CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 MUSIC 
 
Cornell University Library 
 ML 396.B94 
 
 The organists & composers of S. Paul's c 
 
 3 1924 022 191 880 
 
Cornell University 
 Library 
 
 The original of tliis book is in 
 tlie Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
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THE 
 
 OF 
 
 ^. i^aul'g ©atfieirral. 
 
THE S. PAUL'S CATHEDKAL ORGAN, 
 
 As IT Appeared upon the Sceeen, from 1697 till 1860. 
 
 {From a Sketch puhlisked in the Ilandhooh to S. Paul's, 
 hy E. M. Cummings. Dean's Verger, 1867). 
 
 Tha case was soniewliat modified in 1SV2 to suit its altered position, but its 
 general aspect lemaius the same. 
 
Hh — — — " - — ->^ 
 
 Z1bTE 
 
 ©rganists &, Composers 
 
 S. Ip>aur8 Catbebral. 
 
 3obn S. Bumpue 
 
 (Member of tbe S. ©aul's Bcclesiologfcal Societg.) 
 
 " The Lord hath been mindful of us, ^nd He shall bless ub . . . . 
 He shall bless them that fear the Lord ; both small and great. 
 
 The Lord shall increase you more and more, you and your children." 
 
 * * * 
 
 iptlnteO for tbe author bs 
 
 JBowOen, 1bu&0on Si Co., 23. iReJ* Xfon Street, Ibolborn. 
 
 Eonfion. 
 
 I 89 I. 
 
 -K^* *^ 
 
BowDEN, Hddson & Co., Pkintees, 23, Ekd Lioh Street, Holboru, W.C 
 
Co 
 
 EDMUND HART TURPIN, ESQ., 
 Mus.D.Cantuar., &^c., 6^c, 
 
 THESE PAGES 
 
 ARE 
 
 CORDIALLY INSCRIBED 
 
 BY 
 
INTRODUCTION. 
 
 The following papers have appeared, at various times, in 
 the columns of The Musical Standard. 
 
 In response to urgent requests .from many persons, 
 including several cathedral organists and musicians of 
 distinction, they are now re-published, with considerable 
 additions, in a collected form. 
 
 Appended will be found some account of the Cathedral 
 organ and the various alterations and improvements it has 
 undergone from time to time. 
 
 Short biographical notices of the principal English com- 
 posers, incidentally alluded to in the body of the work, have 
 likewise been introduced, together with a list of their chief 
 contributions to Church music. 
 
 Considerable pains have been taken to ascertain the 
 correct dates of birth, death, and appointments of each 
 composer. In some cases it has been found impossible to 
 verify these exactly, and, for such shortcomings, the reader's 
 kind indulgence is asked. 
 
 Glebblakds, 
 
 Stoke Nbwington, 
 
 All SainU Day, 1890. 
 
CONTENTS. 
 
 CHAPTER I. 
 
 iNTEODUCrOEY. 
 
 CHAPTER II. 
 
 The Organists and Composees of the Old Cathedeal. 
 
 CHAPTER III. 
 
 Organists and Composers of S. Paul's during the 18th 
 Century. 
 
 CHAPTER IV. 
 
 Miss Hackett and her Labours on behalf of thk 
 
 Choristers' School. The Organists and 
 
 Composers of S. Paul's during the 
 
 present Century. 
 
 CHAPTER V. 
 
 Music at S. Paul's Cathedral at the Present Day. 
 
 APPENDIX A. 
 
 A Full Account of the Organ— Past and Present— in 
 S. Paul's Cathedral. 
 
 APPENDIX B. 
 
 List of Anthems by Composers of S. Paul's Cathedral 
 
 GIVEN IN Clifford's Collection (1664). 
 
 APPENDIX C. 
 
 Short Biographical Sketches of the Principal English 
 
 Church Composers alluded to incidentally 
 
 in the Body of the Work, with Lists 
 
 or their Compositions, 
 
 etc., etc. 
 
THE 
 
 ORGANISTS AND COMPOSERS 
 
 OF 
 
 S. PAUL'S CATHEDRAL. 
 
 CHAPTER I. 
 
 The three Metropolitan Choirs, as, for many years, 
 those of S. Paul's, Westminster Abbey, and the Chapel 
 Royal were termed, have been renowned from time 
 immemorial for the very large number of eminent 
 Church musicians trained in their choral schools, or 
 who became connected with them in later life as 
 minor canons, organists, or singers. In point of 
 fact, a detailed account of every composer of dis- 
 tinction attached to the three above choirs frorh time 
 to time would form a goodly portion of a history of 
 cathedral music. 
 
 It has been said, and with considerable truth, that 
 whatever of grace, and grandeur, majesty and beauty 
 belongs to the school of Anglican Church music, has 
 been, in a very great measure, nourished and reared 
 in our cathedrals and collegiate churches, which were, 
 and still are, schools in which a number of future 
 musicians are constantly being trained; where the 
 
i TBB ORGANISTS AND COMPOSERS 
 
 choicest compositions of the great English and con- 
 tinental masters are daily before them as models; and 
 where a pure and classic taste is generated and spread, 
 not only in the particular choir, but throughout the 
 entire circle of which the cathedral city forms the 
 centre. 
 
 Although Westminster can boast among her alumni 
 some of the proudest names in the history of English 
 ecclesiastical music — Gibbons, Purcell, Blow, Croft, 
 and Cooke, for example — it will be seen by the reader 
 of the ensuing sketches that our great metropolitan 
 cathedral of S. Paul is by no means lacking in 
 interesting musical associations, and can point to 
 names equally honourable and distinguished. 
 
 The fabric and services of the old cathedral, both 
 before and after the Reformation, have been described 
 in the most graphic and fascinating manner by the 
 Rev. Dr. Simpson (Sub-dean, Minor Canon and 
 Librarian) in his book Chapters in the History of Old 
 S. Pants. For further information concerning the 
 same, the reader is referred to Dean Milman's learned 
 work The Annals of S. Paul's — like Dean Stanley's 
 Memorials of Westminster, a book, which, when 
 once taken up, is with great difficulty, laid aside. 
 Mr. William Longman's handsome volume. The 
 Three Cathedrals dedicated to S. Paul in London, 
 also contains much valuable and interesting informa- 
 tion, though perhaps of a more architectural cha- 
 racter. To students of the history of Old S. Paul's 
 the sumptuous pages of Dugdale, with their accom- 
 panying fine plates by Hollar, are, of course, indis- 
 pensable. 
 
 Before the Reformation, the pomp and splendour 
 of the various ceremonials at S. Paul's probably 
 exceeded those of any other cathedral in England. 
 The Use followed was that of Sarum. On Sept. 
 1 8th, 1547, the Litany was first chanted in English at. 
 
OF S. PAULAS OATHilDRAL. 
 
 S. Paul's, " between the Quire and the High Altar, 
 the singers kneeling half on one side and half on the 
 other." At the same time the Epistle and Gospel at 
 High Mass were ordered to be said in English. Two 
 years later the Mass was put down, and in 1552, the 
 new Book of Common Prayer was first made use of. 
 
 In the reign of Queen Mary, the rites and cere- 
 monies which existed before the Reformation were 
 revived. Fabyan in his Chronicle mentions tiiat, 
 in 1553, "on S. Katherine's daye after Evensong 
 began the Quere of Paules to goe about the steple 
 singing with lightes after the olde custom," and 
 Strype the historian tells us that, on Oct. i8th (S. 
 Luke's Day), 1554, Philip, King of Spain, "came 
 down on horseback from Westminster unto Paul's, 
 with many lords, being received under a canopy at 
 the West end. And the Lord Vincent Mcaitague 
 bare the sword afore the king. There he heard Mass 
 sung by Spaniards, a Spanish bishop celebrating." 
 When Elizabeth came to the throne the ritual was 
 again modified, to meet the requirements of the 
 reformed service. 
 
 A most interesting paper on the architecture, ritual, 
 and various ceremonies of Old S. Paul's was prepared 
 for the S. Paul's Ecclesiological Society, by the Rev. 
 Mackenzie E. C. Walcott, Precentor of Chichester, 
 shortly before his death in November, 1880. It was 
 subsequently read by Minor Canon Kelly, and 
 printed in the Society's Transactions, Vol I., p. 177. 
 
 It will be premised that S. Paul's is one of the nine 
 cathedrals of the Old Foundation, Le., one of those 
 whose internal constitutions were unchanged by 
 Henry VIII. at the time of the Reformation, having 
 been cathedrals, par excellence, from the earliest tirhes^ 
 It may be as well to mention here that the remaining 
 eight cathedrals of the Old Foundation are York, 
 Chichester, Exeter, Hereford, Lichfield, Lincoln, 
 
4 TBB ORGANISTS AND COMPOSERS 
 
 Salisbury, and Wells. The four Welsh cathedrals of 
 Bangor, S. Asaph, Llandaff, and S. David's, fall 
 under this category, as do also the whole of the Irish 
 cathedrals with the exception of the Holy Trinity, 
 commonly called Christ Church, in Dublin, which was 
 changed from a monastic to a secular establishment 
 in 1541. 
 
 The remaining . thirteen English cathedrals, viz., 
 Bristol, Canterbury, Carlisle, Chester, Durham, Ely, 
 Gloucester, Norwich, Oxford, Peterborough, Roches- 
 ter, Winchester, and Worcester, together with Christ 
 Church, Dublin, were all remodelled by Henry VHI 
 at the time of the dissolution of the monasteries, and 
 are therefore termed cathedrals of the New Founda- 
 tion. Before that period nine of these had been 
 simultaneously monasteries and cathedrals, five had 
 been simply monasteries, the sees of Bristol, Chester, 
 Gloucester, Oxford, and Peterborough, being then for 
 the first time created. Canons and prebendaries, 
 with other officers, were substituted for monks ; the 
 new constitutions of these places being apparently 
 modelled on that of S. George's Chapel, Windsor, 
 founded about two hundred years before. The foun- 
 dations of Ripon and Manchester are of modern date, 
 as are also those of S. Albans, Truro, Liverpool, New- 
 castle, Southwell, and Wakefield. Of these five last- 
 named (with the exception of Southwell) there are, as 
 yet, no settled musical foundations, corresponding 
 with those of the ancient cathedrals. 
 
 The endowments of S. Paul's in its original state 
 were for a Bishop, thirty Canons or Prebendaries, a 
 number of Chantry Priests (at one time no less than 
 two hundred), and twelve Minor, or Petty Canons. 
 Subsequently thirty Vicars were added as substitutes 
 for the absent Canons. These latter, all of whom 
 were either in orders, or preparing to take them, 
 shared among themselves the various ministerial duties 
 
OF s. Paul's catbedral. 
 
 such as the celebration of Masses and other solemn 
 offices of religion. Various other matters fell under 
 their supervision, such as attendance on the sick and 
 poor ; the instruction of the choristers and grammar- 
 boys ; the transcription of the great service-books 
 placed on the lecterns and stalls, such as missals, anti- 
 phonaries, graduals, vesperals and processionals — 
 there was no cheap music-printing in handy octavo 
 size in those days ; the distribution of alms, and the 
 management of the revenues. They were bound to 
 assist at all canonical hours, and to keep perpetual 
 residence. 
 
 To the above officials must be added the children 
 of the choir, the young men educating for the service 
 of the Church (a Theological College, as we should 
 now probably term it), the boys of the Grammar 
 School of S. Paul (founded by Bishop Richard de 
 Belmeis), the sacristans, bedesmen, and other lay- 
 officers too numerous to particularize. The whole 
 formed a beau ideal Cathedral of the Old Foundation, 
 thdn the first conception of which, according to Mr. 
 Freeman, there was never a more beautiful scheme. 
 
 At first, the entire jurisdiction of this large com- 
 munity belonged to the Bishop, but he, having exten- 
 sive duties to perform in the diocese, the office of 
 Dean was established, and in whose hands the chief 
 government of the Cathedral has ever since remained. 
 
 Next to the Dean ranked the Frecentor, his stall in 
 most Cathedrals, but not, however, in S. Paul's, being 
 the first on the left hand side, on entering the choir ; 
 that of the Dean occupying a corresponding position 
 on the right. 
 
 The office of Precentor in early times was no mere 
 nominal one, as it is now. It was his duty to super- 
 intend the singing men and boys, to draw up and 
 settle the hebdomadal tables of the Tones and hymns, 
 to commence the canticles, to overlook the choir 
 generally and, in some cases, to distribute copes an4 
 
6 THE ORGANISTS AND COMPOSERS 
 
 regulate processions. Thus we see that at S. Paul's, 
 that most important office of ordering the music was 
 regarded as it ought to be, worthy the personal super- 
 intendence of one of the Great Dignitaries, who him- 
 self took part in the performance. 
 
 The Precentorship, since the death of the Rev. 
 Almeric Belli in 1886 (he had held the stall since 
 1 819), has been merged into the canonry at present 
 in the tenure of the Rev. H. Scott Holland: This gen- 
 tleman, from his knowledge and appreciation of all 
 that is beautiful and true in Church music, and the 
 hearty interest which he takes in the choir and all 
 things appertaining thereto, may be said to have 
 revived in his person something of the ancient title. 
 
 As years rolled on the office of Precentor became 
 quite a sinecure, not only at S. Paul's, but in all our 
 cathedrals of the Old Foundation, a deputy being 
 chosen from among the Minor Canons bearing the 
 title of Succentor. In the cathedrals of the New 
 Foundation no provision was made for the office of 
 Precentor, one of the Minor Canons receiving the 
 title. 
 
 The statutable remuneration of the Precentor of 
 S. Paul's was liberal in the extreme. It was derived 
 from fourteen houses in and near S. Paul's Church- 
 yard, and the valuable manor and rectory of Bishop's 
 Stortford, Hertfordshire. Mr. Belli, during his long 
 tenure of office, was seen at S. Paul's very seldom 
 indeed, thereby causing Sydney Smith, the witty 
 Canon, to remark that a more appropriate title for him 
 would have been "the Absenter." 
 
 The Chancellor or Magister Scholarum was next in 
 the rank of the Majores FersoncB, his duties being to 
 read the Divinity Lecture, to appoint a Grammar 
 Master for the choristers, and to act as secretary or 
 scribe to the Dean and Chapter. The office is now 
 annexed to a canonry, as is also that of Treasurer, 
 the next dignitary in rank. 
 
OF S. PAULS CATHEDRAL. 
 
 In some instances, as in that of old S. Paul's, the 
 Treasurer was not merely the bursar of the Chapter, 
 but he also had charge of the whole instrumenta ecclesi- 
 astica; such as the copes, chasubles, dalmatics, stoles, 
 albs, surplices, and other vestments ; the altar-frontals 
 and richly-jewelled crucifixes, monstrances, candle- 
 sticks, censers, and eucharistic plate ; the gorgeously- 
 illuminated missals and other service-books, in all of 
 which the cathedral, in pre-Reformation times, was enor- 
 mously rich. Dugdale, in his Monasticon, gives a list 
 of these valuable possessions, filling thirteen folio 
 pages.* All these treasures, which increased in number 
 and value yearly, were too much for the care of one 
 man : a deputy was therefore nominated from among 
 the Vicars called the Sacrist, and under him were 
 three Vergers. One of the Minor Canons is styled 
 " Sacrist " at this day. 
 
