Coleridge-Taylor: Hiawatha's Wedding Feast (CD review)

Also, Dvorak: Symphonic Variations. Richard Lewis, tenor; Royal Choral Society; Sir Malcolm Sargent, Philharmonia Orchestra. IDIS 6672.

Samuel Coleridge-Taylor (1875-1912) was an English composer of such distinction in his relatively short musical life that some of his admirers at the time referred to him as the "African Mahler." Today, people hardly recognize him at all, or if they do, they confuse him with the English Romantic poet Samuel Taylor Coleridge, after whom the composer's mother named him.

In any case, in 1898 Coleridge-Taylor, with the help of conductor and composer Edward Elgar, premiered his cantata for chorus and orchestra Hiawatha's Wedding Feast, Op. 30, No. 1, which pretty much made his name. Apparently, Longfellow's poem "The Song of Hiawatha" inspired the composer (he would even later name his son Hiawatha), and with the success of Hiawatha's Wedding Feast, Coleridge-Taylor went on to write two sequels for a Hiawatha Trilogy.

Then, in the early 1920's, about a decade after Coleridge-Taylor's early death from pneumonia, the Royal Albert Hall began a series of yearly productions of the Hiawatha music, mostly conducted by Sir Malcolm Sargent, who recorded the material several times, the final one being the recording we have here. It's a 1962 studio recording, made on the fiftieth anniversary of the composer's death.

The disc presents Coleridge-Taylor's work in four sections: "Introduction: You shall hear"; "He was dressed in shirt"; "Onaway! Awake, beloved!"; and "Thus the gentle Chibiabos."

I doubt that anyone before or since has captured the spirit of Coleridge-Taylor's music better than Sir Malcolm in this '62 performance. Even today his interpretation sounds fresh and alive, the melodies carefully and lovingly presented. Most important, the chorus sings with feeling and precision, and tenor Richard Lewis sounds quite elegant in the famous aria "Onaway! Awake, beloved," which became something of a hit tune among tenors in the first half of the twentieth century.

The chorus sings with rigorous articulation and a zesty affection for the music. Sargent chooses moderate tempos throughout, one assumes speeds and phrasing well thought out and well tested over the years.

Sir Malcolm Sargent
One doesn't see many new recordings of this music anymore, which is a good reason why Sargent still has practically the field to himself. I suspect that modern audiences find the music rather old-fashioned, perhaps even corny, redundant, and dull; therefore, record companies are reluctant to record it. Meanwhile, we have Sargent's recording, which will suffice, no doubt, for many years to come.

In addition to Hiawatha's Wedding Feast, the disc contains a studio recording of Antonin Dvorak's Symphonic Variations, Op. 78, again with Sir Malcolm and the Philharmonia, this time from 1959. The Dvorak work begins very gently and proceeds from the tranquil main theme through twenty-seven variations, all of which Sir Malcolm negotiates with ease, nicely bringing out the Czech spirit of the piece. It's actually a delightful and probably underappreciated piece of music. I'm glad we have Sargent's reading around as a reminder how good it can be.

As I say, Sir Malcolm made the Coleridge-Taylor recording in 1962, and at the time EMI released it. I owned the vinyl LP for many years until it became a casualty of the CD era. I always figured to replace it, but when EMI finally did issue it on compact disc, I must have missed out. Since then, EMI and other record studios have reissued it on CD, and I believe it may still be available on Classics for Pleasure and a few other labels. Now, the folks at the Italian record company IDIS (Istituto Discografico Italiano) have come along with their 2013 remastering of the work.

The only snag: I'd swear both the Coleridge-Taylor and Dvorak works are in monaural. I'd also swear Sir Malcolm recorded the Coleridge-Taylor in stereo and that my old LP was in stereo. So what's going on? Nowhere on the IDIS packaging or on the disc itself could I find any indication of mono or stereo, and my e-mail to IDIS went unanswered. My conclusion: Either this remastering is in monaural, or it's the narrowest stereo I've ever heard.

That said, the sound quality (mono or stereo, who knows) is quite good in both pieces. It's full and rich, with no undue brightness in the upper midrange or treble and no edge on the voices. There is also a fairly wide dynamic range and fine transparency throughout, with only the faintest hint of background noise. The frequency response is a bit limited, though, and there is a slight softness to the upper treble; otherwise, the sound appears reasonably natural and well balanced.


To listen to a brief excerpt from this album, click here:

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Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
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I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

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"Their Master's Voice" by Michael Sowa

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