Album insights
Samuel Coleridge-Taylor was born on August 15, 1875, in London to Daniel Taylor and Alice Martin, and was named after the English poet and critic Samuel Taylor Coleridge (1772-1834). In 1905, he composed a Rhapsody for mezzo-soprano, choir, and orchestra based on Samuel Taylor Coleridge's famous poem "Kubla Khan." Fascinated by Longfellow's work, Coleridge-Taylor named his son after him, inspired by Longfellow's Epos "The song of Hiawatha." His interest in the literary source continued with three cantatas, the most famous being "Hiawatha’s wedding feast." Towards the end of his short life (he passed away in 1912 at 37), he created two ballets stemming from the same literary source, which he couldn't orchestrate himself.
Coleridge-Taylor's fascination with American poets, such as Whitman, stemmed from his pride in his African heritage, leading him to compose pieces based on Spirituals. His successful trips to the US between 1904 and 1910 showcased his works, like "Hiawatha," leading to his nickname "the African Mahler." With his use of native American melodies, Coleridge-Taylor's affinity with Dvořák's influence is apparent. His Fantasiestücke op. 5 for string quartet, composed during his studies at the Royal College of Music in London, reflect his conservative style. Noteworthy pieces include the charming "Serenade" and lively "Dance," possibly influenced by Tschaikowsky's works.
Dvořák, invited to lead the National Conservatory of Music in New York in 1891, reluctantly left his homeland for the US. Despite success, he battled homesickness and returned to Bohemia in 1894. His experience influenced his compositions, like the G-Dur and As-Dur quartets, with the latter revealing pentatonic melodies inspired by Native American music. The G-Dur quartet, performed in Prague, exudes warmth and melodic richness reflecting his return, while its slow movement captivates with its melancholic undertones.
The G-Dur quartet's themes, ranging from tender melodies to energetic motifs, represent a blend of emotions. The expressive development and variations within the slow movement illustrate themes in minor and major keys, highlighting Dvořák's musical craftsmanship. The lively h-Moll Scherzo showcases a Slavic influence, while the serene Trio section hints at distant horn calls. The finale incorporates echoes of preceding themes, culminating in a vibrant conclusion.
Dvořák's journey with quartet compositions extends to the a-Moll op. 12 in 1873, later restructured into separate movements due to the composer's dissatisfaction. Adapting and honing its sections, he crafted an Adagio in E-Dur, mirroring themes from the original composition, resulting in an exquisite piece enriched by his meticulous revisions.