The turn of the twentieth century was an important time for artists of the Black Diaspora. Despite growing societal tensions, Black classical musicians established thriving careers, and their success is remembered to the present day. At this time, Afro-British composer Samuel Coleridge-Taylor (1875-1912) rose to the very top of the ranks and became a celebrated figure in the classical music world. He was greatly respected across England, Africa, and America, and he devoted his work to composing music that reflected his African heritage. In his career, he collaborated with other Black musicians and artists, and it is known that he inspired their works. Coleridge-Taylor was most celebrated for his orchestral works, and this is reflected in present performances and scholarship. However, he was also a prolific composer of solo piano music. This paper will give specific attention to Coleridge-Taylor’s solo piano works and explore the influence and interweaving of Black musical idioms into his music. There will also be an exploration of the solo piano music of his contemporaries and that of the following generation of composers, to trace the transatlantic and generational influence he held on those he encountered.
