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Samuel Coleridge-Taylor (1875-1912)


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Author Topic: Samuel Coleridge-Taylor (1875-1912)  (Read 1608 times)
Albion
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Frederic Cowen (1852-1935)


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« Reply #60 on: June 11, 2021, 08:45:24 pm »

I see the the RCM has now put a copyist's MS of The Atonement on IMSLP as well as the holograph. I have started perusing the latter which they put up on Monday and so far as I can tell, it is the original, complete version. There is a lengthy cut marked by chinagraph crosses at one point which I imagine must reflect the bowdlerised version. I'll see, once the copyist's MS has satisfied the copyright police, whether the passage indicated to be cut makes it into that version or not. In four of the five sections, the copyist's MS has a few more pages than the holograph but the Pontius Pilate section has a couple fewer. This suggests that, on the one hand, the copyist's script is rather less tiny than Coleridge's and, on the other, that there is a cut.

This will probably be of interest to no-one except Albion and me but it does at least mean that, should any enterprising group wish to perform or record The Atonement at some future date, they can do so (after a good deal of donkey work on preparing a printed score and parts). I'm not holding my breath, however, and I don't expect it will happen while I'm here to hear it!

Coleridge-Taylor's handwriting was notoriouisly spidery, as was Holbrooke's and equaully hard to deceipher. Evenings with a bright shiny threepence in in Florrie's kirtle were spent "no noubt hours pouring over many an a anarachnid holograph at the BL, RAM, RCM or the Bodleian....

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"A piece is worth your attention, and is itself for you praiseworthy, if it makes you feel you have not wasted your time over it." (Sydney Grew, 1922)

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