66-610: The Curwen Press was founded by the Reverend John Curwen in 1863 to publish sheet music for the " tonic sol-fa " system. The Press was based in Plaistow, Newham , east London, England, where Curwen was a pastor from 1844. The Curwen Press is best known for its work in the period 1919–1939. The Press's output included books, advertising posters and published ephemera which typically used three interrelated elements: typography, decoration, and publicity which together give
132-469: A Quadrimestrial of typography and the graphic arts, Signature was published between 1935–1940 and 1946–1954 (new series). Printed by the Press, Signature featured original and formative graphic work and writings by relatively new artists such as Graham Sutherland, John Piper and Eric Ravilious. it has been said that 'no journal can make a greater claim to have stimulated the taste that became Neo-Romanticism,'
198-404: A brand awareness. This included a playful use of the unicorn as a means of corporate identity at a time when the general printing industry had a very conservative approach. The creation of 'clip art' - premade images used for illustration - and the experimentation with inks that had an almost fluorescent intensity helped to define the house style of the Press. The ownership of a brand was enhanced by
264-531: A champion of lost works by black composers, also revived Coleridge's Hiawatha's Wedding Feast in a performance commemorating the composition's 100th anniversary with the Cambridge Community Chorus at Harvard's Sanders Theatre in the spring of 1998. In 2006, Meadows finished engraving the first edition of Coleridge-Taylor's Symphony in A minor. Meadows has also transcribed from the RCM manuscript
330-683: A composer-conductor. Samuel Coleridge-Taylor was born at 15 Theobalds Road in Holborn , London, to Alice Hare Martin (1856–1953), an Englishwoman, and Daniel Peter Hughes Taylor, a Krio man from Sierra Leone who had studied medicine in London and later became an administrator in West Africa. They were not married, and Daniel had returned to Africa without learning that Alice was pregnant. (Alice's parents had not been married at her birth, either.) Alice named her son Samuel Coleridge Taylor (without
396-555: A hallmark of the Curwen brand, as was the ability to offer clients in house-services regarding advertising and publicity that, at that time, made the Curwen Press a unique one-stop shop. The original music business concentrated on choral and solo vocal music, both sacred and secular, for home, school, church or professional use. Composers published included Coleridge-Taylor , William Hurlstone , and Hugh S. Roberton , whose All in
462-515: A hyphen), after the poet Samuel Taylor Coleridge . Alice lived with her father, Benjamin Holmans, and his family after Samuel was born. Holmans was a skilled farrier and was married to a woman who was not Alice's mother, with whom he had four daughters and at least one son. Alice and her father called her son Coleridge. In 1887 she married George Evans, a railway worker, and lived in Croydon on
528-594: A large costumed ballet version of The Song of Hiawatha at the Royal Albert Hall , performed by the Royal Choral Society (600 to 800 singers) and 200 dancers. Coleridge-Taylor's greatest success was undoubtedly his cantata Hiawatha's Wedding Feast , which was widely performed by choral groups in England during Coleridge-Taylor's lifetime and in the decades after his death. Its popularity
594-469: A new housing development in the north of the town was named Curwen Park. Samuel Coleridge-Taylor Samuel Coleridge-Taylor (15 August 1875 – 1 September 1912) was a British composer and conductor. Of mixed-race descent, Coleridge-Taylor achieved such success that he was referred to by white musicians in New York City as the "African Mahler " when he had three tours of
660-602: A simple way of teaching how to sing by note through his experiences among Sunday school teachers. Stemming from his religious and social beliefs, Curwen thought that music should be easily accessible to all classes and ages of people. Apart from Glover, similar ideas had been elaborated in France by Pierre Galin (1786–1821), Aimé Paris (1798–1866) and Emile Chevé (1804–1864), whose method of teaching how to read at sight (the Galin-Paris-Chevé system ) also depended on
726-463: A street adjoining the railway line. There were numerous musicians on Taylor's mother's side, and her father played the violin, teaching it to his grandson from an early age. Taylor's musical ability quickly became apparent, and his grandfather paid for him to have violin lessons. The extended family arranged for Taylor to study at the Royal College of Music from the age of 15. He changed from
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#1732772439324792-494: A term applied to the imaginative and often quite abstract landscape- based painting of Paul Nash, Graham Sutherland, John Piper and others in the late 1930s and 1940s. It was Simon, though Signature , who published Sutherland's new style of painting first, and the first series provided a sustained support and exposure for certain artists, most notably Sutherland, Piper, Freedman, Ravilious and Bawden. Harold Curwen pioneered several strategies that could be identified today as building
