and HOPES: The Hope Street Association in commemoration of the Centenary of SC-T’s death.  I gave the piece the title ‘Aims and Desires’ in reference not only to the historical aspirations of ethnic minorities, but to those of all minority groups in society who still suffer prejudice, whether for reasons of disability, religion, sexuality, race or any other characteristic for which they may be unfairly set apart.

The work follows the instrumentation of Coleridge-Taylor’s own 1894 Nonet in F minor Op.2 for oboe, clarinet, bassoon, horn, violin, viola, cello, contrabass and piano, and is in four movements; it has however few other features in common with the earlier piece and there is no sense in which the two could be compared.

I always enjoy writing for combinations of instruments that I have not tried before and I have found stimulating challenges involved in composing this piece. The music is not programmatic in the sense of telling a story, but the example of Coleridge-Taylor’s practical concern with black emancipation has led me to think along certain emotional lines.

The first movement is based on a theme akin to the Moslem ‘call to prayer’ over a series of pedal tones.  As it grows however, it loses religious ‘detachment’, becoming personalised and tragic in nature, with elements of anxiety and stress felt in the rhythmic drive and dissonant harmonies. The second movement contains suggestions of a journey, maybe across an ocean.  In the third movement a chorale-like treatment of previous material again hints at religious overtones but in a more relaxed context, while the fourth movement references African poly-rhythms.

This Nonet is offered as a tribute to the life and ideals of a great man and a great musician.

The intention underpinning this commission is to emphasise that the legacy of those who leave us much of value is not simply retrospective.  Like others whose legacy is important and substantial, Samuel Coleridge-Taylor has given us also a way forward; and that is what the newly commissioned Nonet reminds us about.

Plans for the two Nonets to be performed together as a concert programme are currently being taken forward.

* For a free audio sample of the Coleridge-Taylor Nonet click here; for a full performance click here.

It would be interesting to learn if anyone knows the year of the Programme we have; and also to learn whether anyone recalls the performers named on it.  (You will note that amongst them is Chief Os-Ke-Non-Ton.)

Sir Malcom Sergent of course features in both these items of memorabilia.

Wendy Breese recalls her time In the Royal Choral Society:
My mother and grandmother were members of the Royal Choral Society and took part in costumed performances of Hiawatha at The Royal Albert Hall.

They used to tell my sister and me how they had to picnic in Kensington Gardens opposite as the facilities in the hall could not cope with the large numbers of singers. The told us how they ran down the steps to the arena in their squaw costumes, which my sister and I subsequently had in our dressing-up box in the 1940′s. (Sadly I don’t know what happened to them.)

When we were old enough my sister and I also joined the Royal Choral Society, and sang alongside our mother in the altos. Our grandmother had retired from the choir by then so we were never all four together.

We also made a 12″ LP recording of Hiawatha at Maida Vale studios, conducted by Sir Malcolm Sargent.

I knew that this would affect the way I heard and understood music in general and classical music in particular. I also knew that my lazy nature and the remains of a grudge will never allow me to grasp the piano in the same way later on in my life as I would have had right there and then. For one, I was a child brought up to believe that as long as I performed well at school, I could have all that I wanted.

I went to school between France and Cameroon, encountering music as diverse as the musicians’ experience will allow them to report. One of my schools was the lycee Frederic Chopin where I grew interested in the music of the polish composer, all the more as I was enrolled in the corresponding boarding school which had… a piano! Under the encouragement of one of my best friend (nickname: La Thouille), and the instructions of a beginners’ lesson book entitled “la méthode rose” (that La Thouille has offered me), I started practising assiduously 2 hours a day, trying to learn as much as I could, under the threat of a new move to Cameroon or elsewhere in France where they would have forgetfully omitted to make a piano available.

Ambidextrian enough within a few months to read and play my favourite piano piece, the Etude n. 69 op 2 from Chopin, I judged (clearly without the more mature advice of a piano teacher) that I knew enough to do what I truly wanted to do, play the way I felt, understand music the way that my heartstring and eardrums interpreted them and that all school rules were both too late or too religious to allow me to expand to.

