The Song of Hiawatha, Samuel Coleridge-Taylor’s setting of Henry Longfellow’s poem, comes to the Edinburgh international festival next week. It’s the first time the work will be performed there, a very belated premiere for the three-part cantata that sealed the composer’s reputation nationally and internationally, inspiring Coleridge-Taylor societies in the US, and making him the world’s best-known Black classical composer of the Edwardian era, before his tragically early death at the age of just 37 in 1912.
The performance history of The Song of Hiawatha makes for an astounding story. In the early years of the 20th century the work quickly became a sensation, with hundreds of performances on both sides of the Atlantic. In 1924, and then every year from 1926 to 1939, the Royal Albert Hall housed a spectacular and vast staging that involved around 1,000 performers – 200 dancers and hundreds of singers of the Royal Choral Society – dressed up to play out a series of exoticised and racialised caricatures to be part of the pageant of Hiawatha, Minnehaha and their tribespeople. The Mohawk chief also performed in the shows, granting an apparent authenticity to The Song of Hiawatha’s dramaturgy.