 Next came the five Archdeacons, viz., of London, 
 Middlesex, Essex, Colchester, and S. Alban's.t Of 
 these the first two only now hold stalls. 
 
 We now come to the thirty Major Canons or Fre- 
 bendaries, who have not varied from their original 
 number. In primitive times they resided in close 
 proximity to the cathedral, but, in later years, having 
 rich lands and farms allotted to them out of the 
 cathedral estates, the greater part of them absented 
 themselves from the church and its services, and were, 
 very properly, excluded from participation in the 
 general revenues, which were shared among those 
 who continued to reside and perform their ministerial 
 functions. 
 
 In former days the number of these Prebendaries, 
 as they were termed, was seven, to correspond with 
 the seven canonical hours of prayer, viz., Matins, 
 
 rV See also "The Inventarie of ye Plate, Jewells, Copes, Vestements, 
 Tunacles, Albes, Bells, and other ornaments, appertayninge to the Cathedrall 
 Church of S. Paule in London, 1552 "—printed in The Bcdesiologist for June 
 1856 (No. cxiv, N.S., No. Lxxvm) from Records in the Augmentation Office, 
 t TYx Archdeacon of S. Alban's had no stall in the choir, 
 
THE ORGANISTS AND COMPOSERS 
 
 Lauds, Prime, Tierce, Sext, Nones, Vespers, and 
 Compline. Since the Reformation the number of the 
 Canons Residentiary has been restricted to four, one 
 of whom was, until 1840, the Dean. These four con- 
 tinue to take their turn of residence, viz., three months 
 in the year each ; their duties, for the most part, being 
 confined to preaching on Sunday afternoons, and at 
 other stated times, and to reading the Lessons on 
 Sunday evenings. They occasionally officiate in place 
 of the Minor Canons at the short services and cele- 
 brations of the Holy Communion, held daily in the 
 Crypt and North-West Chapels. 
 
 From the remaining twenty-six Prebendaries no 
 other duties are expected than to preach in the cathe- 
 dral in their turn, either on Sunday mornings, or on 
 the afternoons of Saints' days. They are, however, 
 enjoined by the Statutes to appear as frequently as 
 they are able, in order that the dignity of the services 
 may be fully sustained. 
 
 Over the stall of each Prebendary in the old cathe- 
 dral was the name of the manor or estate from whence 
 his endowment was derived, together with the Anti- 
 phon (in Latin) of one of the five Psalms he was 
 bound by the ordinance of Bishop Maurice daily to 
 repeat "privately, to the glory of God, and for the 
 more fully answering the intention of the founders 
 and benefactors." , Exactly the same arrangement has 
 been followed in the stalls of the present cathedral. 
 Each Prebendary is still admonished, on his installa- 
 tion, to remember these Psalms. 
 
 Dr. Simpson, in his Chapters in the History of Old 
 S. PauVs, mentions that Dean Donne, when holding 
 the prebendal stall of Chiswick, preached a course of 
 sermons on the Prebendary of Chiswick's five Psalms, 
 beginning "My soul truly waiteth." The following 
 passages, like many of those found in the works of the 
 Elizabethan and Carolean Divines, are quaintly beauti- 
 ful : — " The Psalrnes are the nianna of the Church. 
 
OF s. Paul's cathedral. 
 
 As the whole Booke is manna, so these five Psalmes 
 are my Gomer,* which I am to fill and empty every 
 
 day of this manna Every daye, God receives 
 
 from us (the Prebendaries), howsoever we be divided 
 from one another in place, the Sacrifice of Praise in 
 the whole Booke of Psalmes. And, though we may 
 be absent from this Quire, yet wheresoever dispersed, 
 we make up a Quire in this service of saying over all 
 the Psalmes every daye." t 
 
 A most interesting part of the establishment of S. 
 Paul's now claims our attention. It is the College of 
 Minor Canons, or (as they are frequently called in old 
 accounts) Petty Canons. 
 
 This college is of very ancient foundation ; coeval in 
 fact with the cathedral itself. The twelve members 
 who composed this honourable body were incorpor- 
 ated under the title of the Warden and College of 
 Minor Canons by King Richard II. in 1394, and still 
 possess the royal charter and seal granted to them by 
 that monarch. They were endowed with lands, and 
 the rectory of S. Gregory by S. Paul was appropriated 
 to their use. A statute, issued by the Dean and 
 Chapter in 1364, sets forth that "they excel in honour 
 and diiiuity all chaplains in the cathedral, that they 
 officiate at the High Altar in the stead of the Greater 
 Canons.J and that they are to wear almuces of fur 
 after the manner of the Greater Canons, instead of 
 almuces of black cloth such as chaplains wear." 
 
 Like the Canons Residentiary, the Minor Canons 
 
 * Or Omer, as our present English version (1611) has it. See Exodus, 
 xvi. , 32-36. 
 
 t " Oh ! reader, scoff not ; it concerns thine own soul : try in Faith to steal 
 from the world each day some little time for holy meditation on a Saviour's 
 love, beside thy past and present communings. A saint of old found years 
 full of lessons in one single verse (Psalm XXXIX, i).— Open thy heart still 
 oftener to Him. " Man of Sorrows," He will comfort thee, guide thee, 
 delight thee, and give thee thy heart's desire. May the sweetest music of 
 those five sweet psalms be the balm they have yielded to thy torn heart — as 
 constant as the undying ripple of ether may the recollection of their sweetness 
 be." — Rev. Wm. S. George Patterson, Subchanter, Vicar Choral an4 
 Divinity Lectqrer of Lichfield Cathedral (1857). 
 } As they do at this day. 
 
10 THE ORGANISTS AND COMPOSERS 
 
 formerly had houses assigned to them in the immedi- 
 ate neighbourhood of the cathedral. The Rev. John 
 Entick, writing in his Survey of London (published in 
 four volumes in 1766, by Dr. Johnson's excellent 
 friends, the Messrs. Dilly of the Poultry) mentions 
 that " at the extremity of the South side of S. Paul's 
 churchyard is S. Paul's College, or the college or 
 place of residence for the Petty Canons, which is in a 
 small court backwards, consisting of divers houses 
 appropriated to each stall." This place was still in 
 existence in 1807 when David Hughson published his 
 History of London, in which he tells us that " at the 
 entrance from Ludgate Street is a narrow entry leading 
 to S. Paul's College, where are lodgings for such of 
 the Minor Canons who chuse to reside." 
 
 By this we may infer that they were not bound to live 
 here ; for, as a rule, they held benefices in the city — 
 some of them in the country — to which a house was 
 usually attached. 
 
 S. Paul's College must have been demolished 
 before 1830, as in that year the Liber Ecdesiasticus or 
 Revenues of the Church was published, and in which 
 it was stated that the Minor Canons had then no 
 houses assigned to them for residence. It may be 
 said that S. Paul's College has, of late years, been 
 re-established, in the shape of a group of houses in 
 Amen Court, built exclusively for the use of the Minor 
 Canons. 
 
 Whenever a vacancy occurred in the college the 
 fellows were privileged to nominate two candidates, 
 whom they presented to the Dean and Chapter, and 
 one of whom that body was required to elect. A 
 fine voice, a knowledge of Church music, and an irre- 
 proachable life were, and still are, indispensable 
 requisites. 
 
 This ancient corporation became, in 1875, the sub- 
 ject of Parhamentary legislation. The objects of the 
 "S. Paul's Cathedral lx>ndon Minor Canonries Act" 
 
OF s. Paul's cathedral. ii 
 
 were to bring the constitution of the Corporation of 
 Minor Canons into accordance with the Cathedral Act 
 of 1840,* and thus to place beyond dispute the legal 
 character of the tenure of their stalls, by those Minor 
 Canons who had been appointed after the year 1840; 
 to define the duties of the Minor Canons more expli- 
 citly in accordance with modern requirements ; to 
 equalize their incomes and raise them m all cases to a 
 sufficient amount ; to prohibit their holding benefices 
 together with their minor canonries, and to make 
 provision for their retirement after the age of fifty-fi^^e. 
 Such legislation was rendered necessary by the reduc- 
 tion of the number of Minor Canons from twelve to 
 six, in accordance with the Cathedral Act of 1840, 
 and four Minor Canons are now holding stalls under 
 the new conditions. A like number of the old founda- 
 tion are still living. 
 
 The duties of the Minor Canons of S. Paul's consist 
 in saying and singing the daily offices in the choir, in 
 celebrating the Holy Communion, and in preaching 
 from time to time. Some members of their body 
 are charged with the mastership of the choristers and 
 the spiritual oversight of the servants of the Cathedral ; 
 while others hold classes or give lectures in religious 
 or useful knowledge among the young men who are en- 
 gaged in business in the city. The Dean and Chapter 
 hope, that as the new constitution of the Minor Canons 
 comes more fully into play, the great importance of the 
 services which they can render to the Cathedral and to 
 the citizens of London will become increasingly apparen t. 
 
 The emoluments of the Minor Canons appointed 
 under the above Act are an income of ^300, during 
 the first, or year of probation, and oi £^00 per annum 
 afterwards, together with a house in Amen Court. 
 
 Before the changes mentioned above, a much closer 
 connexion existed between the Minor Canons and the 
 
 • See " The English Cathedral Service— its origin, its decline, and its 
 Resigned extinction," by Professor Taylor, 8vo, 1845. 
 
12 
 
 TSB ORGANISTS AND COMPOSERS 
 
 choir, than at the present day. The Minor Canons 
 were required to take their several parts in all the 
 services and anthems ; and, whenever they occurred, 
 the solos and verses were not unfrequently allotted to 
 them. 
 
 The subjoined list of the members of the old 
 college with the founders of each stall may not be 
 without its interest at this point. The various incum 
 bents are those holding office in 1834. Among them 
 the reader will, doubtless, recognize some familiarnames. 
 
 stalls. Incumbents. Founders of the Stalls. 
 
 { IV. and y. Ever- 
 
 1. Sub-Dean. Rev. Henry Fly, D.D. ] don and J. Bel- 
 
 ( meyn. 
 
 2. Senior Car- Rev. H. J. Knapp, M.A. ( Walter, Alice, and 
 
 dinal. ) William Neale, 
 
 3. Junior Car- Rev. Christopher Packe, 1 and Nicholas 
 B.A. ( Farendon. 
 
 Geoffrey Edmunds, 
 and Nicholas 
 Canon. 
 
 Allen Hot ham. 
 
 Fulke and Ph. Bas- 
 seit and Nicholas 
 Husband. 
 
 Allen Hot ham and 
 John de S. Mary 
 Church. 
 
 Stephen and Rich- 
 ard Gravesend. 
 
 Hamond Rigwell 
 and Alex. .Swer- 
 ford. 
 
 Richard Foliot and 
 Richard Glouces- 
 ter. 
 
 Richard de New- 
 port. 
 Rev. E. G. A. Beckwith, \ Robert and John 
 M.A. I Chishull 
 
 A word or two, before we proceed, on the term 
 " Cardinal " used in the above table, for it is an offic^ 
 
 4. Epistolar. 
 
 5. Gospeller. 
 
 6. Warden. 
 
 7. SarHst. 
 
 8. 
 
 9. Librarian. 
 
 10. 
 
 II. 
 
 12. Succentor. 
 
 Rev. R. H.Barham.B.A. ■ 
 Rev. W. J. Hall, M.A. 
 Rev. J. W. Vivian, D.D. ■ 
 
 Rev. James Lupton, A.M. ■ 
 
 Rev. J. T. Bennett, M.A. ■ 
 
 Rev. R. Collier Pack- 
 man, B.A. 
 
 Rev. R. Shutte, B.A. 
 
 Rev. J. V. Povah, M.A. 
 
OF s. Paul's cathedral. 13 
 
 peculiar to S. Paul's throughout the Anglican world. 
 It is impossible to say when the term came into use, 
 but when Richard II. granted the Minor Canons their 
 Charter of Incorporation in 1394, mention is made in 
 that document of the Cardinals as follows : — " quorum 
 duo dicuntur Cardinales." Again : In the Harleian 
 collection of manuscripts in the British Museum, there 
 is a volume entitled hragmenta Historipolitica Mis- 
 cellanea Successiva, collected by one Thomas Gybbons, 
 who says, " The Church of S. Paule had, before the 
 time of the Conquerour, two Cardinalls, which office 
 still continue {sic). They are chosen by the Dean and 
 Chapter out of the number of the twelve Petty Canons 
 and are called Cardinales Chori. Their office is to 
 take note of the absence or neglect of all the Quire, 
 and weekly to render account thereof to the Dean and 
 Chapter. They administer likewise Ecclesiastical 
 sacraments to the ministers of the Church, and their 
 servants, etc. Not any Cathedral Church in England 
 hath Cardinalls besides this ; nor any beyond seas 
 are to be found dignified wyth this title, saving the 
 Churches of Rome, Ravenna, Aquilea, Millan, Pisa, 
 Beneucnt in Italy, and Compostella in Spayn. The 
 Cardinalls have the best pre-eminence in the Quire 
 aboye all next to the Sub-deane, and the best stalls." 
 Besides visiting the sick the two Cardinals (denomi- 
 nated respectively the Senior and Junior Cardinals) 
 were "to teach weekly the Catechism to the choristers, 
 and to deliver a note to the Dean of those who did 
 not profit or who were negligent or stubborn." The 
 term " Cardinal " has never become obsolete at S. 
 Paul's, the present Senior Cardinal being the Rev. W. 
 H. Milman, holder of the seventh minor canonry, 
 and the present Junior Cardinal, the Rev. W. J. Hall, 
 holder of the tenth minor canonry.* 
 
 * For further information respecting the Pauline Cardinals, the reader is 
 referred to the late Precentor Wallcott's Sacred ArcJuxologjft z868. 
 
14 THE ORGANISTS AND COMPOSERS 
 
 The Canons and other clergy of S. Paul's were 
 enjoined by the Statutes to exercise great hospitality. 
 A lingering tradition of this prevailed in 1831, in which 
 year the good, clever, laughter-loving and witty Canon, 
 the Rev. Sydney Smith (then recently appointed) wrote, 
 in his usual racy manner, to the Countess of Morley as 
 follows : — " I have taken possession of my preferment. 
 The house is in Amen Corner, — an awkward name on 
 a card, and an awkward annunciation to the coach- 
 man on leaving any fashionable mansion. I find too 
 (sweet discovery !) that J give a dinner every Sunday, 
 for three months in the year, to six clergymen and six 
 singing-men,* at one o'clock. Do me the favour to 
 drop in as Mrs. Morley. I did the duty at S. Paul's; 
 the organ and music were excellent My resi- 
 dence is in February, March, and July." 
 
