Author Archives: SCTF Editor

Notes: Tom Service of the Guardian writes on SC-T and Thelma

Tom Service of The Guardian has posted an article in his Classical Music blog, discussing the SC-T opera Thelma, to be premiered in Croydon today.

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Notes: Articles in anticipation of the premiere of ‘Thelma’, the opera

Media anticipation of the premiere (on 9 February 2012) of Coleridge-Taylor’s opera Thelma includes this range of articles and postings, as below.  Please share also any other articles about this premiere of which you know, via the Comments box which follows this … Continue reading

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Notes: ‘The Loves of Mars and Venus’ ballet music of 1717 – another ‘lost’ score refound

Evelyn Nallen writes: Next week in Cambridge is a concert of the music from the very first ballet, ‘The Loves of Mars and Venus’ (1717), which like ‘Thelma’ was thought to be lost.

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Notes: Radio 4 ‘Front Row’ discusses SC-T

Mike Somervell writes: Tonight coming home from work I heard the ‘Front Row’ trailer on Radio 4 which said it was discussing Samuel Coleridge-Taylor the musician………so naturally thought of you!  Follow this BBC iPlayer link for the Front Row SC-T piece. … Continue reading

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Notes: Robert Eichert on children, education and Coleridge-Taylor

Robert Eichert writes: I could not agree more about SC-T’s music telling a story and there can also be interesting background to the music. Obviously, there is Hiawatha, faithfully keeping to Longfellow’s epic poem about love and loss among native … Continue reading

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A radio programme-maker asks: Do you recall ‘Hiawatha’ at the Albert Hall, or elsewhere?

Andrew Green writes: Can you help?   In this, Samuel Coleridge-Taylor’s centenary legacy year (2012), I’ll be fulfilling a long-held ambition to make a radio programme focusing on the famous Albert Hall ‘Hiawatha’ performances of the 1920s and 30s – the high-point in … Continue reading

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‘Thelma’, Samuel Coleridge-Taylor’s only full-length opera, performed at last

Jonathan Butcher writes: Up until 1900 Samuel Coleridge-Taylor (born in 1875) had had little to do with composing for the theatre. His main body of work was choral and orchestral and, of course, his most famous opus, and the one that catapulted him to fame, was his major oratorio, Hiawatha’s Wedding Feast. His involvement with the theatre, though Herbert Beerbohm Tree, with all its colourful characters, magic and intrigue, may well have been the very spark Coleridge-Taylor needed to spur him on to write his only full length opera. Continue reading

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