858-591: Is often attributed to the stress of his financial situation. He was buried in Bandon Hill Cemetery , Wallington, Surrey (today in the London Borough of Sutton ). Too young to die: his great simplicity, his happy courage in an alien world, his gentleness, made all that knew him love him. Coleridge-Taylor's work continued to be popular. He was later championed by conductor Malcolm Sargent . Between 1928 and 1939, Sargent conducted ten seasons of
924-467: Is possible that he had read Marie Corelli 's 1887 "Nordic" novel Thelma (it appears that the name "Thelma" may have been created by Corelli for her heroine). Coleridge-Taylor composed Thelma between 1907 and 1909; it is alternatively entitled The Amulet . The full score and vocal score in the British Library are both in the composer's hand – the full score is unbound but complete (save that
990-751: The Haytian Dances , a work virtually identical to the Noveletten but with a fifth movement inserted by Coleridge-Taylor, based on the Scherzo of the symphony. This work is for string orchestra , tambourine and triangle . The Nash Ensemble 's recording of the Piano Quintet was released in 2007. Coleridge-Taylor's only large-scale operatic work, Thelma , was long believed to have been lost. As recently as 1995, Geoffrey Self in his biography of Coleridge-Taylor, The Hiawatha Man , stated that
1056-737: The BBC Scottish Symphony Orchestra under Martyn Brabbins (on Hyperion Records ), and Lorraine McAslan and the London Philharmonic Orchestra conducted by Nicholas Braithwaite (on the Lyrita label). It was also performed at Harvard University 's Sanders Theatre in the autumn of 1998 by John McLaughlin Williams and William Thomas, as part of the 100th-anniversary celebration of the composition of Hiawatha's Wedding Feast . On 19 July 2023 it
1122-622: The Chineke! Orchestra with Kalena Bovell . On 1 September 2023 Coleridge-Taylor's Four Novelletten received its Proms premiere by the Chineke! Orchestra with Anthony Parnther . The American composer Coleridge-Taylor Perkinson (1932-2004) was named after Samuel Coleridge-Taylor. In 1999, freelance music editor Patrick Meadows identified three important chamber works by Coleridge-Taylor that had never been printed or made widely available to musicians. A handwritten performing parts edition of
1188-512: The Three Choirs Festival . His "Ballade in A minor" was premiered there. His early work was also guided by the influential music editor and critic August Jaeger of music publisher Novello ; he told Elgar that Taylor was "a genius". On the strength of Hiawatha's Wedding Feast , which was conducted by Professor Charles Villiers Stanford at its 1898 premiere and proved to be highly popular, Coleridge-Taylor made three tours of
1254-495: The 1931 Curwen Press Miscellany, the 1928 Specimen Book and the 1928 Book of Pattern Papers are enduring examples. A book produced to the design, and choice of material, of typographer Oliver Simon, and executed by Harold Curwen's technical team, made use of margins, typeface, spacing and materials produced a distinctive appearance associated with good quality. In 1945 Simon authored a book on his principles of typography. Simon also edited and published Signature magazine . Subtitled
1320-488: The African-American poet Paul Laurence Dunbar in London, Taylor set some of his poems to music. A joint recital between Taylor and Dunbar was arranged in London, under the patronage of US ambassador John Milton Hay . It was organised by Henry Francis Downing , an African-American playwright and London resident. Dunbar and other black people encouraged Coleridge-Taylor to draw from his Sierra Leonean ancestry and
1386-675: The American violinist Maud Powell . The American performance of the work was subject to rewriting because the parts were lost en route —not, as legend has it, on the RMS Titanic but on another ship. The concerto has been recorded by Philippe Graffin and the Johannesburg Philharmonic Orchestra under Michael Hankinson (nominated "Editor's Choice" in Gramophone magazine), Anthony Marwood and
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#17327724393241452-491: The April Evening was a big success in 1911. Many more British works were added to the catalogue by Granville Bantock , Rutland Boughton , Walford Davies , Charles Villiers Stanford and Vaughan Williams, among others. The sheet music division regained its independence in the 1930s. J Curwen & Sons was acquired by G Schirmer Ltd in 1969 and has been part of Wise Music Group since 1986. The Harold Curwen era of
