Catalogue

Summary:

“performances with an attractive warmth and character good to hear” - Andrew McGregor, BBC Radio 3

“… These varied, light works are lavishly orchestrated, expressive, and often emotional. They demonstrate great melodic ingenuity. The National Philharmonic plays the programme colourfully and vividly, not neglecting the composer’s lyrical romanticism.” ★★★★ - Remy Franck, Pizzicato

“Three cheers for this most enjoyable collection … spruce and infectiously committed advocacy from the Maryland-based National Philharmonic at Strathmore under Michael Repper … Curtis Stewart is the stylish soloist … Boasting eminently truthful sound, this enterprising release is certainly worth seeking out.” – Andrew Achenbach, Gramophone

“excels in violinistic fantasy … Stewart’s violin playing throughout is passionately committed … a sterling effort” ★★★★ – Jessica Duchen, BBC Music magazine

“I was particularly impressed by the enthusiasm of the conductor, Michael Repper, who is a champion of Coleridge-Taylor’s work, and Curtis Stewart’s skillful and appealingly original performance of the Ballade … these works deserve a modern listenership, providing a spirit of diversity and an international perspective that feels fresh and welcoming… let’s hear more music by this composer” – Linda Holt, ConcertoNet.com  

“Its [Ballade in D minor] performance by violinist Curtis Stewart captures its unusual harmonies and bold modulations. Stewart is a passionate advocate for all the violin works featured on this album, displaying a range of imaginative tone-colours, soft and sensitive when needed, as well as thrilling virtuosity…” - Mary Nemet, Stringendo 

“This isn’t exactly “standard” Coleridge-Taylor, if there is such a thing, but it offers great insight into the work of a composer who is just beginning to be understood.” ★★★★ – James Manheim, AllMusic.com

“Releases such as this one are important for helping to spread the word about Coleridge-Taylor’s music, of course, but they’re also invaluable for ensuring that pieces heretofore overlooked don’t disappear altogether but instead receive their rightful due as material deserving to be heard.” – Textura.org

“Violinist Stewart, the National Philharmonic and conductor Repper have brought this music to full life…” – Craig L Byrd, Cultural Attache

“Michael Repper and the National Philharmonic are drawing attention to Coleridge-Taylor through an AVIE disc that provides a reasonable introduction to his music and showcases its strengths … It is … worthwhile to hear a variegated program of Coleridge-Taylor’s music … the CD also offers an interesting chance to experience music that has lain fallow for more than a century” – Mark Estren, Infodad 

“This heavenly musical experience of a new recording begins with the sweepingly elegant Toussaint L’Ouverture, which at an impressive near 18 minutes long is a rather magical listening event, in and unto itself.” – Russell Trunk, Exclusive magazine

Grammy Award winning conductor Michael Repper leads the Washington D.C. based National Philharmonic in a celebration of Samuel Coleridge-Taylor – an album of world-premiere recordings commemorating the 150th anniversary of the composer’s birth. Joining the party is Grammy nominated violinist Curtis Stewart who contributes his own arrangements of the composer’s works.

AVIE Records was at the forefront of resurrecting the music of Samuel Coleridge-Taylor, with the world-premiere recording of his Violin Concerto released in 2004. This album features new performance editions of Toussaint L’Ouverture, Ballade Op. 4, and the Suite from ‘24 Negro Melodies.

‘I was drawn to an approach of dealing with the history of slavery within one’s family, the ownership of a name and its ‘rebranding’ – reflecting on the American Slave and how Black Americans deal with creating a sense of pride, familial storytelling and lineage in contemporary America. This notion of ‘rebranding’ extends to the ‘Negro Melody’… My intent with these arrangements is to acknowledge the impact of those melodies on current popular culture, and reflect that influence onto the orchestral stage – to create moments where listeners may participate vocally, with movement, or rhythmically clapping along – to maintain a sense of belonging and recognition – to create community around this music in the classical concert hall – to embrace where all contemporary American Concert music extends from, in my belief – America’s mother-music: the Blues.’ – Curtis Stewart

Tracklist:

SAMUEL COLERIDGE-TAYLOR (1875–1912)

1. Toussaint L’Ouverture (1901) 17:15

2. Ballade in D Minor for Violin and Orchestra, Op. 4 (1895) 12:54
Curtis Stewart, violin

3 Selections from “24 Negro Melodies” (1905/2022) 15:14
3. I. Deep River (America) arr. Curtis Stewart, Hamilton Berry 5:26
4. II. They Will Not Lend Me a Child (Southeast Africa) arr. Curtis Stewart and Andrew Roitstein 5:03
5. III. The Angels Changed My Name (America) arr. Curtis Stewart 4:45
Curtis Stewart, violin

Suite from “24 Negro Melodies” (1905) 21:17
(Orchestration Samuel Coleridge-Taylor; ed. Patrick Meadows, Lionel Harrison, 2012)
6. I. I’m Troubled in Mind (America) Op. 59 No. 14 4:57
7. II. Intermezzo – Don’t Be Weary, Traveler (America) Op. 59 No. 12 3:11
8. III. Scherzo – Ringendjé: Song of Conquest (South Africa) Op. 59 No. 5 3:04
9. IV. Lament – They Will Not Lend Me a Child (Southeast Africa) Op. 59 No. 4 4:22
10. V. Finale – Alla Marcia – Oloba (West Africa) Op. 59 No. 7 5:42

Total duration: 76:40

Recorded February 6-7, 2025, in the Rachel M. Schlesinger Concert Hall, Northern Virginia Community
College (Alexandria campus)
Produced by Judith Sherman
Engineered by Rick Jacobsohn | Editing assistant: Jeanne Velonis
Mastered by Jeanne Velonis and Judith Sherman