Rachel Barton Pine, violinist, and Matthew Hagle, pianist, play "Gypsy Song" (1897) from the soundtrack of the movie Samuel Coleridge-Taylor and His Music in America.

Music: Samuel Coleridge-Taylor, Opus 20. No. 1

Samuel Coleridge-Taylor
and his music in America, 1900–1912

A film by Charles Kaufmann; a production of The Longfellow Chorus

View the primary trailer, the secondary trailer, the Norfolk trailer, and the trailer Deep River: A Tribute to Coleridge-Taylor and Maud Powell

View these inspiring film outtake videos:
Rodrick Dixon sings J. Rosamond Johnson's Nobody Knows the Trouble I See
and
Frances Walker: A Miraculous Journey - Coleridge-Taylor's 24 Negro Melodies

Read a synopsis of the film

View a slide show of stills and promo photos

Upcoming screenings

Contact the producer/director

Samuel Coleridge-Taylor and His in America on Subscribe to me on YouTube Follow LongfellowChrus on Twitter

VIEWER COMMENTS

(based on seventy-seven reviews)

Story   4.47   

Video Imagery   4.67   

Musical Performances   4.96   

Archival Images   4.70   

Overall   4.56   

"[This documentary] is exceptionally well done."
Joseph Horowitz, American cultural historian.

"We, the audience, enjoyed a well-crafted musical documentary, celebrating diversity, history and music driven by inspirational film-making."
—Dr. Andrea Guiati, Buffalo State Distinguished Teaching Professor, SUNY, College at Buffalo screening, April 9, 2014.

"The musical performances were incredibly moving and they really caused me to think about why Coleridge-Taylor's music/career was lost."
—SUNY, College at Buffalo screening, April 9, 2014.

"I liked how the film incorporated and overlapped the live [filmed performances] from today [with those from] the early 1900s. I loved the violinists."
—SUNY, College at Buffalo screening, April 9, 2014.

"This fine film, touching, informative, and inspiring, appears to be the work of a man with a mission. Charles Kaufmann seems determined to make Samuel Coleridge-Taylor a household name once more among music lovers, and has spared no pains in ferreting out fascinating details of the composer's personal and artistic development. To anyone interested in social history or musical history or both at a time of considerable ferment, this film can be wholeheartedly recommended."
—Review of the Boston University screening, March 17, 2014, in the
Boston Musical Intelligencer

"I went to the film as much for the history as the music, and being such a novice, I particularly liked the chronological nature of the film. And it was all new and interesting music and information."
—Boston University screening, March 17, 2014

"[A] great treasure trove of footage . . . . Thank you."
—Boston University screening, March 17, 2014

"Great film; great education. . . . I learned a great deal from all of it."
—Boston University screening, March 17, 2014

"I learned a lot from this film. It was very informative but also very interesting. . . . The music was brilliant."
—Boston University screening, March 17, 2014

"Handsome-looking film with a wealth of historical content and interviews."
—Boston University screening, March 17, 2014

"Thank you for speaking at the African American Music in World Culture: Art as Refuge & Strength in the Struggle for Freedom conference. We very much enjoyed your talk and the screening of your film on March 17. We are grateful that you were able to be part of the conference."
African American Studies Program, Boston University

"[An] important addition to American musical, African and documentary history."
—Oberlin College & Conservatory screening, February 18, 2014

"Much kudos to the wonderful performers. You really captured the rich culture of not only Samuel Coleridge-Taylor, but the prestigious legacy of black musicians, and the high caliber of music we create. Very organized and equal balance of story and performance."
—Oberlin College & Conservatory screening, February 18, 2014

"Absolutely remarkable performances!"
—Pasadena screening, October 8, 2013

"Great film providing background, not just on Coleridge-Taylor, but African–American performers."
—Pasadena screening, October 8, 2013

"I loved how Coleridge-Taylor's music was the centerpiece of this film, not only that, but the director's passion in music really shone."
—Pasadena screening, October 8, 2013

"I thought the orchestra and chorus sounded exquisite, as well as the direction of the film. The quality was well done."
—Pasadena screening, October 8, 2013

"What I saw was fascinating and the musical selections wonderful, especially the Violin Concerto. I also liked the archival footage. Thanks for your research and effort to renew his legacy."
—Pasadena screening, October 8, 2013

"You certainly have done a masterful job of portraying the accomplishments of Samuel Coleridge-Taylor. All of the music in the movie was truly beautiful. What a great place to come to see the film."
—Norfolk screening, June 19, 2013

"Wow - a beautiful tribute to a composer who deserves universal and renewed attention and respect. Gorgeous performances!"
—Portland screening, March 16, 2013

"Great broad story with SC-T's interaction with other people and individuals. Wonderfully and exceptionally done!!"
—Portland screening, March 16, 2013

"Bravo! Beautiful voice, orchestra and overall story!"
—Portland screening, March 16, 2013

"Kept my attention - a plus, given it's a documentary. Bravo! for doing this."
—Portland screening, March 16, 2013

"It made my eyes water and my spine tingle."
—Portland screening, March 16, 2013

"SC-T is a cult, a religion, a master. Bravo Maestro."
—Dr. William Tortolano, March 25, 2013

"Congrats on this stunning achievement! You are really spreading the message of C-T! Bravo!"
—John McLaughlin Williams, Grammy-award winning conductor and violinist, March 26, 2013

"We congratulate you and all the many people who were involved. . . SC-T must be sitting on a cloud somewhere rejoicing in the laurels that are rightly his."
—Karen A. Shaffer and Pamela Blevins, the Maud Powell Society, March 31, 2013