The Restoration of Samuel Coleridge-Taylor

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The piano music of Samuel Coleridge-Taylor (1875-1912) is surely one of the great treasures of the solo repertoire, too long overlooked but now rightly being rediscovered and brought back into the spotlight.

Schott Music, who published many of these works during the composer’s lifetime, have begun painstakingly re-releasing Coleridge-Taylor’s output in modern performing editions. Among the piano scores restored to the Schott catalogue, and the subject of this review, are the Three Humoresques Op.31 (1898), Three Cameos Op.56 (1904), and (perhaps best-known), Three Fours: Valse-Suite Op.71 (1909).

These pieces all offer wonderful examples of Coleridge-Taylor’s art, and would suit players at around UK Grade 8 to Associate Diploma level. So let’s take a closer look, and reflect on their value…

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Piano Music of Africa and the African Diaspora

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One of the many positive developments within the piano teaching and performing community in 2020 has been a re-evaluation of the contribution of musicians of African descent to the repertoire.

A primary sourcebook for this music, Oxford University Press published Piano Music of Africa and the Afrian Diaspora in five volumes, compiled and edited by William H. Chapman Nyaho, between 2007-8. Between them, the books offer 60 pieces by 36 separate composers of African descent, organised by difficulty level as follows:

  1. Volume 1: Early Intermediate
  2. Volume 2: Intermediate
  3. Volume 3: Early Advanced
  4. Volume 4: Advanced
  5. Volume 5: Advanced

More than a decade has passed since the publication of these books, and it is odd that so little of this music has made its way onto concert platforms or found regular use in teaching studios, exams, and homes.

Quite why more haven’t picked up this music is a mystery, because anyone with a fair mind and musical imagination will discover as soon as they explore these OUP volumes that the music of these neglected composers is consistently superb.

So let’s explore the series…

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