 Many good things were said on these occasions 
 and some capital stories have been preserved. The 
 Dean (Dr. Copleston, Bishop of Llandafif ) used, some- 
 times, to entertain the same party at the Deanery. 
 " At one of these gatherings," says the Rev. R. Dalton 
 Barham, in the Memoir of his father, the Rev. R. H. 
 Barham (from 1821 to 1845, one of the Minor 
 Canons of St. Paul's, and the well-known author of 
 The Ingoldsby Legends), " a certain Doctor of Divinity 
 was present. He gave himself considerable airs, and 
 at length turned in rather an impertinent way to my 
 father and said : ' Pray, Mr. Barham, can you tell me 
 how it is that you gentlemen of S. Paul's wear the 
 scarf? I was not aware that a Minor Canon was 
 entitled to the distinction.' 'I leave my brethren,' 
 replied my father, ' to answer for themselves : for my 
 part I wear the scarf as Priest-in-Ordinary to the King, 
 an office which gives me the rank of Chaplain.' ' Ah, 
 
 * That is the Minor Canons and Vicars-Choral who had officiated at the 
 Morning Service which commenced at a quarter to ten. In 1839 Sydney 
 Smith let his house in Amen Court to Barham, and went to live at 56, 
 Green Street, Grosvenor Square, where he died on Feb. 22nd, 1843.— JiSiB. 
 
OF S. PAULS CATHSB-RAL. I 5 
 
 indeed ! I beg your pardon. I was not aware— ' 
 ' No apology is necessary,' said my father ; ' but, as 
 you have set the example of putting questions, perhaps 
 you will allow me to ask in return how you came to 
 wear an Oxford doctor's hood, when, if I mistake not, 
 yours is an Aberdeen degree ? ' The Bishop was 
 delighted." 
 
 Mr. William Hawes, from 1812 to 1846, the much- 
 respected Almoner and Master of the Choristers^ 
 would sometimes give a luncheon on Sundays at his 
 handsome house facing the river, on the Adelphi 
 Terrace, Strand — a very different place, by the way, to 
 the contiguous and commodious, but somewhat dull 
 and bizarre-looking building where the boys are at 
 present boarded — to such of the Priests and Gentle- 
 men of the Chapel Royal who also held appointments 
 at S. Paul's, and who, having taken part in the twelve 
 o'clock service at the former, were proceding to the 
 quarter-past three service at the latter. Barham, and 
 the talented, but erratic, Priest of the Chapel Royal, 
 the Rev. Edward Cannon (a most singular being, who 
 has been introduced to the world under the name 
 of " Godfrey Moss " in Theodore Hook's novel, 
 Maxwell) were frequently present on the above occa- 
 sions. 
 
 The custom of giving these Residentiary dinners 
 was discontinued in 1843, and a money payment sub- 
 stituted. 
 
 At the latter end of the 14th Century there were 
 thirty Vicars Choral at S. Paul's, who had, like the 
 Minor Canons, some of the attributes of a corporate 
 body, possessing estates, etc., of their own ; but during 
 Colet's tenure of the Deanery (1505 — 1519) their 
 number had, by some means or other, dwindled 
 down to the miserably inadequate number of six ; and 
 this, together with twelve boys, was the numerical 
 strength of the choir at the most important cathedral 
 
id fH£ ORGANISTS AkD COMPOSERS 
 
 in England until the year 1873. The musical staff was 
 then completely reorganized, twelve additional Vicars 
 Choral being appointed, makmg the average number 
 eighteen. At the same time the number of boys was 
 raised from twelve (eight was the statutory number, 
 but there were generally probationers or " practising 
 boys,") to something between thirty anil forty, in 
 order to meet the requirements of the greatly expanded 
 musical services. 
 
 When the King of Prussia visited this country in 
 1842, he expressed a wish to hear service at S. Paul's, 
 his taste for Church music having been, doubtless, 
 formed by the magnificent unaccompanied anthems 
 for double choir, " Judge me, O God," and " Why 
 rage fiercely the heathen," composed by Mendelssohn 
 expressly for the Dom or Cathedral at Berlin. Accord- 
 ingly, on Sunday morning, January 30th, he attended 
 the service with the Duke of Cambridge, and Bishop 
 Blomfield preached the sermon The capitular 
 authorities knew the miserably crippled state of their 
 choir, and actually beat up recruits for the nonce. 
 The stalls of the cathedral were filled by men who had 
 never been seen in them before, and His Majesty was 
 deluded into the beUef that, in the array of surpliced 
 singers before him, he saw and heard the regular choir 
 of S. Paul's. 
 
 One of the Vicars Choral acted as Organist, con- 
 siderable additions being made to his salary by Dean 
 Godolphin in the reign of George I. Another ot the 
 Vicars officiated as Almoner or Master of the Choristers, 
 a personage of whom we shall have a great deal more 
 to say later on. Down to the year 1675 one of the 
 MinorCanonshad held the appointment, and after 1848 
 one of that body was again invested with the title, which 
 is now attached to the stall held by the Rev. J. H. 
 Coward. The office has, however, been a merely nomi- 
 nal one since the reconstruction of the choral school. 
 
OF !?. PAULS CATHJUnRAL. \J 
 
 The duties of the Almoner {Eleemosynarius) of S. 
 Paul's, as defined by the statutes, were to maintain 
 a certain number of boys, of good disposition and 
 respectable parentage, for the service of the choir ; to 
 watch over their moral conduct with extraordinary 
 solicitude, and to see that they attended proper 
 masters for their education, with a view to their 
 future ministry in the church. The stipend of the 
 Almoner was derived from fifteen houses within the 
 City of London, and two small estates at Acton. 
 
 During the earlier years of the present century, the 
 Almonry and choristers' school of S. Paul's were 
 the subjects of frequent judicial contests, and the 
 Chapter had a very able, courageous, and pertinacious 
 litigant in the person of Miss Maria Hackett, of whose 
 life and labours we hope to treat more fully hereafter. 
 
 Ere we close this section a few words must be said 
 about the school for the choristers and grammar boys. 
 This establishment, dedicated to S. Paul, was under 
 the immediate jurisdiction of the capitular clergy, and, 
 for many years, was held in very high esteem as a 
 seminary of sound religious and musical training. 
 
 It was founded by Richard de Belmeis, who was 
 consecrated Bishop of London, a.d., iio8, and its 
 revenues were considerably augmented by Richard I., 
 Henry IIL, and Edward IL The school property 
 seems to have escaped unscathed through all the 
 troubles of the early Anglican Church, and was spared 
 at the time of the Reformation. 
 
 Shortly after this, the school appears to have sunk 
 into disesteem, but at what exact time, and under what 
 circumstances this ancient choral seminary lost its pres- 
 tige, and how its funds were misappropriated, has always 
 been a matter of perplexity. It has, however, been 
 conjectured that it was its degraded condition which 
 'nduced Dean Colet to transfer his patronage to an 
 entirely new foundation on a much more liberal scale. 
 
1 8 THE ORGANISTS AND COMPOSERS 
 
 and to place the government of it in the hands of lay 
 patrons, viz., the Mercers' Company. Thus, the Cathe- 
 dral clergy ceased to have any interest or votes in the 
 establishment usually known as S. Paul's School, only 
 just removed from its original site at the eastern end 
 of S. Paul's Churchyard to Kensington. 
 
 The relation of the Cathedral or Choristers' School 
 to S. Paul's has always been a somewhat intricate 
 subject with historians. Dean Nowell, in 1584, en- 
 deavoured to procure admission to Colet's foundation 
 for the choristers. The question of their admission 
 vpas raised by Bishop (afterwards Archbishop) Laud, 
 in the reign of Charles I. In 181 1, it was again 
 mooted. The answer, however, appears to have been 
 always in the negative; and rightly so, for the choris- 
 ters had their own proper endowments, which had 
 been wrested from them, in many cases by their own 
 guardians, and it is not until our own day that their 
 full title to them has been recognized, and the true 
 S. Paul's School established once more upon almost 
 its original site. The school, which we are accus- 
 tomed to call S. Paul's, was dedicated in reality to 
 Christ Jesu in Pueritia (i. e. teaching the Jewish 
 Doctors at the age of twelve years), and His Blessed 
 Mother, S. Mary, but, if it were ever known by this 
 name, its proximity to the Cathedral must have caused 
 that early to be forgotten, and so, between the two 
 schools bearing the name of S. Paul, it was not unna- 
 tural that some confusion should arise. 
 
 Subsequently, we shall hope to recur more fully, as 
 occasion may require, to the very interesting subject of 
 the choristers of S. Paul's, and the various circum- 
 stances attending their education and musical training. 
 
 To those unacquainted with the choral arrange- 
 ments of S. Paul's the following table may be of interest 
 as showing the present disposition of the stalls of the 
 various dignitaries mentioned in the foregoing account. 
 
OF S, PAULS CATHEDRAL. 
 
 19 
 
 The arrangement is, in most particulars, the same as 
 that originally planned. The stalls of the Greater Dig- 
 nitaries, instead of being returned at the West end of 
 the choir, as formerly, are now placed in a line with 
 hose of the Prebendaries, &c. 
 
 Decani Side. 
 (Beginning at the right hand on entering the choir). 
 
 Decanns — The Dean. 
 
 Canonicus Residentiarius I. — First Residentiary Canon. 
 
 Canonicus Residentiarius III. — Third Residentiary Canon. 
 
 Thesaurarius — The Treasurer. 
 
 Canomctis Minor I. — First Minor Canon. 
 
 Canonicus Mitior III, — Third Minor Canon. 
 
 Unoccupied seat. 
 
 Benedictus Dominus Deus.* 
 
 Bonum est confiteri. 
 
 Snlvum me fac Domine. 
 
 Fundamenta ejus. 
 
 Quid gloriaris in malitia. 
 
 Cnnfitehor 7ibi in ioto. 
 
 Dominus iliuminatio mea. 
 
 Stall. 
 I. 
 
 2. 
 
 3- 
 4- 
 S- 
 6. 
 
 7- 
 8. 
 
 9- 
 lo. 
 II. 
 
 12. 
 
 >3- 
 
 14. 
 
 IS- 
 16. 
 
 17- 
 18. 
 
 Prebend, of Finsbury. 
 
 ,, Chamberlainwood. 
 
 „ Holbourn. 
 
 „ Harleston. 
 
 „ Portpoole. 
 
 „ Mora. 
 
 „ Cantlers 
 
 Kent-Town. 
 
 „ Twyford. 
 
 „ Mapesbury. 
 
 „ Oxgate. 
 Unoccupied seat. 
 
 alias 
 
 Deus mJsereaiur nostri. 
 Memento Domine, David. 
 Domine ex audi. 
 
 The Bishop's Stall. 
 
 19- 
 20. 
 21. 
 
 22. 
 
 23- 
 
 24. 
 
 Unoccupied seat. 
 Prebend, of Sneating. 
 „ Wenlock's 
 
 Barn. 
 Prebend. of Brownswood. 
 ,, Rugmere. 
 Eald^treet. 
 
 Deus, Deus, Meus. 
 Quamadmodutn desiderat. 
 
 Deu^ judicium Tuumregi da. 
 Ad Dominum cum tribularer. 
 Dominus regnavit, exuitet 
 terra. 
 
 25. Canonicus Minor V. — Fifth Minor Canon. 
 
 26. Canonicus Minor VII.. — Seventh Minor Canon. 
 
 27. Canonicus Minor IX. — Ninth Minor Canon. 
 
 * The initiatory portion of the Psalter, which each Prebendary was erijoined 
 to repeat daily. The names of the stalls and Latin mottoes are inscribed in 
 gold letters on a blue ground. 
 
20 
 
 THE ORGANISTS AND COMPOSKIiS 
 
 28. Canonicu! Minor — Minor Canon (unnumbered). 
 
 29. Uninscribed stall. 
 
 30. Unoccupied seat. 
 
 Thr Bishop's Throne. 
 
 Stall. 
 2 
 
 3- 
 4- 
 5- 
 6 
 
 7- 
 8. 
 
 9 
 
 10. 
 II. 
 12. 
 13- 
 14- 
 15- 
 
 16. 
 
 17- 
 
 18. 
 
 Canto ms Side. 
 (Beginning at the left hand on entering the choir). 
 
 Archidiacomis Londinensis—Ths Archdeacon of Lond<in. 
 
 Canonicus Residentiarius II. — Second Residentiary Canon, 
 
 Pmcentor — The Precentor. 
 
 Cancellarius — The Chancellor. 
 
 Canonicus Minor II. — Second M inor Canon. 
 
 Canonicus Mmor IV. — Fourth Minor Canon. 
 
 Unoccupied seat. 
 
 Bfatus vir. qui non abiit. 
 
 Miserere mei^ Deus. 
 
 Voce mea. 
 
 Bead quorum remissa. 
 
 Exaude, Domine, justiciam. 
 
 Deficit in salutare anima. 
 
 Deus sietit in Synagoea. 
 
 In convertendo Dominus cap- 
 tivitatem. 
 
 Noli emulari. 
 
 Confiiemini Domino, etc., di 
 cant qui. 
 
 19- 
 20. 
 
 21. 
 22. 
 
 23. 
 
 24. 
 
 25- 
 26. 
 27. 
 28. 
 29. 
 30- 
 
 Prebend, of Totenhall. 
 
 Caddington Minor. 
 
 S. Pancratius. 
 
 Reculversland. 
 
 Weld land. 
 
 Hoxton. 
 
 Ealdland. 
 
 Islington. 
 
 Wilsden. 
 Consumpta per 
 Mare. 
 Unoccupied seat. 
 
 The Lord Mayor's Stall, 
 Unoccupied seat. 
 Prebend, of Bromesbury, 
 
 „ Neasden 
 
 ,, Newin'gton. 
 
 „ Caddington Major. 
 
 ,, Chiswick. 
 Archidiaconus Middlesexim. 
 Canonicus Minor VIII. 
 
 Beatus vir, qui timet Domi- 
 
 nu7n. 
 Domine, ne in furore, 
 Confitemini Domino. 
 Omnes gentes plaudite. 
 Nonne Deo subjecta. 
 The Archdeacon of Middlesex. 
 Eighth Minor Canon. 
 
 Canonicus Minor X. — Tenth Minor Canon. 
 Canonicus Minor — Minor Canon (unnumbered). 
 Uninscribed stall. 
 Uninscribed stall. 
 
 Previous to the removal of the organ-screen in i860, 
 the western returned stalls were thus arranged : — On 
 
OF S. PAULS CATHEDRAL. 
 
 the right hand side on entering the choir, those of the 
 Dean and Archdeacon of Essex : on the left hand side, 
 those of the Archdeacon of London and the Precentor. 
 The three last-named stalls, however, being but rarely 
 occupied by the dignitaries whose titles they bore, 
 were assigned to the three Canons Residentiary, who, 
 up to a certain time, held prebendal stalls in addition, 
 their proper seats being in the several stalls bearing 
 the names of their prebends. Thus, in the year 1834 
 the Rev. Dr. Blomberg was Prebendary of Weldland, 
 the Rev. Sydney Smith of Neasden, and the Rev. 
 James Tate of Consumpta per Mare. The Dean, who 
 up to the year 1840 held a Canonry in addition, was 
 Prebend of Hoxton. This arrangement does not now 
 exist. 
 
 Before the alterations in i86o, the second of the 
 South lateral, or Decani, stalls was assigned and in- 
 scribed to the Treasurer ; the Archdeacon of Colches- 
 ter occupying the twenty-third stall, near the extremity 
 of the same range. Corresponding stalls on the North, 
 or Cantoris side were for the Chancellor and Arch- 
 deacon of Middlesex — the Prebendal stalls following 
 on, on both sides, in the same order as at present. 
 