1518-561: The British had established as a colony for free blacks. The Black Loyalists joined free blacks (some of whom were also African Americans) from London, and were joined by maroons from Jamaica , and slaves liberated at sea from illegal slave ships by the British navy. At one stage Coleridge-Taylor seriously considered emigrating to the United States, as he was intrigued by his father's family's past there. In 1904, on his first tour to
1584-501: The Curwen Press into the 1970s, when it was closed. The Sol-fa system was widely adopted for use in education, as an easily teachable method in the reading of music at sight, but its more ambitious aims for providing a superior method of musical notation have not been generally adopted. In 1872, Curwen changed his former course of using the Sol-fa system as an aid to sight reading, when that edition of his Standard Course of Lessons excluded
1650-765: The Curwen Print Study Centre. This article about a publishing company in the United Kingdom is a stub . You can help Misplaced Pages by expanding it . John Curwen John Curwen (14 November 1816 – 26 May 1880) was an English Congregationalist minister and diffuser of the tonic sol-fa system of music education created by Sarah Ann Glover . He was educated at Wymondley College in Hertfordshire , then Coward College as that institution became known when it moved to London, and finally University College London . John Curwen
1716-458: The Curwen name as synonymous with fine art and printing. Due to Simon's encouragement and commissioning of a broad range of artists to produce lithographs, the Studio maintained the hand-drawn creativity which the Curwen Press had displayed between the wars. Artists included sculptors such as Elizabeth Frink, Barbara Hepworth and Henry Moore, alongside a new younger generation of who wanted to explore
1782-760: The Piano Quintet, from the original in the Royal College of Music (RCM) Library, had been prepared earlier by violinist Martin Anthony Burrage of the Royal Liverpool Philharmonic . The first modern performance of the Piano Quintet was given on 7 November 2001 by Burrage's chamber music group, Ensemble Liverpool / Live-A-Music in Liverpool Philharmonic Hall . The lunchtime recital included the Fantasiestücke . Live recordings of this performance are lodged with
1848-399: The Press a unique and memorable style. The work of the Press provides important evidence that the fine printing of the interwar years was not confined to private presses. The Curwen Press, under the management of Harold Curwen, John's grandson, was at the vanguard of the design revolution that saw expression in British printing in the early 20th century. An underlying ethos of the Curwen Press
1914-496: The Press ended just before the Second World War. Mental health difficulties led to his early retirement, although he remained in contact with the Press as shareholder and Board member until his death in 1949. Oliver Simon, who had joined the Press in 1920 went on to lead the Press on Harold Curwen's retirement. The Press was bombed several times during the Second World War, and the building was rebuilt substantially after
1980-560: The Press's publication of pamphlets and books such as the Curwen Press Newsletter for customers which created a marketing dimension that was not exploited by other printers. This reinforced a house style which used newspapers and trade magazines to promote the Curwen brand. Harold Curwen sought to instill pride and a sense of ownership in his employees and customers through the promotion of excellence in mechanical printing. An attention to detail, even in routine work, became
2046-637: The RCM and the British Library . The artists were Andrew Berridge (violin), Martin Anthony (Tony) Burrage (violin), Joanna Lacey (viola), Michael Parrott (cello) and John Peace (piano). After receiving copies of the work from the RCM in London, Patrick Meadows made printed playing editions of the Nonet, Piano Quintet and Piano Trio. The works were performed in Meadows's regular chamber music festival on
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2112-659: The Tonic Sol-Fa College was opened. Curwen also began publishing, and brought out a periodical called the Tonic Sol-fa Reporter and Magazine of Vocal Music for the People , and in his later life was occupied in directing the spreading organisation of his system. With his son, John Spencer Curwen (1847–1916) who later became principal of the Tonic Sol-Fa College, Curwen incorporated the J. Curwen & Sons publishing firm in 1863. This firm continued as
2178-468: The Tonic Sol-fa the seven letters refer to key relationship (relative pitch) and not to absolute pitch. Curwen utilised the first letter (lower case) of each of the solmisation tones (do, re, me, fa, sol, la, ti), and a rhythmic system that used bar lines (prefixing strong beats), half bar lines (prefixing medium beats), and semicolons (prefixing weak beats) in each measure. Curwen felt the need for
2244-431: The United States in 1904, 1906, and 1910. In the United States, he became increasingly interested in his paternal racial heritage. Coleridge-Taylor participated as the youngest delegate at the 1900 First Pan-African Conference held in London, and met leading Americans through this connection, including the poet Paul Laurence Dunbar and the scholar and activist W. E. B. Du Bois . Coleridge-Taylor's father Daniel Taylor
