| Main Performers | Lillian Blauvelt,
Whitney Mockridge,
Andrew Black - vocals |
| Set List | 'Song of Hiawatha', S Coleridge-Taylor |
| Performance Notes | World premiere of the first complete performance of 'Song of Hiawatha' by Samuel Coleridge-Taylor.
"It is probably without precedent in the history of music that the first part of a trilogy should be performed while its composer was in a state of pupillage, its second commissioned by a provincial festival, and its third brought out by the most conservative choral society in existence. Yet this is what has happened in the case of Mr S Coleridge-Taylor's 'Hiawatha', the first of which was given at the Royal College of Music on November 11th 1898, little more than a year and a half ago. Its second section, "The Death of Minnehaha" was brought out at the North Staffordshire Festival last autumn, and last night the work was given in its entirity at the Albert hall, the third portion 'Hiawatha's Departure' being performed for the first time last night under the composer's direction and before a large and enthusiastic audience. The success so unusual in the case of an English work is most thoroughly deserved, and in fact the work in its strongly marked individuality, perfect adaptation of means and ends, and general effectiveness has few rivals among recent compositions.
The choir sang with excellent tone throughout, though their entry was not very certain after the soprano solo of the last part, and a few other places, they seemed not quite familiar with the music. Their phrasing was, however, so good that this could not have been the case. The composer's original treatment of the orchestra and the various details of the scoring came out better than was expected, and full of charm and interest it is. But Mr. Coleridge-Taylor's claim to be heard are based on other merits than these - on his directness of emotional utterance and on his originality of melodic design, although he never suggests that he is seeking for originality. His melodies have the rare quality of distinction, and his handling of short phrases is as characteristics as it is fresh. Altogether a very great success was scored, and its composer was called again and again to the platform, both after the second section and at the end of it all"
(The Times, 23 March 1900)
"From the legend of Hiawatha, as set forth by Longfellow, Mr Coleridge-Taylor has selected three scenes, 'The Wedding Feast', the 'Death of Minnehaha', and 'Hiawatha's Departure', set them to music, and had the felicity of conducting their first complete performance by the Royal Choral Society at the Albert Hall last night...Mr Taylor 's music is not made, but felt. And it is the intensity of his feeling, the depth of his emotional qualities, which makes his music so strong in its appeal. Examples from the latest of his works - the third part of which, by the way, had not previously been heard in public - might be quoted in quantities to prove this. All that can be taught in the way of technique he has learnt well. And this knowledge, combined with the gifts, priceless because impossible of acquirement, of spontaneity, genuine feeling, rhythmical command, and the power to express original thoughts in his own way, make him a force. We do not think we exaggerate at all in using the phrase 'epoch-making' in the English musical Renaissance in connection with 'Hiawatha'...
The conductor-composer was so warmly greeted that he may consider that he captured the usually austere audience."
(The Daily Mail, 23 March 1900) |
| Related Archival Material | Programme (RAHE/1/1900/1 - Photocopy) |