Samuel Coleridge-Taylor (1875-1912) was, and remains, Britain’s greatest Black classical music composer. He died however aged only 37, and until this last year there has been no formally constituted organisation to celebrate his legacy and take forward his reputation. This is what the SCT Foundation, a Community Interest Company, seeks now to do.
September 1st 2012 marks the centenary of this composer’s death. The SCTF is therefore already working to ensure that the 2012-13 concert season includes as much of the music of Coleridge-Taylor as possible*. (The full list of Works, comprising some 100 opus and un-numbered compositions, is available here on the SCTF website, under ‘Works‘.)
[ *NB 1 January 2013 is also the 150th anniversary of the Emancipation Declaration;
SCT was much involved in equal rights, as a founding member in 1900 of the Pan-African Congress. SCT’s centenary year is of course also the year of the UK-based Olympics.]
We realise however that not all SCT’s music is well known; indeed, some of it has not been heard within living memory. We hope therefore to ensure that the legacy centenary is used to best effect to bring Coleridge-Taylor’s important musical contribution to a wider audience. Our particular focus at the moment is on two things:
Firstly, we hope to list on our website all performances of SCT’s music from now on; we are therefore keen to invite performers to notify us of all concerts (anywhere in the world) which include SCT’s work.
Secondly, we are conscious that not all SCT’s work is yet available, or even in a format which enables performance. We have therefore developed an idea whereby ‘time share’ arrangements can be made for difficult-to-obtain (and realise) scores. We would like to invite those with an interest in any particular pieces (which are not easily available) to indicate their interest, and we will try to introduce these people to each other, with a view to their sharing the costs of hopefully bringing the work to the concert platform.
This ‘introductions’ scheme will enable those involved – who may be UK-based, or perhaps based elsewhere in the world – to spread the risk of initial investment (re copyright, score preparation, printing etc) whilst also helping them where possible to use the realised scores for performance; and where there can only be one copy at present of the prepared work, those who have invested in its preparation will be able to ‘time share’ the work to perform it. This idea is we feel in the ethos of the SCTF – ‘bringing people together through music’.
To enquire further, or to register an interest in specific works, please contact Hilary Burrage, the Executive Chair of SCTF on email@example.com as soon as possible.