 The seats for the Vicars Choral and choristers, 
 together with a raised desk for the Minor Canon 
 chanting the service, are placed beneath the organ in 
 front of the first six Decani stalls. A similar arrange- 
 ment is observed on the Cantoris side. Before the 
 present order of things the Minor Canon on duty for 
 the wQc\i{Hebdomadaritts) chanted the service from his 
 stall, in whatever part of the choir it might be. In 
 most of our Cathedrals this use is still followed. 
 
 It is worthy of remark that, in Hollar's fine view of 
 the interior of the choir of Old S. Paul's looking east, 
 as given in Dugdale, no subsellia are shewn — merely a 
 double range of stalls, returned at the western end, 
 with desk fronts ; while a row of forms appears to con- 
 
22 THE ORGANISTS AND COMPOSERS 
 
 stitute the remaining accommodation of the choir. It 
 is possible that the Vicars sat in the stalls with the 
 Minor Canons and other clergy, and that the boys 
 occupied these forms below. In the foreign churches 
 desk-fronts for the boys are quite the exception. 
 The writer has noticed that at the cathedrals of 
 Bayeux, Amiens, Beauvais, &c , the Cantors occupy 
 the subsellia, with merely an iron desk in front of them 
 to support the huge service books ; while the boys are 
 placed on a series of low wooden pedestals. It is 
 probable that such an arrangement prevailed at old S. 
 Paul's. 
 
 Before i860, the choristers' desks, handsomely 
 wrought in iron, were placed in front of the subsellia 
 or " long seats " (as they are familiarly termed at S. 
 Paul's) towards the western end of the choir. After 
 that time and until 1871, they were situated at the 
 eastern end, just beyond the Bishop's stall and Lord 
 Mayor's seat. The altar was in the recess, underneath 
 the East window. It is now placed in the chord of 
 the apse. The pulpit was at the end of the northern 
 stalls opposite the Bishop's throne. 
 
 In the midst of the choir, on the beautiful white 
 marble pavement stood the great brazen eagle lectern, 
 " with God's Holy Word thereon," surrounded by rail- 
 ings of burnished brass, in which (facing East) was 
 placed the fald-stool, for the two Minor Canons to 
 chant the Litany at. When, at certain times, the sun 
 shone, it gleamed full on this magnificent lectern, 
 and, with its rays, flooded the sacred page, which 
 illumined thus, spoke eloquently of Him who said, 
 "Let there be Light." 
 
 ^ 
 
OF S. PAULS CATHEDRAL. 
 
 CHAPTER II. 
 
 The Organists and Composers of the Old 
 Cathedral. 
 
 The foregoing preliminary observations will help us 
 to proceed with a few notes on the most important 
 musicians connected from time to time with Old 
 & Paul's. 
 
 An honoured name meets us on the threshold. It 
 is that of John Redford, who was organist, almoner, 
 and master of the choristers between the years 1491 
 and 1547. The only composition, unhappily, by 
 which Redford is now remembered appears to be a 
 singularly beautiful, melodious, and (for the early 
 period at which it was written) expressive motett, 
 " Rejoice in the Lord alway." This composition has, 
 of late, been most judiciously revived at S. Paul's — 
 having lain long neglected — and is sung occasionally 
 at the unaccompanied services on Fridays. It is also 
 used as an Introit during the season of Advent, at 
 which period it is particularly appropriate 
 
 This anthem is in the key of C major, and it is not 
 unlikely that Purcell was indebted for some of its 
 sweet phrases, when writing his ever-charming "Bell 
 Anthem " to the same words many years later. Sir 
 John Hawkins inserted it in his History of Musk, as 
 an illustration of the Church style prevalent in the 
 middle of the fifteenth century. Dr. Rimbault like- 
 wise printed it in the fine collection of pieces by 
 English and Italian composers of the same period, 
 edited by him for the Motet Society in 1842. 
 
 A practice existed in Redford's time of impressing 
 choristers in various parts of the country, for the 
 
24 THE OMGAiVJUTS AXD COMPOSERS 
 
 service of S. Paul's and the Royal Chapels, when 
 " sondrie men " with " placards " or warrants were 
 empowered to seize all boys with good " brestes " or 
 voices. 
 
 Thomas Tusser, the well-known author of the Five 
 Hundred Points of Husbandrie was, as he himself 
 tells us, in the following quaint rhyme, one of the im- 
 pressed boys : — 
 
 " Thence,* for my voyce, I must (no choice) 
 Away of force, like posting horse, 
 Kor sondrie men had placards then 
 
 Such childe to take : 
 The better breste, the lesser test, 
 To serve the Queene, now there, now here : 
 for tyme so spent I may repent, 
 And sorrow make. 
 
 " But mark the chance, myself to 'vance. 
 By friendship's lot to Paule's 1 got ; 
 So found I grace a certain space 
 
 Still to remain 
 With Redford there, the like nowhere 
 For cunning such, and virtue much, 
 By whom some part of Mustek's art 
 
 So did I gain. 
 
 " From Paule's I went to Eton sent. 
 
 To learn straightways the Latin phrase," etc. 
 
 Some of John Redford's compositions for "the 
 organs " were included in a manuscript collection 
 made by Thomas Mulliner, Master of S. Paul's 
 School If.e., the Cathedral School), who succeeded 
 him as Almoner. 
 
 Mulliner trained many pupils who, in after years 
 enriched the Tudor period with their various com- 
 positions. It has been affirmed by some historians 
 that Tallis received his musical education at S. Paul's 
 under this personage, but there is no satisfactory 
 evidence to support the assertion. 
 
 from Walliiigford. 
 
OF S. PAULS OATHEimAL. 
 
 William Byrde, Tallis' great friend and contem- 
 porary was, no doubt, a chorister. Dr. Rimbault 
 mentions that some of our musical historians have 
 overlooked the fact of his being attached to the choir 
 of Old S. Paul's, and accordingly treat it as a matter 
 of some surprise that his name should not occur in 
 the list of Queen Mary's Chapel establishment. Byrde 
 was Senior Chorister of S. Paul's in 1554, when his 
 age would have been about fifteen years, and his name 
 appears at the head of the school in a petition for the 
 restoration of certain obits and benefactions, which 
 had been seized under the Act for the Suppression of 
 Colleges and Hospitals in the reign of King Henry 
 Vin. This petition, which is preserved among the 
 records of the Exchequer, was granted and confirmed 
 by letters patent 14th Eliz. (printed in Dugdale's 
 S. PauTs : edition of 1818), and the payments con- 
 tinued to be received by Mr. Hawes, the Almoner of 
 S. Paul's, in 1846. 
 
 Byrde must have been endowed with extraordinary 
 musical precocity, for, we find that, while a chorister 
 of S. Paul's, between 1553 and 1558, he composed a 
 short Mass which was printed by the Musical Anti- 
 quarian Society in 1841, being the first of a series of 
 archaic publications issued by that body. 
 
 Among Redford's predecessors was one John Goode, 
 who appears to have held in combination the offices of 
 Minor Canon, Junior Cardinal, and Custos (or War- 
 den) of the College ; Succentor, Almoner, and Master 
 of the Choristers. The following inscription on his 
 monument, in the South aisle of S. Faith's Church, 
 underneath old S. Paul's, was given by Dugdale : — 
 
 Perpetuis Annis — memores estote Johannis 
 
 Goode, Succentoris — Cardinalisque Minoris 
 
 Canonici, cujus — ope nomen duke JESU jus 
 
 Hie habet, et colitur — per et hunc Eleemosyna scitur 
 
 Distribui, Tutor fuit et Puerisque ; Minorum 
 
 Collcgii Custos, dum vixit Canonicomm. 
 
 Hinc migrat M. C. quater LXque Decembris : seterna 
 
 Virgo Dei Mater prsestet sibi regna superna. 
 
26 THE OROAmSTS AND COMPOSERS 
 
 Edward Pearce (or Piers) succeeded Mulliner as 
 Almoner. According to The Old Cheque Book of the 
 Chapel Royal, it appears that he had been one of the 
 Gentlemen of that choir, and " yealded up his place 
 there, for the Mastership of the children of Poules " 
 in the year 1600. One of his most eminent pupils 
 was Thomas Ravenscroft, who, in 1621, compiled 
 The Whole Booke of Fsalms. No doubt many of 
 these grand, massive old tunes were sung at the out- 
 door sermons at Paul's Cross, when, according to 
 Master Thomas Mace, author of " Musick's Monu- 
 ment," five thousand voices sometimes poured foith 
 their praises to God, in one mighty strain of melody.* 
 
 Martin Pierson,| Mus.B., was Almoner in 1613. 
 In 1630 he printed a collection of music with the 
 following singular title : — Mottects, or grave Chambre 
 Musique, contayning Songes of 5 Partes of severall 
 Sortes, some ful and some Verse, or Chorus, but all 
 fyt for Voyces and Viols wyth an Organ Parte, 
 which, for want of Organs, may be perforin'' d on Vir- 
 ginals, Base Lute, Pandora or Irish Harpe. Also a 
 Mourning Song of Sixe Parts for the Death of the late 
 Right Honorable Sir Fulke Grevil, Knt. 
 
 Somewhat anterior to the above appeared another 
 work of Pierson's, viz., Private Musique or the First 
 Booke of Ayres and Dialogues, contayning Songes of 4, 
 5, and 6 Partes of severall sortes, and being Verse and 
 Chorus is fyt for Voices and Viols. And for want of 
 Viols they may be perform' d to either the Virginall or 
 Lute, where the proficient can play upon the Ground, 
 or, for a shift, to the Bass Viol alone. All made and 
 
 • " You may now sometimes see at S. Paul's Cross, after the service, six 
 thousand persons, old and young, of both sexes, all singing together and 
 praising God." — Extract of a letter fi-om John Jewell, Bishop of Salisbury, to 
 Peter Martyr, 1560. A full account of that most interesting relic of the 
 past, S. Paul's Cross (the foundations of which were discovered at the N. E. 
 angle of the Cathedral in 1879), and of the sermons preached there, may be 
 read in Dr. Simpson's Chapters in the History of Old S. Paul's. 
 
 t Several variaiions occur among historians, in the spelling of the name 
 of this composer ; such as Peerson, Peirson, Pearson, and Person. 
 
OF S. PAULS CAThEDRAL. 
 
 composed according to ye rules of Art. The last piece 
 in the above collection, we are informed by the com- 
 poser was " made for the King and Queene's Enter- 
 taynment at Highgate on May Day, 1604," 
 
 The words of The Mourning Song ("More than most 
 fair ") and those of several others in the two collections 
 mentioned above, will be found in Mr. A. H. Bullen's 
 tasteful publication. Lyrics from the Elizabethan Song 
 Books (1886), and in a second series bearing the same 
 title (1888). 
 
 Pierson's Church compositions include a Service in 
 medio chori in the key of A minor, and two motetts or 
 anthems, " Blow up the trumpet," and " Bow Thine 
 ear." None of the above have ever been printed, but 
 copies are preserved in the magnificent MS. collection 
 of Tudor and Stuart Church Music, in the library of 
 Peterhouse College, Cambridge. 
 
 Pierson wrote some esteemed madrigals, among 
 which "O sweetly sleep" has long been popular. He 
 contributed (together with Byrde, Dowland, Gibbons, 
 Wilbye, Ferabosco, and others) to licighton's Teares 
 or Lamentacions of a sorrowful soule, and, dying in the 
 latter part of the year 1650 was buried in S. Faith's 
 Church, beneath the choir of the Cathedra',. He 
 appears to have bequeathed a legacy of ;^ioo to the 
 poor of Marsh, in the parish of Dunnington, Isle of 
 Ely, "to be laid out in a purchase for their use." 
 
 Martin Pierson's tenure of the Almonry stretched 
 considerably into the Protectorate, during which time 
 the choral service was suppressed at S. Paul's, as it 
 was at every other cathedral. The endowments 
 of the office, however, do not appear to have been 
 sequestered by the Parliament, so during the latter por- 
 tion of his career he probably enjoyed the emoluments 
 without being required to fulfil any of his duties. 
 
 Pierson's successor, Randall or Randolph Jewett, 
 endeavoured to hold the mastership on the same easy 
 
28 THE ORaAXISTS AND COMPOSERS 
 
 terms, but, at the Restoration was " peremptorily sum- 
 moned by the Dean and Chapter to return to London, 
 and settle there, and to do the duty of his place in 
 teaching and preparing choristers for the service of 
 the Cathedral." 
 
 Contemporary with Martin Pierson, during the 
 reigns of the first two Stuart sovereigns, flourished 
 Simon Ives, and Thomas Cranford, who were both 
 Vicars-Choral of Old S. Paul's. Many glees, catches, 
 and rounds by Ives were printed in the famous collec- 
 tion made by John Hilton in 1652, entitled Catch that 
 Catch can. One of his catches, " Come, honest 
 friends," has been included in many collections, ancient 
 and modern, and is very spirited. Cranford was a com- 
 poser of a similar type, but no Church music of im- 
 portance by either of them appears to be extant. 
 
 Slovenliness and irreverence in choirs are usually 
 looked upon as the characteristic features of the Geor- 
 gian period of churchmanship. These things, however, 
 existed in the later days of Old S. Paul's, and the MS. 
 returns at Bishop Bancroft's Visitation in rsgS are 
 very sorry reading. 'I he services were, no doubt, 
 kept up at the usual hours, but evidence of careless- 
 ness and neglect is everywhere visible. The boys of 
 the choir spent "their tyme in talk and hunting after 
 spur-money, even in service-tyme ; the hallowinge and 
 hootinge above in the steeple " were " intollorable at 
 dyvers tymes." "In the upper quier where the comon 
 (communion) table doth stand," there were "much irre- 
 verente people walking with theyr hattes on their 
 heddes, commonly all ye service-tyme, no man reprov- 
 ing them for yt." The organ was so misused in the 
 blowing and other ways, with jogging the bellows, that 
 the bellows were broken; the bell ringers admitted 
 persons into the organ-loft for money, to the decay of 
 the instrument, the pipes being many of them under- 
 foot, to the hazarding of the people below ; the choir- 
 
OP s. I'avl's cathedral. 29 
 
 men came late to prayers " which causeth the service to 
 continue long beyond his houre or maketh them irre- 
 verently to knitt yt up " ; they were irreverent in their 
 behaviour and " did use great undecencye in prayer- 
 tyme, such as leaninge upon theyr elbowes, sleepinge, 
 talkinge, and such-like to the scandal of the Church." 
 
 Another writer at the above visitation frankly avows 
 as follows : — " Item ; We be for the most parte of us 
 very slacke in cominge into the queere after the bell 
 is towlde, and when we be there, dyvers thinke the 
 service very longe till they be gotten out of yt againe." 
 
 A few words on the term "Spur-money," inci- 
 dentally mentioned in the foregoing quotations. 
 