2310-468: The United States in the early 1900s. He was particularly known for his three cantatas on the epic 1855 poem The Song of Hiawatha by American Henry Wadsworth Longfellow . Coleridge-Taylor premiered the first section in 1898, when he was 23. He married an Englishwoman, Jessie Walmisley, and both their children had musical careers. Their son, Hiawatha, adapted his father's music for a variety of performances. Their daughter, Avril Coleridge-Taylor , became
2376-540: The United States, Coleridge-Taylor was received by President Theodore Roosevelt at the White House, a rare event in those days for a man of African descent. His music was widely performed and he had great support among African Americans. Coleridge-Taylor sought to draw from traditional African music and integrate it into the classical tradition, which he considered Johannes Brahms to have done with Hungarian music and Antonín Dvořák with Bohemian music. Having met
2442-414: The discovered manuscripts (including copious typeset examples). The work subsequently appeared as such on the catalogue of the British Library. Thelma is a saga of deceit, magic, retribution and the triumph of love over wickedness. The composer followed Richard Wagner 's manner in eschewing the established "numbers" opera format, preferring to blend recitative, aria and ensemble into a seamless whole. It
2508-464: The extensive and influential series Mrs. Curwen's Pianoforte Method based on her adaptation for the piano of John Curwen's method for voice. Curwen's system was designed to aid in sight reading of the stave with its lines and spaces. He adapted it from a number of earlier musical systems, including the Norwich Sol-fa method of Sarah Ann Glover (1785–1867) of Norwich . Her Sol-fa system
2574-407: The full score he occasionally forgets himself and writes "Thelma" instead of "Freda"). Perhaps Coleridge-Taylor changed the name of his heroine (and might have changed the name of the opera, had it been produced) to avoid creating the assumption that his work was a treatment of Corelli's then very popular novel. Since that precaution is scarcely necessary today, Meadows and Harrison decided to revert to
2640-538: The island of Mallorca , and were well received by the public as well as the performers. The first modern performances of some of these works were done in the early 1990s by the Boston, Massachusetts-based Coleridge Ensemble, led by William Thomas of Phillips Academy , Andover . This group subsequently made world premiere recordings of the Nonet, Fantasiestücke for string quartet and Six Negro Folksongs for piano trio, which were released in 1998 by Afka Records. Thomas,
2706-412: The manuscript of Thelma had not been located, and that the piece may have been destroyed by its creator. While researching for a PhD on the life and music of Samuel Coleridge-Taylor, Catherine Carr unearthed the manuscripts of Thelma in the British Library . She assembled a libretto and catalogued the opera in her thesis, presenting a first critical examination of the work by a thorough investigation of
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2772-709: The medium which Harold Curwen had championed decades earlier. The general story of the Curwen Press is told in Herbert Simon's book: Song and Words . In 1977, the Tate Gallery held an exhibition called Artists at Curwen: A Celebration of the Gift of Artists' Prints from the Curwen Studio . The Curwen Press closed in 1984. The site was redeveloped and a nearby primary school maintains the Curwen name. The Curwen Studio survives as an independent studio. and as
2838-439: The music distribution through publication. The popular Hiawatha's Wedding Feast sold hundreds of thousands of copies, but Coleridge-Taylor had sold the music outright for the sum of 15 guineas , so did not benefit directly. He learned to retain his rights and earned royalties for other compositions after achieving wide renown but always struggled financially. Coleridge-Taylor was 37 when he died of pneumonia . His death
2904-469: The music of the African continent. His standing caused Coleridge-Taylor to be invited to judge at music festivals. He was said to be personally shy but was still effective as a conductor. Composers were not handsomely paid for their music, and they often sold the rights to works outright in order to make immediate income. This caused them to lose the royalties earned by the publishers who had invested in
2970-490: The organ loft. Hiawatha's Wedding Feast is still occasionally revived. Coleridge-Taylor also composed chamber music , anthems, and the African Dances for violin, among other works. The Petite Suite de Concert is still regularly played. He set one poem by his namesake Samuel Taylor Coleridge , " Kubla Khan ". Coleridge-Taylor was greatly admired by African Americans; in 1901, a 200-voice African-American chorus
