Samuel Coleridge-Taylor – not to be confused with Samuel Taylor-Coleridge. They’re both English. They’re both artists. But SCT was a black composer, and STC was a white poet.

Coleridge-Taylor’s musical career was skyrocketing when he died (like so many great composers) in his 30s. Thankfully, in his 37 years, he left a legacy of works that have earned him his nickname, “The African Mahler.”

(4th and last part in a series – the whole symphony will be played throughout the month)

William Grant Still was the first African-American to conduct a symphony orchestra as well as the first to have his symphonic music and operas played by a major orchestra. It’s no wonder he’s known as “the Dean” of African-American Composers.

Back when I was in college (music conservatory), a major component of American music history was finding a true American voice, distinct from European Art Music. Some composers simply copied the European style. Dvorak was convinced the American voice would come from the melodies of the Native Americans. Then there’s Copland‘s very popular “American” sound and style of composition (might Daugherty, whom we heard yesterday, be the next Copland?) And of course, there are the composers like Gershwin who adopted African-American styles as their own.

So where does that leave William Grant Still? His first symphony, “Afro-American”, is in four movements, and has more character than the Second New England School, all the richness of Dvorak’s “New World Symphony”, far more depth than any of Copland’s popular works, and can claim the African-American heritage better than Gershwin can. Everybody should know this music.

The last movement was inspired by a section of the poem “Ode to Ethiopia” by Paul Laurence Dunbar:

Be proud, my Race, in mind and soul,
Thy name is writ on Glory’s scroll
In characters of fire.
High ‘mid the clouds of Fame’s bright sky,
Thy banner’s blazoned folds now fly,
And truth shall lift them higher.

… sort of.

Think about love and Romeo and Juliet always seem come to mind. The story is ancient, but still continues to speak to us; it continues to be remade and recycled even to this day. As we all know, it’s doesn’t end well for the lovers. So, if you’re making Valentine’s Day plans, better steer clear of wooing your partner with references to R. or J.

Instead of the play, you could put on this music by Tchaikovsky, which has become the unofficial music of passionate love, found in all sorts of cartoons, commercials, and other entertainment (the best example of this being, of course, Ren & Stimpy.)

And, if you’re single this weekend, you can still enjoy this music, knowing those blasted lovers don’t get to experience the happiest of endings.