 In a quaint pamphlet published in 1598, entitled 
 The Children of the Chapel stript and whipt, occurs 
 the following passage : — 
 
 We think yt very necessayre that euerie querister should 
 bringe wyth him to Church a Testament in English, and turne 
 to euerie chapter as it is daily read, or some other good and 
 Godly prayer booke, rather them spend theyr tyme in talk and 
 hunting after "spur-money," whereon they set theyr whole mindes, 
 and do often abuse yvers, if they doe not bestowe somewhat on 
 them.* 
 
 In 1622 the Dean of the Chapel Royal issued an 
 order by which it was decreed : 
 
 That if any Knight or other person entituled to wear spurs, 
 enter ye Chappetl in that guise, he shall pay to ye quiristers ye 
 accustomed fine ; but if he command ye youngest quirister to 
 repeate hys '■ gamut,"t and he faile in ye so doing, the said Knight, 
 or other, shall not pay ye fine. 
 
 * The chpri-:ters of S. Paul's appear to have been most peremptory in 
 their demand for spur money, and threatened imprisonment in the choir for 
 one night to all who refused to give it them. 
 
 t Gamut, i.e., gamma ut, the note G, which wa"? the Ut or Do of the 
 lowest hexachord of the ancieiit system of Guido d'Arezzo. As these hexa- 
 chords in ascending overlapped one another, and as the notes were named 
 by cartoning the overlapping names, the task was a fair test of the boy's 
 musical knowledge,' and amourted to the same thing as askng a sailor to 
 box the compass. With many of our old cathedral musicians " gamut " 
 means the key of G. Blow's Service in G (printed in Boyce's Cathedral 
 Munc^ Vol. I., pp. 252 — 281), is commonly called his ''Gamut Service." 
 The term is fast becoming obsolete. 
 
30 THB ORGANISTS AND COMPOSERS 
 
 The above curious extract is from the ancient 
 Cheque Book of the Chapel Royal, and the following 
 is an illustration of it. On one occasion the Duke of 
 Wellington (who, by the way, like his father the Earl of 
 Mornington, was an excellent musician), entered the 
 Chapel Royal, S. James', "booted and spurred," and 
 was, of course, called upon for the fine. His Grace, 
 however, was equal to the occasion, and calling upon 
 the youngest chorister to repeat his gamut, and " the 
 little urchin " failing, the impost was not demanded. 
 At some of our cathedrals, Peterborough for example, 
 the custom lingered as late as 1850, and whenever a 
 boy entered the choir of S. Paul's until comparatively 
 recently, he was informed by his seniors that he was 
 quite entitled to Spur-money — that is, if he could 
 get it. _ 
 
 Resuming our account of the musicians of Old S. 
 Paul's, we come to Thomas Morley, who, after Red- 
 ford, seems to have been the first organist of any im- 
 portance. He probably received his primary educa- 
 tion as a chorister and appears to have been organist 
 of the Cathedral for some years previous to 1591. 
 We learn from Nichols' Progresses, published in that 
 year, that Queen Elizabeth, happening to be at Elve- 
 tham in Hampshire, heard " a notable consort of six 
 musicians," which so highly pleased her that "she 
 gave a new name unto one of those Pavans made 
 long since by Maister Thos. Morley then organist of 
 S. Paul's Church." 
 
 Morley graduated as Bachelor in Music at Oxford 
 in 1588, and, soon after the year 1591 left S. Paul's, 
 on his appointment as Gentleman of the Chapel 
 Royal, of which same place he became, in the follow- 
 ing year, Gospeller. He remained at the Royal Chapel 
 until 1602, in which year, according to some, his 
 death took place ; other historians, however, have 
 asserted that this event occurred two years later. 
 
OF S. PAULS CATHEDRAL. 3 1 
 
 None of Morley's Church compositions were 
 printed during his life-time. Two services and an 
 anthem '' Out of the deep," were included in the 
 famous collection made by Minor Canon Barnard in 
 1641, and a fine, solemn Burial Service was published 
 by Dr. Boyce in the first volume of his Cathedral 
 Music in 1760. This latter is now, however, but 
 seldom sung, the famous joint composition of Croft 
 and Purcell having taken its place. 
 
 It is upon his Madrigals that the fame of Morley 
 as an English composer mainly rests. He published, 
 in 1594, Madrigals to Foure Voyces, and in 1601 
 edited the famous collection known as The Triumphs 
 of Oriana, or Aiadrigales to five and six Voyces con- 
 posed by divers severall authors. The contributors to 
 this work were the following : — John Benet, Thomas 
 Weelkes, George Kirbye, Richard Carlton, Edward 
 Johnson, Michael Cavendish, John Lisley, John 
 Farmer, John Hilton, Robert Jones, Thomas Hunr, 
 Thomas Bateson, John Milton (father of the poet), 
 Michael Este, John Mundy, Ellis Gibbons, Richard 
 Nichol-on, Thomas Tomkins, John Wilbye, George 
 Marson, John Holmes, Francis Pilkington, Daniel 
 Norcome and William Cobbold. They were all 
 eminent composers, flourishing during the Tudor 
 and early Stuart periods, and some of tht-m held 
 C'''urch appointments. A fine edition of the Triumphs 
 of Oriana was published by William Hawes in 1815, 
 together with a preface containing much interesting 
 bibliographical matter. 
 
 Morley likewise published several books of Ay res, 
 Fa Las, Ballets and Canzonets, a collection of the last- 
 named, together with some madrigals, being newly 
 edited about 18 16 by the Rev. William Woollams 
 Holland, a Minor Canon of Chichester Cathedral, 
 from 1809 to 1855. 
 
 Morley's Plaine and Easie Introduction to Practicall 
 
THE OROANISTS AND COMPOSEliS 
 
 Musique long held its ground as a text book. It was 
 originally published in 1597, with a dedication to 
 " the most excellent musician Maister William Birde." 
 It was translated into several languages,and an edition 
 was demanded so late as 1771. It was divided into 
 three parts. " The first (so runs the title) teacheth 
 to sing with all things necessarie for the knowledge of 
 prickt song. The second treateth of descante and to 
 sing two partes in one upon a plainsong or ground, 
 with other things necessarie for a descanter. The 
 third and last parte entreateth of compositions of three, 
 foure, five, or more partes, with many profitable rules 
 to that effect. With new songes of 2, 3, 4, and 5 
 partes." 
 
 The Rev. J. W. Burgon * in his Life and Times of 
 Sir Thomas Greskam, 1839 (vol. ii., p. 465) speaking 
 of the famous parishioners and inhabitants of the great 
 merchant's locality, viz., the parish of S. Helen, 
 Bishopsgate, says — " To this brilliant catalogue must 
 be added the interesting name of Thomas Morley, 
 the celebrated musician and writer of Madrigals ; who, 
 as the parish register informs us, resided with his 
 family in S. Helens : and often must Crosby Hall have 
 
 re-echoed his sweet strains What is 
 
 remarkable, William Byrde was also an inhabitant 
 of the same parish, and it is well known that Wilbye 
 the composer lived hard by.+ These facts harmonize 
 well with Gresham's endowed lectureship for the pro- 
 motion of the divine art, which Morley, Byrde, and 
 Wilbye cultivated with so much success." 
 
 Thomas Morley should not be confused with 
 William Morley, one of the Gentlemen of the Chapel 
 Royal in the time of George I., and the composer of 
 the penitential double chant in D minor, supposed to 
 be the earliest instance of that species of composition 
 
 * Formerly Vicar of S. Mary the Virgin, Oxford, and late Dean of 
 Chichester. 
 
 t In Austin Friars. — J. S. B. 
 
OF s. Paul's cathedral. 33 
 
 known. A similar piece of music by the Rev. Luke 
 Flintoft (one of the Minor Canons of Westminster 
 Abbey in 1727), is probably coeval with it. 
 
 To William Mundy, a Vicar Choral of S. Paul's in 
 1561, has been assigned by some (among them^ Bar- 
 nard) the little Compline Anthem in the Key of G 
 minor, " O Lord the Maker of all things," but which 
 Dr. Tudway, Dean Aldrich, and Dr. Boyce have un- 
 hesitatingly attributed to King Henry VIII. , whose 
 skill in Church music is well known. From recent 
 research, however, on the part of Dr. Armes, organist 
 of Durham Cathedral, it seems that the anthem in 
 question was composed by neither of the above per- 
 sonages, but was the undoubted work of John Shep- 
 harde, organist of Magdalen College, Oxford, in the 
 middle of the sixteenth century. The circumstance 
 of the words of the anthem being contained in the 
 Compline Service in " Henry the Eighth's Primer," 
 has, no doubt given rise to the error of its attribution 
 to the King. 
 
 Mundy, like many of his contemporaries, was one 
 who, though outwardly conforming to the Reformed 
 worship, retained a secret preference for that of the 
 Church of Rome, since he is mentioned by Morley in 
 his Introduction, together with Tallis, Byrde, and 
 others as " never having thought it greater sac- 
 riledge to spurne against the image of a Saint, 
 than to take two perfect cordes of one kinde 
 together.'" 
 
 The compositions of Mundy, and those of all the 
 musicians previously named, were probably among 
 the first written to English words for the needs of the 
 Reformed service, Latin having been the language 
 hitherto uiyversally employed for Church use. 
 
 William Mundy's son John, was the successor of 
 Marbecke (author of the Booke of Gommon Fraier, 
 Noted, 1550) as organist of the Free Chapel of S. 
 
34 TJIE ORGANISTS ANI) COMPOSERS 
 
 George at Windsor. Both rnusicians are mentioned 
 in some quaint rhymes at the end of a manuscript 
 collection of motetts and madrigals transcribed in 
 1591 by John Baldwine one of the lay clerks of S. 
 George's. Recounting the celebrated composers of 
 his time, he says : — 
 
 I wi)l begine with White, Shepherd, Tye, and Tallis, 
 Parsons, Gyles, Mundie, th'oulde one of the Queene's pallis ; 
 Mundie yonge, th'oulde man's Sonne, and likewyse may moe, 
 Their names would be too longe, therefore I let them goe. 
 
 John Tomkins was organist of old S. Paul's from 
 162 1 until 1624, in which year he resigned his post 
 to become " Gentleman Extraordinary " of the Chapel 
 Royal "for the next place of organist there." He 
 came of a large and noted family of musicians. His 
 father, Thomas Tomkins, for some time the Royal 
 organist, and latterly of Worcester Cathedral, was the 
 composer of a large nuinber of original services and 
 anthems which were published in five separate parts, 
 viz., four for the voices and one for the organ, in 1664; 
 under the title of Musica Deo Sacra et Ecdesia Angli- 
 caruz; or Music dedicated to the Honour and Service of 
 God, and to the Use of Cathedrals and other Churches 
 of England especially the Chapel Royal of King Charles 
 I. This collection is now very rarely met with. It 
 contained five complete Services,* and no less than 
 one hundred and four full and verse anthems, for 
 I, 2, 3, 4, 5, 6, 7, 8, 9, lo, and 12 voices.! The 
 work was published posthumously, and Dr. Rim- 
 bault surmises that it was edited by his nephew 
 Thomas, who rose to be Chancellor of Exeter Cathe- 
 
 * One of these, in the key of C, was printed by the Rev. Sir F. A, Gore 
 Ouseley in his Collection of Services hy EnglUh Masters, folio, 1853. 
 
 + Of his anthems the three following fr-r five voices, were printed by the 
 Rev. Sir Wm. H. Cope, M.A., Part. (Minor Canon of S. Peter's Westmin- 
 ster), in his Collection, entitled, Anthems by Eminent Composers of the English 
 Church, 8vo, 1849 :— " CTreatand marvellous," " He that hath pity," and " O 
 Lord, I have loved the habitation." 
 
OF S. PAULS CATHEDRAL. 
 
 35 
 
 dral, and Rector of Lambeth until his death in 1675. 
 It was advertised in 1666 " to be had at the Chaunter's 
 house, Westminster." 
 
 When John Tomkins died he received the rare 
 compliment of burial in S. Paul's. None of his works 
 have been handed down to us, so we are unable to 
 form any estimate of his abilities as a composer, but 
 he must have possessed some powers as a performer 
 since he was described on his monument as " orga- 
 nista sui temporis celeberimus," and on which it was 
 further stated that he " ad cselestum chorum migravit, 
 Septembris 27, a.d. 1638, setatis suae, 52." The fore- 
 going inscription is mentioned by Dugdale in his 
 S. Paul's, as being inscribed upon a marble stone in 
 the North aisle, "super lapidum marmoreum in ala 
 Boreali." 
 
 In the days of which we are now treating, the 
 organ in S. Paul's was placed over the North choir- 
 stalls,* at their eastern extremity. The great organ 
 case was of a handsome mediaeval design, and har- 
 monized admirably with the exquisite Middle Pointed 
 architecture of the choir. It had folding doors, to 
 
 '^ At Canterbury Cathedral the organ, for many years, occupied a posi- 
 tion similar to that of o'd S. Paul's (see the view of the interior of the choir 
 looking East, given in Dart's History and Antiquities of the Cathedral Church 
 of Canterbury, folio, 1726). It had a fine old Georgian case of a design 
 similar to that of Worc-ster, before it was ruthle-s.sly destroyed, like those of 
 many of our cathedrals, at restorations, and miserable caseless rows of 
 pipes, often gaudily coloured, substituted for ihe grand old woodwork, as at 
 Durham, for example. At Canterbury, the clioir-organ was corbelled 
 out over the Northern stalls (or rather Corinihian wainscoting) put up, 
 with the best intentions, by Archbishop Tenison in 1704. There was much 
 excellent carving by Grinling Gibbons in these stalls, but they completely 
 hid Prior de Estria's lovely and matchless screen (constructed 1304-5) which 
 ran thewhole length of both sides of the choir, and which formed a more perfect 
 finish to the lower woodwork than anything that could possibly be devised. 
 The organ, rebuilt by Samuel Green, was tran^lerred to the western screen in 
 1784, and in 18^8, Tenison's stall-work was removed, with the exception of 
 tlie western return-stalls (which, happily, wertf left, and of which the effect 
 is still admirable) thus disclosing to view Prior de Estria's dr-licate work as 
 we now see it. Comparative'y recently the choir of Canterbury has been 
 reseated throughout, and Tenison's iiibsella wholly removed. Larger 
 seats have been placed for the choristers, in lieu of the old ones with the 
 handsome brass book-desks (similar to those of S. Paul's up to 1871) which 
 
36 THE ORGANISTS AND COMPOSERS 
 
 preserve the pipes from dust, which were closed when 
 the instrument was not in use, and which were no 
 doubt gorgeously illuminated with figures of saints 
 and angels playing on various musical instruments. 
 In some of the old engravings of the interior of the 
 choir, these doors are depicted as standing open, 
 thereby giving the organ the appearance of a triptich. 
 Overhanging the richly-carved stalls was a small choir 
 organ, forming, as at present, a screen for the per- 
 former. A somewhat similar organ case, designed by 
 Pugin was placed in the beautifully-restored chapel 
 of Jesus College, Cambridge, in 1849. 
 