3036-532: The original Thelma . There are minor discrepancies between the full score and the vocal score (the occasional passage occurring in different keys in the two, for example), but nothing that would inhibit the production of a complete, staged performance. Thelma received its world première in Croydon 's Ashcroft Theatre in February 2012, the centenary year of the composer's death, performed by Surrey Opera , using an edition prepared by Stephen Anthony Brown. It
3102-590: The other in St Leonards Road, Croydon, at the house where he died. A metal figure in the likeness of Coleridge-Taylor has been installed in Charles Street, Croydon. A two-hour documentary, Samuel Coleridge Taylor and His Music in America, 1900–1912 (2013), was made about him and includes a performance of several of his pieces, as well as information about him and his prominent place in music. It
3168-413: The poetic figure , and a daughter Gwendolen Avril (1903–1998). Both had careers in music: Hiawatha adapted his father's works. Gwendolen started composing music early in life, and also became a conductor-composer; she used the professional name of Avril Coleridge-Taylor . By 1896, Coleridge-Taylor was already earning a reputation as a composer. He was later helped by Edward Elgar , who recommended him to
3234-565: The principle of tonic relationship being taught by the reference of every sound to its tonic, and by the use of a numeric notation. Curwen adapted French time names from Paris' Langue de durées . Curwen brought out his Grammar of Vocal Music in 1843, and in 1853 started the Tonic Sol-Fa Association. The Standard Course of Lessons on the Tonic Sol-fa Method of Teaching to Sing was published in 1858. In 1879
3300-472: The reproduction process. What artists themselves clearly appreciated was the preservation by Curwen of the harmony and resonance of their designs. In 1934 Curwen authored a book on processes of graphic reproduction. Publicity material made up much of the work of the Press. This included printing advertising posters for London Transport, produced lithographically by the craftsmen of the Press from original art work. The Press also created its own publicity of which
3366-730: The staff and relied solely on Curwen's Tonic Sol-fa system. Curwen technically did not invent Tonic Sol-fa. Rather he developed a distinct method of applying it in music education, including both rhythm and pitch. The name and current form can be traced to Curwen. Curwen is remembered in Heckmondwike with a memorial in the Green Park and by the John Curwen Cooperative Primary, by Curwen Primary School in Plaistow, London, and by Curwen Crescent, and in 2007
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#17327724393243432-546: The violin to composition, working under Charles Villiers Stanford . After completing his degree, he became a professional musician; he was appointed a professor at the Crystal Palace School of Music and began conducting the orchestra at the Croydon Conservatoire. He later used the name "Samuel Coleridge-Taylor", with a hyphen, said to be following a printer's error. In 1894 Taylor's father
3498-415: The vocal parts do not have the words after the first few folios) but the vocal score is bound (in three volumes) and complete with words. Patrick Meadows and Lionel Harrison prepared a type-set full score, vocal score and libretto (the librettist is uncredited and may be Coleridge-Taylor himself). As to the heroine of the title, the composer changed her name to "Freda" in both full and vocal scores (although in
3564-688: The war. The store of lithographic plates was destroyed in the Blitz. On Oliver Simon's death in 1956 the chairmanship passed to Herbert (Bobby) Simon, Oliver's younger brother, who had joined the Press in 1933. In 1958 Herbert established the Curwen Studio, under the technical management of Stanley Jones. The studio was set up as permanent professional studio to provide both artists and publishers with facilities that were pioneering and long overdue in Britain at that time. It supported an era of British avant-garde printmaking that lasted decades, and further cemented
3630-404: The way forward, Curwen believed that the imaginative artist should exert some control over how their design was being replicated and so encouraged artists to work alongside printers to learn the technical processes of illustration, particularly lithography. In this way, how the work of artists could be most effectively reproduced was balanced by how artists might render their work more sympathetic to
3696-917: Was a Non-conformist minister, as John was also from 1838 until 1864. Curwen gave up full-time ministry to devote himself to his new method of musical nomenclature. He established the Tonic Sol-Fa Press in Plaistow , where he had been a minister, and in 1879 the Tonic Sol-Fa college (later the Forest Gate School of Music ) in Forest Gate . Curwen married Mary Thompson (1816–1890) in May 1845. They had four children – Margaret, John Spencer, Spedding and Thomas Herbert. Curwen died at Heaton Mersey , Stockport on 26 May 1880. His son John Spencer married Annie Jessy Gregg , who went on to write
