Coleridge-Taylor: Four Characteristic Waltzes
Maya Magub (violin), Matthew Schellhorn (piano)
Maya Magub and Matthew Schellhorn play these decorous yet strong-centred dances with palpable affection. Magub brings a suitable sweetness to her sound and phrasing, while Schellhorn offers...
Coleridge-Taylor: Four Characteristic Waltzes
Maya Magub (violin), Matthew Schellhorn (piano)
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Maya Magub and Matthew Schellhorn play these decorous yet strong-centred dances with palpable affection. Magub brings a suitable sweetness to her sound and phrasing, while Schellhorn offers...
About
World premiere recording to celebrate the 150th anniversary of Samuel Coleridge-Taylor (1875-1912)
Maya Magub writes:
'The Four Characteristic Waltzes were written in 1903. Samuel Coleridge-Taylor had already written his most famous work, the cantata trilogy 'Hiawatha,' and, just a year later in 1904, would come his ground-breaking invitation to America. There, Coleridge-Taylor was received (including by the President himself at the White House) as a musical celebrity and important ambassador for racial equality and hope. Before this, however, he was already interested in exploring his African American slavery roots and infusing his musical language with the music of his ancestors. He expressed the desire to do for his music what Dvořák had done for Slavonic folk music.
The waltzes are not Coleridge-Taylor’s most ambitious work. They are, however, perfect concert pieces for violin and piano, delightful to listen to and deceptive in their apparent simplicity. They masterfully explore every character the waltz can embody. Here, we get the serenity of No. 3.
Recorded at Menuhin Hall, Cobham, Surrey, 16 August 2024
Executive Producers – Emma Pauncefort, Tom Pauncefort
Producers – Emma Pauncefort, Maisie Lewis, Maya Magub, Matthew Schellhorn
Engineer – Ben Connellan
Contents and tracklist
Awards and reviews
October 2025
Maya Magub and Matthew Schellhorn play these decorous yet strong-centred dances with palpable affection. Magub brings a suitable sweetness to her sound and phrasing, while Schellhorn offers spirited pianism by way of partnership; and, appropriately, the pair highlight plenty of characterisation throughout.