 Tomkins was succeeded in the organistship by that 
 good, honest old Church composer, Adrian Batten, 
 who was born at Winchester about 1590, and educated 
 as a chorister of the Cathedral under John Holmes. 
 According to an old organ-book formerly in the pos- 
 session of Mr. Hawes, Almoner of S. Paul's, Holmes 
 was " organist of Winchester and afterwards of Salis- 
 berrie" in the days of good Queen Bess. In this 
 same book it was stated that some "songes of Mr. 
 John Holmes were prickt from his own pricking in ye 
 yeare 1635 by Mr. Adrian Batten, one of ye Vickers 
 
 figure in Dart's view, and also in a very fine eneraving of the interior o 
 the choir, taken from a similar pnint and published by Ward of Canterbury 
 (1832) in the possession of the writer. 
 
 At Westminster Abbey the organ was over the northern stalls until 1737, 
 when a new instrument was erected upon the screen by Schreider and Jordan. 
 At Winchester the organ has occupied a like pcsilion from time immemorial, 
 and when Dr. S. S. Wesley proposed to remove it to the screen in 1849, he 
 was unable to carry out his scheme, owing to strong opposition. At Win- 
 chester College theorgjan is in the same position. At S. David's it was over 
 the northern stalls until the recent erection upon Bishop Gower's magnificent 
 rood-screen of a modern instrument by Willis. The side position has been 
 adopted since the restorations at Bristol, Hereford, Durham, Chichester, 
 Chester, Bangor, S. Asaph, LlandaflF, Worcester, Ely, Lichfield, and Salis- 
 bury, in all of which cathedrals the organ had previously been placed upon 
 the choir screen. The only cathedral organs retaining their original posi- 
 tion on the screen now, are Gloucester, Exeter, York, Norwich. Peter- 
 borough, Lincoln, Rochester, Wells, Carlisle, Manchester, Ripon, and 
 Southwell. Likewise S. George's Chapel, Windsor, and several of tlie Co'- 
 lege Chapels of Oxford and Cambridge. At Eton College the organ has 
 been removed more than once, but is now upon the screen. 
 
OF S. PAULS CATHEDRAL. 37 
 
 of S. Paule's in London, who, some tyme was his 
 schoUer." 
 
 In 1604 Batten came to London, and was installed 
 as a lay vicar of Westminster Abbey, of which 
 church Edmund Hooper was then organist. Twenty 
 years later he removed to S. Paul's on being appointed 
 organist and vicar choral there. He remained at the 
 metropolitan cathedral until his death, which took 
 place in 1637.* Some of Batten's biographers have 
 asserted that he was living in the reign of King 
 Charles II., "f but this statement is by no means likely 
 to be correct, as several of his compositions were in- 
 cluded in Barnard's Church Music {1641) and in which, 
 as we shall presently see, no services or anthems by 
 composers living at the time of its publication were in- 
 cluded. This circumstance will, therefore, preclude 
 the possibility of Batten's death at a later date. 
 
 Adrian Batten wrote a considerable quantity of 
 Church music in the pure and solemn style of Tallis. 
 At Westminster his service and several of his anthems 
 have been in constant use, most probably since the 
 time they were first composed, and it is pleasant to 
 think that they are still frequently drawn upon. At 
 S. Paul's, however, he appears to be completely 
 ignored. It is to be hoped that the present Succentor, 
 who has, of late, made a few judicious revivals of 
 old anthems, will, some day, restore Batten's 
 compositions to their place in the daily cathedral 
 service, and thus rescue them from the oblivion 
 into which they have most undeservedly fallen. 
 
 The Service, to which a passing allusion has just 
 been made, is, in what is known to musicians, as the 
 Dorian Mode, t'.e., the key of D minor formed out of 
 
 * Dr. Boyce who is usually so accurate, has fallen into this error. 
 t Several authorities give the year 1640 as that of Batten's death. It is, 
 however, probable that 1637 is more correct ; for, on July 22nd of that 
 year, letters of administration of the estate of Adrian Batten late of the 
 parish of S. Sepulchre's, London, deceased, were granted by the Prerogative 
 Court of Canterbury to John Gilbert of the City of Salisbury, clothier, with 
 the consent of Edward, John and William Batten, his brothers. 
 
38 THE ORGANISTS AND COMPOSERS 
 
 the notes of the scale of C, and like that of Tallis in 
 the same mode, is written for the most part in the 
 manner designated by Italian composers as lo stile 
 famigliare, or in other words, in simple counterpoint 
 of the first species, note against note, with little or no 
 striving after effect, ingenious contrivances, or learned 
 complications. Batten's music would, of course, be 
 voted by admirers of the present advanced school of 
 Church music as exceedingly dry, expressionless, and 
 uninteresting ; but for use at certain seasons of the 
 Church it is invaluable, its unworldly grandeur and 
 solemnity of harmony being its great charm. 
 
 Batten's morning service contains a setting of the 
 Benedidus as well as the Jubilate, and the Commu- 
 nion Service is completed by a Gloria in Excehis. 
 Settings of the last-named hymn are rarely found 
 among the works of any of our Cathedralists until 
 those of the present day, choral celebrations having 
 been formerly quite the exception. Tallis' celebrated 
 service, written considerably anterior to that of Batten, 
 is the only early one published in which the Euchar- 
 istic Office is set chorally throughout. 
 
 The Benedidus received considerable attention ai 
 the hands of Tudor and Elizabethan composers, and 
 we have some magnificent specimens, such as Gibbons 
 in F, and Barrant in G minor ; in fact, these early 
 Church musicians preferred the Betiedidus to the 
 J'ubilate, but they rarely set both canticles when com- 
 posing music for the morning service. Hence, Batten's 
 service is valuable and interesting in two respects.* 
 
 1. ,c Y^'i^ "^'' P""^' °'^ '''^ '7th, the whole of the i8th, and the first 
 
 half of the present centuries, that most beautiful canticle the Benedictus, 
 almost entirely dropped out of use as regards musical settings. The follow 
 mg exainples, however, may be mentioned :— •Purcell in B fiat (c. i68o) ■ 
 Aldrich m E minor (c. 1690) ; Nalsrn, Priest Vicar of York in G (1722) ' 
 Rosfingrave, organist of Christ Church Cathedral, Dublin, in F and C (c 
 '74°); Bishop, organist of Winchester, in D (c. 1730); *Woodward, organist 
 of Christ Church Cathedra , Dublin, in B flat (c. 1,71); «Dr. John Smith, 
 Vicar Choral of S. Patricks Cathedral, Dublin, in B flat (c. UI37) ; *Wal- 
 
OF S. PAULS CATHEDRAL. 39 
 
 Three of Batten's anthems were printed by Boyce 
 in his Cathedral Music, while several others were given 
 among the Parish Choir Music (1846 — 1850), and in 
 an excellent and tasteful collection edited, about the 
 same period, by the Rev. Sir W. H. Cope, Bart, then 
 Minor Canon and Librarian of Westminster, and now 
 Vicar of Bramshill in Hampshire. 
 
 The following is a list of Church compositions by 
 Batten, which have been printed in modern times. 
 
 SERVICE. 
 
 In D minor. Te Deum, Beriedictus, Jubilate, Kyrie, Credo, 
 Sanctus, Gloria in Excelsis, Magnificat and Nunc Dimitris. 
 (Printed by Juhn Goss and Jamrs Turle in their collection 
 of Services and Anthems, Ancient and Modern, 2 vols, 1848. 
 
 ANTHEMS. 
 Deliver us, Lord* (full k 4 v). ) p^j^j^j ;„ g .^ ^^^^ j^ 
 ffear my Prayer {(Mb. Sv) I Vol. II. ; in the ParisA 
 Opraue the Lord, all ye heathen i f.^^- ^„j elsewhere, 
 (full k 4 v). J 
 
 Haste Thee, O God (full k 4 v). 1 
 
 Let my complaint (ditto). 
 
 Lord, we beseech Thee (ditto). Printed in the Rev. Sir W. 
 
 Lord, who shall dwell {ivW'kd^').^ H. Cope's Anthems by 
 Sing we merrily {{ul\ 3.4 v), com- f Eminent Composers of the 
 
 posed 1623. English Church, Svo, 1847. 
 
 When the Lord turned again \ 
 
 (full k 4 v). J 
 
 My soul truly waiieth (full k 4 v.) printed in the Parish [Choir 
 Music. 
 
 mislev in D (1843) ; *Elvey in F (c. 1844) ; *Slatter, Priest Vicar of Exeter, 
 in F (c. 1848) ; *Ouseley in B minor (1853). Those_ marked with an asttrisk 
 have been printed. Now-a-days a morning service is hardly considered 
 complete without tlie Bmedictus, and many of the modern examples -sung at 
 S. Paul's, such as Barnby, Staiiier, Martin, Seiby, Calkin, Tours, Garrett, 
 etc., are of extreme beauty. 
 
 * Dr. Gauntlett, edited in 1846 for Burns' Services and Anthems, a copy 
 of " Deliver us O Lord," but completely spoilt it, by altering its fine poetical 
 rhythm to a perfect drawl. He took away the old Dorian vigour of the 
 opening phrase by putting in B fiat, and utterly unnerved its harmony . 
 (vide word " God ") by substituting F for D in thebass. To the^mind of 
 the writer Batten wanted none of Dr. Gauntleti's "improvements." Com- 
 pare this copy with that furnished by Boyce. 
 
40 THE ORGANISTS AND COMPOSERS 
 
 In Barnard's Church Music and in a large manu- 
 script collection intended by the same compiler as 
 materials for a second volume of a similar character, 
 were given nearly all the aforesaid compositions by 
 Batten, with the following additional ones : — 
 
 SERVICES. 
 
 Kyrie and Nicene Creed. 
 Short Service for men's voices 
 (dated July 15 th, 1622).* 
 
 A short Service, 
 First Verse Sei~uice. 
 Second Verse Service. 
 
 ANTHEMS. 
 
 God, Thou art my righteous- 
 ness. 
 
 *Q how happy a thing it is. 
 
 praise the Lord, laud ye. 
 
 praise God in His holiness. 
 
 '^Out of the deep. 
 
 * Praise the Lord, my soul. 
 
 *Turn Thou us. Good Lord 
 (for Ash Wednesday). 
 
 Almighty God (composed in 
 
 the Plague Time, 1625). 
 Christ our Paschal Lamb. 
 Godliness is great riches. 
 *Have mercy upon me, O God. 
 Hear the prayers, our God. 
 Hide not Thou Thy face. 
 Lord, / am not high minded, 
 O clap your hands. 
 God, the King of Glory, 
 
 In the magnificent manuscript collection of early 
 English Church music at Peterhouse College, Cam- 
 bridge, are to be found the following compositions by 
 Batten. (Those pieces indicated by an asterisk in 
 the foregoing list, are also included in the Peterhouse 
 collection) : — 
 
 SERVICES, 
 t A Litany in F (printed by the Rev. John Jebb, D.D., in his 
 
 Choral Responses and Litanies of the Church of England, 
 
 Vol I., 1847). 
 Magnificat and Nunc Dimittis in G minor. 
 Christ rising, (Easter anthem, according to the Prayer Book 
 
 Version, before the final review). 
 
 * Possibly this service was written for one of the ** play weeks " or holi. 
 days after certain festivals. No doubt the children of the choir of S. Paul's 
 enjoyed their holidays and their half-holidays in 1622 as they do at tlie 
 present day. 
 
 \ It must not be supposed that the Litany in ordinary use was the only 
 composition of the kind ever written. Many of our organists, etc., wrote 
 
OF S. PAULS CATHEDRAL. 
 
 41 
 
 ANTHEMS. 
 
 Blessed are all those. 
 
 Heat my prayer, and with 
 
 Thine ears. 
 Holy, Holy, Holy (for Trinity 
 
 Sunday), 
 Jesus said {fax S. Peter's Day). 
 
 I heard a voice Jrom heaven 
 (for Michaelmas Day). 
 
 Lord, let me know mine end. 
 
 O Lord, Thou hast searched me 
 out. 
 
 Ponder my words. 
 
 A very curious old organ-book in the possession 
 of the writer contains Batten's first verse service 
 mentioned above, and a large number of his anthems, 
 including two or three not given by Barnard. The 
 same book comprises a very florid and curious accom- 
 paniment to Gibbons' service in F, which, by the 
 way, is transposed from F into G. 
 
 Burney, the musical historian, did not entertain a 
 very exalted opinion of Batten's Church music when 
 he wrote that he was " a good harmonist of the old 
 school, without adding anything to the common stock 
 of ideas, both in melody or harmony, with which 
 the art was furnished long before he was born. Nor 
 did he correct the errors with which former times 
 abounded." This criticism, like many of Burney's is 
 hardly just. Batten's service and his anthems, " Hear 
 my prayer," and " Lord we beseech Thee," are quite 
 
 settings of the Litany — some obselete, others still in constant use. At the 
 cathedral of Lichfield a sequence of four is in use on Sundays, Wednesdays, 
 and Fridays, comprising those of Tallis, Wanless, Loosemore, and W. King, 
 besides the common Litany. Thit of Wanless (organist of ^York Minster, 
 c. X700) in C minor, is eminently touching and beautiful, as is also that of 
 Loosemore (organist of Exeter Cathedral after the Restoration) in D minor. 
 Samuel Wesley wrote a very fine Litany, a fact which may not be generally 
 known. 
 
 At Durham Cathedral, the Litany is chanted by two Minor Canons ; at 
 York by two Priest Vicars Chora] ; at Lincoln by two Lay Vicars ; and at 
 Lichfield and Exeter by one Priest Vicar and one Lay Vicar. At S. Paul's 
 the Litany was ordered, at Bishop Compton's visitation in 1696, to be sung 
 by " two Minor Canons in the midst of the choir." This beautiful custom 
 has of recent years been disused, the only survival of it being the chanting of 
 the Litany at the faldstool, as far as the Lord's Prayer, by the Minor 
 Canon officiating at the Lectern ; the remainder being sung by the Minor 
 Canon who has previously chanted the prayers. The readf r should, if pos- 
 sible, consult Dr. Jebb s learned and valuable work^ The Choral Hesponses 
 and Litanies of tJie Church of England, 2 vols, folio, 1847-57, for further 
 information on the above subject. 
 
42 TEE ORGANISTS AND COMPOSERS 
 
 equal in pathos and construction to anything pro- 
 duced by contemporary musicians. Indeed, an exa- 
 mination of the above scores will prove that many of 
 his progressions, harmonies, and modulations evince 
 a considerable amount of daring for the period at 
 which he wrote. That Batten was not wholly unin- 
 fluenced by Orlando Gibbons (for a short time con- 
 temporary with him at Westminster Abbey) may be 
 seen in several of the phrases of his little festival 
 anthem in the key of F, " Sing we merrily unto God, 
 our strength." 
 
 Allusion has been made more than once in the 
 course of these papers to Barnard's collection of 
 Church music. It is now time to describe that 
 famous work in full, for its compiler was one of the 
 Minor Canons of S. Paul's in 1641. Unfortunately, 
 no further details of his career are forthcoming. 
 