Tiki Black

It is in this quest, that I started serial songwriting, moved to Britain and somewhere in the midst of all that, that I met with the works of Samuel Coleridge Taylor. You see, hearing of a Black classical composer was as rare in that period (for me at least) as finding a place with a piano readily available and tuned. It felt the same. He became my piano oasis, my hope that, although not a classical musician or a pianist myself, I could establish myself just where I wanted, as the person I wanted to be. Colour (and beyond, gender and education) should never have to matter where the heart is.

I was introduced to Coleridge Taylor via his song “Deep River” (which I endlessly link to on the homepage of one of my websites). It was classical music but it had a familiar depth. Noone could reach my emotions like Chopin but there was always that one set of feelings that was not expressed in Chopin’s works. And there, right in Samuel’s Deep river, it laid, as if having forever waited for me. I played it over and over and over again (and I still do) as if it were a lost feeling that had finally found its composition, its expression, because it just was. In fact, I reckon that half of its plays on youtube are just from me.

I must say it took me quite some time to buy anything else that he had created. Just the idea of him was great enough, encouraging enough for me. Then the specific interpretation of Deep River filled any other possible gaps. What if I did not like any of his other works?

We did not really have the same style, far from that. We did not have the same story. Really, we did not have anything in common that we had worked to achieve, except I was hoping, creating our own distinctive works in a style that was not associated with us, in spite of all the prejudice of sarcastical probability. But creativity makes up it own rules where rules fail to encourage creativity.

So here I am now, composing my own music, not classical or other, in fact without the boxes of genres, letting my creativity flow freely in and out of the deep river of my emotions.

The octavo we’re using was published by C.T. Wagner Music Publishers, which says it’s a reprint of “the 1892 edition by Novello, Ewer and Co.”

Can anyone throw any light on it for me?

Lionel Harrison

The history of the piece is as follows: during SC-T’s visit to the Norfolk, Connecticut, Festival in 1910, he overheard Mrs Stoeckel (the wife of the festival patron, Carl Stoeckel) playing the negro hymn ‘Keep Me from Sinking Down, Good Lord‘ on the piano. As Geoffrey Self writes in The Hiawatha Man, “Impressed with its beauty, he thought he had found a subject for the slow movement of the violin concerto he was then planning. It was a tune Mrs Stoeckel had learned from her father, to whom it had been passed down by a slave. In the event, SC-T found it impractical to use this tune and instead, he wrote a slow movement based on another negro hymn, ‘Many thousand gone‘.” This, too, was ultimately set aside (and survives only in a short-score version for violin and piano), the final version of the violin concerto having a slow movement which is an entirely original composition, not based on any folk material.

In spite of that, both Maud Powell, the renowned American violinist for whom SCT was writing his concerto, and Carl Stoeckel pressed SC-T for an arrangement of ‘Keep Me from Sinking Down, Good Lord‘, to be made for violin and orchestra. Unable to resist this plea, he made the transcription and sent it in time for it to be used as an encore in the premiere performance of the Concerto which was given in June 1912 at the Norfolk festival. As far as Patrick and I know, the manuscript of this transcription (which runs to just over 200 bars) has lain undisturbed in the Stoeckel family papers at Yale University Library for the intervening 100 years.

Dr Dominique-Rene de Lerma

Samuel Coleridge-Taylor: a musical life by Jeffrey Green

Dr Dominique-Rene de Lerma writes:

Over more than three decades, English historian Jeffrey Green has presented a series of discoveries on Coleridge-Taylor (1875-1912), an English composer who did not follow his contemporaries into British folk music but instead responded to a yearning for Africa, the homeland of a father he never knew.

While the composer was still a student, his substantial and original talent became manifest in works of unusual quality, and he gave sympathetic notice to Native Americans, via Henry Wadsworth Longfellow, in Hiawatha’s Wedding Feast, a choral work.

In the half century following his premature death at the age of 37, Coleridge-Taylor’s choral music was heard almost as often as the major works of Handel and Mendelssohn, and his work and three visits to
the US provided an exceptionally important impetus for the Harlem Renaissance. This biography corrects errors of the past and reveals that which had been hidden. One comes away from this study with a new sense of the composer, his colleagues and supporters, and the social and political
environment in which he lived.

D.-R. de Lerma, Lawrence University