3762-653: Was a descendant of the Curwens of Workington Hall in Cumbria, one of the oldest families in England, the male line proper being a direct descent from Eldred, a pre-Norman Englishman, whose son Ketel held lands in the Barony of Kendal. Orm, Ketel's son, inherited the Cumbrian manor of Workington. Curwen was born 14 November 1816, at Heckmondwike , West Riding of Yorkshire, the son of Spedding Curwen and Mary Jubb. His father
3828-473: Was appointed a coroner in the colony of Gambia . In 1899 Coleridge-Taylor married Jessie Walmisley, whom he had met as a fellow student at the Royal College of Music. Six years older than he, Jessie had left the college in 1893. Her parents objected to the marriage because Taylor was of mixed-race parentage, but relented and attended the wedding. The couple had a son, named Hiawatha (1900–1980) after
3894-656: Was based on the ancient gamut ; but she omitted the constant recital of the alphabetical names of each note and the arbitrary syllable indicating key relationship, and also the recital of two or more such syllables when the same note was common to as many keys (e.g. C, Fa, Ut, meaning that C is the subdominant of G and the tonic of C). The notes were represented by the initials of the seven syllables, still in use in Italy and France as their names. Curwen taught himself to sight-read based on Glover's Norwich Sol-fa, made alterations and improvements, and named his method Tonic Sol-fa . In
3960-596: Was descended from African-American slaves who were freed by the British and evacuated from the colonies at the end of the American War of Independence ; some 3,000 of these Black Loyalists were resettled in Nova Scotia . Others were resettled in London and the Caribbean. In 1792 some 1200 blacks from Nova Scotia chose to leave what they considered a hostile climate and society, and moved to Sierra Leone , which
4026-793: Was founded in Washington, D.C. , named the Samuel Coleridge-Taylor Society. He visited the United States three times in the early 1900s, receiving great acclaim, and earned the title "the African Mahler" from the white orchestral musicians in New York in 1910. Public schools were named after him in Louisville, Kentucky , and in Baltimore , Maryland. Coleridge-Taylor composed a violin concerto in 1912 for
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#17327724393244092-399: Was largely in the hands of Harold Curwen who encouraged artists such as Claud Lovat Fraser , Paul Nash , and latterly Eric Ravilious , Edward Bawden , Barnett Freedman and Enid Marx, from the same year of the Royal College of Art, to undertake work for the Press. Commissions included pattern papers, vignettes, and borders as well as illustration. While the mechanical method of printing was
4158-471: Was performed at the BBC Proms with Elena Urioste as soloist with the BBC National Orchestra of Wales under Tadaaki Otaka . Lists of Coleridge-Taylor's compositions and recordings of his work and of the many articles, papers and books about Coleridge-Taylor's life and legacy are available through the Samuel Coleridge-Taylor Foundation and the Samuel Coleridge-Taylor Network. There are two blue plaques in his memory, one in Dagnall Park, South Norwood, and
4224-522: Was rivalled only by the choral standards Handel 's Messiah and Mendelssohn 's Elijah . The composer soon followed Hiawatha's Wedding Feast with two other cantatas about Hiawatha, The Death of Minnehaha and Hiawatha's Departure . All three were published together, along with an Overture, as The Song of Hiawatha , Op. 30. The tremendously popular Hiawatha seasons at the Royal Albert Hall, which continued until 1939, were conducted by Sargent and involved hundreds of choristers, and scenery covering
4290-540: Was that its craftsmanship could and should take both craftsman and consumer on an emotional and aesthetic voyage. Harold Curwen considered that using contemporary independent artists would significantly enhance printed matter for publicity purposes. His belief was that the imaginative skills of an artist could not be acquired through training and gave an artist an advantage in their design work. In return that applied artist-designer would acquire something from their commercial practice to take back into their fine art. Decoration
4356-517: Was written and directed by Charles Kaufmann, and produced by The Longfellow Chorus. A feature animation, The Samuel Coleridge-Taylor Story (2013), was made about him, written and directed by Jason Young. It was screened as part of Southwark Black History Month and Croydon Black History Month in 2020. Chi-chi Nwanoku presented in 2017 on the Sky Arts series Passions a program about Samuel Coleridge-Taylor. On 26 August 2021 Coleridge-Taylor's Symphony in A minor received its Proms premiere by
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