 The full title of this collection was as follows : — 
 The First Booke of Selected Church Mustek, consisting 
 of such Services and Anthems, as are now in use in the 
 Cathedrall and Colle^att Churches of the Kingdome. 
 Never before printed. Whereby such bookes as were 
 heretofore with much difficulty and charges transcribed 
 for the use of the Quire, are now, to the saving of much 
 labour and expence publisht for the generall good of all 
 such as shall desire them, either for publick or private 
 exercise — Collected out of divers approved authors 
 by John Barnard, one of the Minor Canons of the 
 Cathedrall Church of S. Paul, London. Printed by 
 Edward Griffin, and are to be solde at the signe of ye 
 Three Lutes in S. Paul's Alley, 1641. 
 
 This work, the first of its kind of any magnitude, 
 was dedicated to King Charles I., and published in 
 ten folio volumes, viz. : Medius (or Treble), ist and 
 2nd Counter Tenor (or Alto), Tenor, and Bassus (or 
 Bass) for the Decani side of the choir ; and a like 
 number for the Cantoris side. These, however, are 
 
OF S. PAULS CATHEDRAL. 43 
 
 not mere duplicates of the former as the Decani 
 passages are not given in the Cantoris books, nor 
 vice versd. 
 
 It is sad to think that no absolutely perfect copy 
 of this matchless and judicious selection of early 
 Church music is now known to exist. This may be 
 accounted for, partly by the work not having been 
 printed in vocal score, and partly on account of the 
 time at which it was issued ; for the choral service 
 was suppressed, and terrible havoc made of organs 
 music-books and Church property of every descrip- 
 tion, during the puritanical fanaticism of the Great 
 Rebellion. 
 
 For nearly ninety years the library of Hereford 
 Cathedral enjoyed the distinction of possessing the 
 least imperfect set of the ten parts, viz. : the Medius, 
 ist and 2nd Counter-Tenors, and Tenor Decani, 
 and the ist and 2nd Counter-Tenors, Tenor and 
 Bassus Cantoris, several of the sheets being mutilated. 
 By a happy chance, however, the Sacred Harmonic 
 Society of Exeter Hall, purchased, in 1862, another 
 set of eight parts, fortunately not the same eight as at 
 Hereford. So, between the two a complete set was 
 made up. It is very remarkable that each of these 
 two sets contained the two vocal parts which were 
 wanting, in the other. 
 
 Not long after this, a copy of the Bassus Decani 
 part was bought for the Hereford library, and a tran- 
 script of the Sacred Harmonic Society's copy of the 
 Medius Cantoris part (unfortunately imperfect) was 
 permitted to be made for it ; thereby placing it in its 
 former position of pre-eminence as to the number of 
 parts possessed by it. 
 
 The library of Lichfield Cathedral contains seven 
 out of the ten parts. Beyond these, and two or three 
 single parts or fragments thereof in various private 
 hands, no other copies of Barnard are known to exist. 
 
44 THE ORGANISTS AND COMPOSERS 
 
 " the Statement," says Mr. W. H. Husk (late librarian 
 of the Sacred Harmonic Society) "in Mr. Botfield's 
 Notes on the Cathedral Libraries of the existence 
 of copies at Westminster and Berlin, proving on 
 enquiry to be wholly unfounded." Dr. Rimbault, 
 however, mentions that, in 1670, the Dean and 
 Chapter of Westminster bought a copy of Barnard 
 from John Playford " the musick-seller at the Inner 
 Temple Gate," for which they paid £,t.t, 8s. 9d. 
 
 Soon after the joint completion of the work as 
 above, an organ part (which had not previously been 
 published) was added, after much toil and patient re- 
 search on the partof Mr. John Bishop of Cheltenham, 
 one of the most accomplished of musical antiquarians. 
 
 The writer of this account had, a short time ago- 
 the good fortune to become possessed of a consider- 
 able portion, though slightly mutilated, of a First 
 Counter Tenor Cantoris part of Barnard. This musical 
 curiosity is now lying before him. It is handsomely 
 and uniformly printed in small folio size. The notes, 
 on blackstaves, are diamond-shaped, somewhat resemb- 
 ling those of the Gregorian notation,the accompanying 
 words being printed in a bold, florid, ornamental type, 
 not unlike Black Letter. The words of the service or 
 anthem for the side of the choir not singing are printed 
 by themselves in a small ordinary type. The spelling 
 and phraseology are extremely quaint throughout.* 
 Some of the initial-letters and tail-pieces are, for 
 the period, most beautifully designed and executed. 
 The former chiefly represent Saints, &c., holding 
 various instruments of music, while the latter fre- 
 quently take the form of flourishes, one of which is 
 very elaborate, making the initials J. B., together 
 with the date 1639, as if to denote the progress then 
 made by the compiler in his work. 
 
 * The following is a specimen :— " Heare endeth Dr. Gyles his first ser- 
 vice of I, 2, 3, 4, 5, and tj partes to ye organs." 
 
OP S. PAUL'S CATHEDRAL. 45 
 
 No composers living in Barnard's time were repre- 
 sented, it being his intention to include some of their 
 services and anthems in a second volume, which, 
 however, owing to the Parliamentary troubles, then 
 just beginning to break out, never saw the light. The 
 materials collected by Barnard for the purpose, have 
 been previously alluded to. 
 
 The following were the contents of TTie First 
 Booke of Selected Church Musicke. Those pieces indi- 
 cated by an asterisk were afterwards reprinted by 
 Boyce in his Cathedral Music. 
 
 COMPLETE SERVICES.* 
 
 Mundy in D minor. 
 Parsons in F. 
 Strogers in D minor. 
 * Talks in D minor (Dorian). 
 
 *Byrde in D minor. 
 *Bevin in D minor. 
 * Gibbons in F.% 
 
 Gyles in C. 
 
 Morley in D minor. 
 
 All the above consist of Te Deum, Benedictus, Kyrie, Credo 
 Magnificat, and Nunc Dimittis, some of them have the Vcnite, 
 in addition. They are all entitled " First Service." 
 
 MISCELLANEOUS SERVICES, PRECES, ETC. 
 
 Byrde (" Second Service ") Magnificat and Nunc Dimittis in 
 
 G minor. 
 Byrde ("Third Service") Magnificat and Nunc Dimittis in C. 
 Gibbons ("Second Service") Te Deum, Jubilate, Magnificat 
 
 and Nunc Dimittis in D minor.% 
 Morley (" Second Service ") Magnificat and Nunc Dimittis 
 
 in C. 
 Warde, Magnificat and Nunc Dimittis in G minor. 
 Woodson, le Deum in D minor. 
 
 Byrde. — Preces I. 
 
 — ist Psalm to ditto, " 
 clap your hands." 
 
 — 2nd Psalm to ditto, " Sav'e 
 me, God." 
 
 Byrde. — Preces II. 
 — 1st Psalm to ditto, " When 
 
 Israel came." 
 — 2nd Psalm to ditto, "Hear 
 
 my prayer." 
 — yd Psalm to ditto, " Teach 
 
 me, O Lord" 
 
 "* The pieces by Gibbons marked J, were included in Sir Frederick 
 Oufeley's collected edition of the sacred compositions of that eminent 
 master (Novello, 1873). 
 
46 
 
 THE ORGANISTS AND COMPOSERS 
 
 Gibbons. — Preces I. + 
 
 — Psalm to ditto, " Thou 
 openest Thine hand.'* 
 Tallis. — Pre-es I. 
 
 ^isi Psalm to ditto^ " Where- 
 withxl" 
 
 Tallis. — Preces /. — 2nd Psalm 
 to ditto ^ " doe well." 
 —■^rd Psalm to ditto ^ "My 
 soul cleaveih" 
 
 *Tallis. — Responses, Lord's 
 Prayer, etc. 
 
 *Tallis.— 7%^ Litany, 
 
 ANTHEMS. 
 I.— Full anthems (^ 4 v.) ■ 
 
 ^Almighty and everlasting God 
 
 Gihhons.X 
 
 *Call to remembrance Farrant. 
 
 Deliver us, O Lord (2 pts.) Gibbons. X 
 
 God be merciful (3 pts. ) Tpe. 
 
 Haste Thee, O Ood (2 pis.) B'^tten. 
 Haste Thee, O God (z pis.) 
 
 Sh^harde. 
 
 Hide not Thou Thy face Batten. 
 
 - *Hide not Thou Thy face Farrant. 
 *I will exalt Tiiee Ti/e. 
 
 II.— Full ani 
 
 , Behold, it is Christ Hooper. 
 
 ' Blessed be Thy name 2'allis. 
 
 *Bow Thine ear (and part of 
 
 "O Lord turn.") Byrdo. 
 
 *I call and cry Tallis. 
 
 I lift my heart Tt/e. 
 
 O give thanks Gyles. 
 
 O God, whom our offences . . Tallis. 
 
 O Lord, I bow the knees ..Mundy. 
 
 Lord, we beseech Thee .. *. Batten. 
 
 O Lord give Thy Holy Spirit Tallis. 
 
 *0 Lord, the Maker of all thinEs(at- 
 
 tributed by Boyceto Henry VIIL) 
 
 O Lord, the world's Saviour 
 
 *0 pmise the Lord Batten. 
 
 Teach me, O Lord Hooper, 
 
 When the Lord turned again 
 
 Batten. 
 
 thems (k 5 v.) 
 
 O Lord, make Thy servant 
 
 Charles Byrde. 
 
 O Lord, turn Thy wrath Byrde. 
 
 () Thou God almighty Hooper. 
 
 Prevent us O Lord Bi/rde. 
 
 The Lord bless us White. 
 
 Wipe away my sins Tallis. 
 
 With all our hearts Tallis. 
 
 Ill,— Full anthems (^ 6, 7, 8 v.) 
 
 Deliver me, O Lord Parsons. 
 
 "Tlosanna to the Son of David 
 
 Gibbons. X 
 
 *Lift up your heads Gibbons. X 
 
 O Lard grant the king Weelhes 
 
 *Sing joyfully Byrde 
 
 IV. — Verse anthems. 
 
 Ah ! helpless wretch Mundy. 
 
 Behold, Thou hast made , Gibbons.X 
 
 Christ being raised Byrde. 
 
 Christ rising Byrde. 
 
 Deliver me, O Lord Bull. 
 
 Hear my prayer Byrde. 
 
 I will praise Thee Warde. 
 
 Let God arise Warde. 
 
 O Lord rebuke me not Byrde. 
 
 Out of the deep Batten. 
 
 Out of the deep Morley. 
 
 Thou God that guidest Byrde. 
 
 * A Verse Anthem is one which begins with a solo, or a verse for two or 
 more voices, and is one in which the chorus is, a subordinate feature — a 
 mere finale in fact. A " Full Anthem with Verse " is one which contains a 
 solo, or vbrse, prefaced and concluded by a chorus. The number of voices 
 mentioned, in connection with this class of anthem is that required for the 
 verses, the choruses being usually for four voices, though some composers 
 have written to the extent of ten parts. By " Full Anthem" is meant one 
 which contains no verbe-parts whatever. Such compositions are, as a lule, 
 short. 
 
OF s. Paul's cathedral. 47 
 
 Barnard intended to publish some of his own com- 
 positions in his second collection. These included two 
 sets of Preces, one of them for six voices, together with 
 a set of Responses for the Accession of King Charles I. 
 (March 27th, 1625), and the Fifth of November. 
 
 It may not be uninteresting to mention that, slightly 
 anterior to Barnard, and upon the same plan, appeared 
 in Germany a fine collection of early Italian and 
 German Church music, compiled by Erhard Boden- 
 schatz, Lutheran Pastor at Gross Osterhausen, near 
 Querfurt, Prussian Saxony, from 1608 to 1638. Like 
 our Barnard there was no score, the vocal parts being 
 printed separately. This compilation appeared in two 
 volumes, the first in 1618, and the second in 162 1. 
 It is usually found perfect. 
 
 Another book by another Minor Canon of S. Paul's 
 — the Rev. James Clifford — must now claim our 
 attention for a short time. This is a little manual 
 (now excessively rare^ entitled A Collection oj Divine 
 Services and Anthems, usually sung in his Majesty's 
 Chappell and in all Collegiate Choirs of England and 
 Ireland, collected by J(ames) C{lifford). 
 
 Of this book, one edition appeared in 1663* and 
 another, considerably enlarged, in the following year. 
 It was dedicated to the Rev. Walter Jones, D.D., 
 Sub-dean of the Chapel Royal. In a high style of 
 laudation (says Dr. Rimbault) Chfford asks the Sub- 
 dean to be " pleased, therefore, to intermit awhile those 
 Seraphical raptures, and vouchsafe an eare to the 
 mean addresse of these rudiments (as it were) of 
 Church Musick, which, like other perfections, hath 
 suffer'd merely through the people's ignorance." 
 Then, after declaring that if the book is favourably 
 
 * Dr. Jebb mentions an earlier edition published in 1660. A dopy of the 
 edition of 1663, formerly beloneing to the Sacred Harmonic Society, had, 
 on the title page "the second edinnn, with large additions," and on the fly- 
 leaf, ** Imprimatur Joh. Hall, R.P.D., Episc^ Lon. a fac Domest. Jan. i6th, 
 1663. 
 
48 THE ORGANISTS AND COMPOSERS 
 
 received by him to whom it is dedicated, the com- 
 piler expresses his opinion that if the worthy Sub-dean 
 will descend and deign a favourable approbation 
 thereunto, it cannot but command reception from 
 others, " since (he adds) my knowledge at Oxford 
 (improved further at London) of your eminency 
 this way cannot so far disoblige the world as not to 
 believe you have the supreme mastery in religious 
 musick." Making due allowance for the above amount 
 of flattery, which we are accustomed to in matters of 
 this kind, it proves that Dr. Jones was a lover of the 
 Divine Art, and a fitting man for the post he occupied 
 in the royal establishment. 
 
 Clifford's manual is deeply interesting, as shewing 
 what remained of Cathedral music produced before 
 the Parliamentary troubles, when the choral service 
 were suppressed, and likewise what were the earliest 
 additions to that same service after the Restoration. 
 
 It contains, besides the Preface, Dedication, &c. 
 
 1. The Chants or Tunes for the Psalms and Canticles. 
 
 2. Brief Directions for the performance of Divine 
 Service. 3. A List of Divine Anthems usually sung 
 (393 in number). 4. An address to the reader in 
 commendation of singing, and 5. A Psalm of Thanks- 
 giving for the Children of Christ Hospital. 
 
 A few extracts from the first two sections may not 
 be without interest. 
 
 I. And that I may not only invite and satisfie all people that 
 resort to Cathedral service without prejudice ; but also to 
 inform and direct all other choires (that are remote) with the 
 exact and uniform performance both at His Majestie's Chappell 
 Royall, and at (the Mother of all Cathedralls) .S. PauTs in 
 London, I have interted all the tunes now in use in all parts of 
 the service, viz., ifas Venite, Te Deum, Benedicite, ^enedicttis, 
 fubilate. Magnificat, Cantate Domino, Nunc Dimittis, and Deus 
 Misereatur (where more solemn composures * ar^Mt ^ed), and 
 also in the Psalms for the dayes of the Mone^^and for the 
 Quicunque Vult, upon its proper dayes. 
 
 * i.e.. Services. 
 
OF S. PAULS CATHEDRAL. 49 
 
 The tunes for the Psalms and Canticles alluded to, 
 were the Gregorian Tones, then universally used in 
 our Cathedrals ; for even single Anglican chants were 
 almost unknown. Two or three other chants of a 
 kindred character were inserted by way of variety, 
 such as "The Imperial Tune" (a form of the VIII. 
 tone first ending, arranged by Dr. Childe about 1630) ; 
 " Mr. Adrian Batten's Tune " (probably a re-arrange- 
 ment by that composer of Tallis' setting of the I. 
 Tone, fourth ending) ; " Christ Church Tune " (a 
 chant in C usually assigned to Tallis, and called in 
 Dean Aldrich's MSS. at Christ Church College, 
 Oxford, "Chant D ") ; and "Canterbury Tune" 
 (set by Tallis in his famous service to the Creed of S. 
 Athanasius). All these are characteristic of the Gre- 
 gorian Tones, and are interesting, as affording such 
 variations as might be supposed to arise from the 
 decay of the ancient formulas of ecclesiastical music, 
 which was just at this time beginning to show itself 
 
 2. Biief Directions for the Understanding of that part of the 
 Divine Service performed with the organ at S. Taul's Cathedrall 
 on Sundays, etc. 
 
 The First Service in the Morning. 
 After the Psalms a Voluntary upon the organ alone. After 
 the 1st Lesson is sung Te Deum Laudamus, ' We praise Thee O 
 God,' etc., (this as well as the other canticles, is given at full 
 length). After the 2nd Lesson, Benedictus, S. Luke, i., 68. 
 ' Blessed be the Lord God,' etc., or Jubilate Deo, Ps. C, ' O be 
 joyful,' etc. After the 3rd Collect, ' O Lord, our heavenly 
 Father,' etc, is sung the 1st Anthem. After that the Litany, 
 'O God the Father of Heaven, have mercy,' etc. After the 
 Blessing, The Grace of our Lord Jesus Christ, etc., a Voluntary 
 alone upon the organ. 
 
 The Second, or Communion Service. 
 
 After every Commandment, the Prayer 'Lord have mercy 
 
 upon us,' etc. After the Epistle, this heavenly ejaculation, 
 
 Glory be to Thee, O Lord.' After the Holy Gospel, the 
 
 Nicene Creed, ' I believe in one God,' etc. After the sermon, 
 
 the last Anthem. 
 
 E 
 
50 THE OROANISTS AND COMPOSERS 
 
 At Evening Service, 
 
 After the Psalms, a Voluntary alone by the organ. After 
 the 1st Lesson is sung the Magnificat, S. Luke, i., 46, 'My soul 
 doth magnifie,' etc. After the 2nd Lesson, the Nunc Dimittis, 
 S. Luke, ii., 29, 'Lord now,' etc., or Deus Misereainr, Ps. 67, 
 ' God be merciful! unto us,' etc, ' Glory be ... - world with- 
 out end.' Amen. 
 
 William Bytdr. Wm. Mitndy. Mr. Strogers. 
 
 Orlando Gibbons. Thomas Tallis. Rlway Bevin, 
 
 Thos. Tomkins. Adrian Batten. Dr. Gyles. 
 
 Dr. Childe. Mr. Portman. Christopher Gibbons.* 
 
 After the 3rd Collect, ' Lighten our darkne>s, we beseech,' 
 etc., is sung Itie first Anthem. Alter the sermon is sung the last 
 Anthem.'^ 
 
 It will be remarked in the above sketch that there 
 is no mention made of an Introit to be sung at S. 
 Paul's between the Litany and Communion Service, 
 and likewise that there is no provision made for the 
 completion of the latter office by the singing of the 
 Sanctus and Gloria in Excehis. A voluntary appears 
 to have been played on the organ while the officiating 
 clergy proceeded to the Holy Table. 
 
 Not long after the publication of Clifford's book 
 the practice began to arise in certain choirs (among 
 the first to do so being Westminster and Can- 
 terbury) of singing the Sancius as an Introit, and in 
 this respect, S. Paul's was not slow in following their 
 example. The majority of the composers living before 
 Clifford's manual was published rarely, if ever, set any 
 music for the Sanctus (in Barnard there is not a 
 single instance of it) much less the Gloria in Excehis, 
 their custom being only to include the Kyrie and 
 Credo. Almost the only complete Communion Services 
 written before the martyrdom of Charles I. were those 
 of Tallis and Batten. Soon after the Restoration in 
 
 * The composers of the various services. — J. S. B. 
 
 t A list of the composers of the 393 anthems given, in Clifford's rare and 
 curious little black-letter duodecimo of 1664 (a copy of which is in my pos- 
 session) will be found in Appendix B of this work. — J. S. B. 
 
OF s. Paul's cathedral. 51 
 
 1660, some of the services of Childe,Rogers, and others 
 were written,* and these composers usually set the 
 SanduSy prefixing it, however, to the Kyrie and Credo \ 
 Hence, the opportunity was seized of singing it as 
 an Introit, and nearly every Communion Service 
 had been composed upon the same model, until about 
 thirty-five years ago, when Sir Frederick Ouseley was 
 one of the first to publish a setting of the whole of the 
 Communion hymns in his original and effective 
 services in A, B minor, E, and E flat. 
 
 There can be no objection to using the Sandus as 
 an Introit between the Litany and Communion 
 Service ; it has, in this place, a peculiarly solemn 
 effect, and, as that learned defender of the choral 
 service, Dr. Jebb, has remarked, its employment is 
 neither contrary to the rubric, to the rationale of the 
 service, nor to primitive and Catholic custom. But 
 
 * Rogers' Services in D and E minor ^ Childe's in A minor, E flat, and 
 F ; Creygh'on'.N i<> E flat ; Goldwia's in i?% and Aldrich's in G are among 
 the earliest in^itances of this. 
 
 t A Gloria in Excelsis was composed by Mr. John Foster, nrgani-t of 
 S. Andrew's, Wells Street, in 1852, to match and complete the S^vice in F 
 by Orlando Gibbons, whs had provided music for the Sanctiis. A similar 
 completion was made by the Rev. Sir F. A. Gore Ouseley for Rogers' Ser- 
 vice ir. D. The same editor also published in his Collection of Services by En- 
 glish Musters (_folio, 1853), a Gloria in Sxcelsis in G by Dean Aldrich, written 
 no doubt to cumplem his Communion Service in the same key, and which 
 was not given by Dr. Boyce when he included it, together with the Morning 
 and Evening Service in his Cathedral Mmtic. Detached settings of the 
 Sanctus and Gloria were composed by Dr. Blow in D, Jeremiah Clark in A 
 minor, Michael Wise in E flat, Dr. Croft in B minor, and John Weldon in E 
 flat (1:708). Jackson of Exeter composed a Gloria in Sxcelsis for his Service 
 in F, but the writer has only seen it in the original edition. 
 
 At Durham Cathedral the whole of the Communion hymns have been 
 .«:ung from time immemorial, at least once a month. For these celebrations 
 Thomas £bdon {organist of Durham Cathedral from 176} to 1811), com- 
 posed, in 1765, a set ing of the Kyrie, Credo, Sanctits, and GloHa in C — a 
 thing very rarely met with during the Georgian period. These movements 
 were published, together with a Morning and Evening Service in the same 
 key, in a folio volume in 1790. It may not be generally known that the 
 Eucharistic vestments were worn by the celebrant at Durham so late as 
 1759, in which year they were cast off by Prebendary Warburion, who (so 
 the story goes) was indignant at having his neck scratched by the gold 
 thread on one of them. I hey are still to be seen preserved in a glass 
 case in the library. The Roman sequence of colours was followed, but the 
 vestments were copes, not chasubles, and as such, were improperly used at 
 Holy Communion. 
 
 E 2 
 
52 THE ORGANISTS AND COMPOSERS 
 
 its use here never ought to supersede its choral per- 
 formance in the proper place. 
 
 The Sanctus is still so used at the cathedrals of 
 Christ Church and S. Patrick, Dublin (at the former 
 of which there is a choral celebration every Sunday), 
 and the effect is exceedingly solemn and beautiful. 
 There is as much propriety in the repetition of the 
 Sanctus as in that of the Gloria Patri. 
 
 It is now time to say a few words on the biography 
 of the Rev. James Clifford. Born at Oxford in 1622, 
 he became in 1632 a chorister in th^t sound training 
 school for Church musicians, Magdalen College.* 
 Here he remained ten years. In 1661 he was ap- 
 pointed to the tenth Minor Canonry in S. Paul's, and 
 in 1675 he was advanct-d to the sixth stall. In 1682 
 he became Senior Cardinal and Sacrist t He held for 
 some time the curacy of S. Gregory, the little church 
 nestling under the south-west corner of the old nave. 
 He also officiated as Chaplain to the Society of 
 Serjeant's Inn, Fleet Street. It has usually been stated 
 that Clifford died either late in 1699 or t-arly in 1700. 
 Recent research, however, has proved that he died in 
 1698, and, upon the authority of Dr. Rimbault, he 
 was buried in the Church of S. Andrew Undershaft. 
 
 Besides the Divine Serziices and Anthems, Clifford 
 was the author of several theological works. During 
 his life-time he had amassed a considerable library of 
 Church music, which, at his death, he bequeathed to 
 the Minor Canons of S. Paul's to be divided equally 
 among them. 
 
 The first organist appointed to Old S. Paul's after 
 the Restoration was Albertus Bryan, a pupil of John 
 
 * Several other Minor Canons of S. Paul's were, ia later times, choristers 
 of Magdalen. 
 
 t The Rev. John Pridden, one of the Minor Canons of S. Paul's from 
 1782 to 1825, mentions in his m:inuscript collections that '* James Clifford, 
 senior Cardinal, went first to dwell in one of the four houses then newly built, 
 and called S. Paul's College (after the dreadful fire) on the Sth of August, 
 J682." 
 
OF &. PAULS CATHEDRAL. 53 
 
 Tomkins. He succeeded Adrian Batten, in all 
 probability in 1640, but shortly afterwards was de- 
 prived of his post by the Parliamentarian government. 
 He was, however, reinstated at the Restoration, as 
 stated above. 
 
 The words of several of Bryan's anthems were 
 given in Clifford, but he is now chiefly remembered 
 as the composer of a Morning, Communion, and 
 Evening Service in the key of G, in which much 
 contrapuntal ingenuity is displayed. Dr. Boyce 
 thought highly of this composition, and regretted his 
 inability to give it a place in his Cathedral Music. 
 It was, however, subsequently printed by Arnold 
 in his collection, and later on by Vincent Novello 
 in The Cathedral Choir Book, 1847. 
 
 When the Great Fire of 1666 destroyed S. Paul's, 
 Bryan was appointed organist of Westminster Abbey, 
 in succession to Dr. Christopher Gibbons, second 
 son of the great Orlando. Three years later he died, 
 and his remains were interred in the cloisters of the 
 aforesaid church. 
 
 During the rebuilding of S. Paul's the services 
 were carried on in a temporary erection hastily 
 fitted up by Wren ; so the various choral appoint- 
 ments continued to be made. 
 
 Michael Wise was appointed to the Almonry on 
 Jan. 27th, 1686. In the next year, however, he d'ed, 
 and Dr. John Blow was nominated his successor. As 
 both these composers seem more properly to belong 
 to the Chapel Royal and Westminster Abbey respec- 
 tively, it is not thought expedient here to take up 
 space with an account of their lives and labours. We 
 will, therefore, pass on to composers more closely 
 connected with S. Paul's. 
 
 About this time one of the Canons Residentiary 
 distinguished himself considerably as a practical 
 musician. Allusion is made to the Rev. Williatri 
 
54 THE ORGANISTS AND COMPOSERS 
 
 Holder, D.D., who was likewise Sub-dean of the 
 Chapel Royal, a Prebendary of Ely, Sub-Almoner 
 to the King, and Rector of Blechingdon, Oxon. 
 
 Dr. Holder pubhshed in 1694, a Treatise on the 
 Natural Grounds and Principles of Harmony — a work 
 drawn up, judging from the preface, for the use of 
 the choir of the King's Chapel. This curious treatise 
 renders the philosophical theory of sound and the 
 doctrine of intervals perfectly clear to the general 
 reader, whom he enables easily to make himself 
 master of these subjects, without possessing much 
 mathematical knowledge. A second edition appeared 
 in 1 70 1, and a third in 1731, to which was added 
 Rules for Flaying a Thorough Bass, by Godfrey 
 Keller. 
 
 Canon Holder was a strict disciplinarian and most 
 punctilious in the attendance and behaviour of his 
 choir-men. That sweet composer, but somewhat 
 turbulent spirit, Michael Wise, who had, no doubt 
 often fallen under his displeasure, was wont to nick- 
 name him, Mr. Snub-des.r\. He is said to have gained 
 some celebrity for his skill in the instruction of the 
 deaf and dumb. Upon this subject he wrote a 
 treatise called The Elements of Speech, a proceeding 
 which appears to have entangled him in a controversy 
 with Dr. Wallis, who likewise claimed the invention. 
 
 One cannot help regretting that it did not fall to 
 Holder's lot to fill the Precentorship of S. Paul's. 
 Had this been so, a precedent might have been estab- 
 lished, and never afterwards departed from. It is 
 generally known, that in cathedrals of the Old Foun- 
 dation, the office of Precentor has been, and still is, 
 as a rule, held by a man totally incompetent to dis- 
 tinguish one note from another. This was the case 
 at S. Paul's until quite recently. There have been, 
 to be sure, a few exceptions, notably Creyghton of 
 Wells, Mason of York, and in our day, Sir Frederick 
 
OF s. Paul's cathedral. 55 
 
 Ouseley of Hereford, of whom as a churchman and 
 a musician Englishmen ought 10 be justly proud. 
 
 Dr. Holder died at the red-brick house which he 
 occupied in Amen Court, as Canon Residentiary of 
 S. Paul's, on January 24th, 1697 (Eve of the Conver- 
 sion of S. Paul) and was interred m the crypt beneath 
 the newly-finished choir of the Cathedral. A large 
 mural tablet fixed on the wall near one of the south 
 windows in the crypt, described in an old work on 
 London as " enriched with festoons and mantling, 
 elevated between two cherubims," commemorates Dr. 
 Holder and his wife Susanna, sister of Sir Christopher 
 Wren. An interesting portrait of Dr. Holder is in 
 the possession of the writer. 
 
 The following compositions by Holder are preserved 
 in the valuable music library at Ely Cathedral. 
 
 SERVICE. 
 Magnificat and Nunc Dimittis in C. 
 
 ANTHEMS. 
 
 Arise, O Lord. 
 Great is the Lord. 
 Ilookjor the Lord. 
 I wailed for the Lord. 
 My heart is fixed. 
 
 praise our God, ye people. 
 
 Out of the deep. 
 
 The Lord is King. 
 
 The Lord is my Shepherd. 
 
 Thou, O God art praised. 
 
 In concluding this chapter it may be as well to 
 mention that there were two other clerical musicians 
 who applied themselves sedulously to improving the 
 music in their cathedrals after the Restoration, and 
 doing their utmost to repair the ravages committed 
 upon it during the Interregnum, viz.. Dr. Henry 
 Aldrich, Dean of Christ Church, Oxford, and Dr. 
 Robert Creighton, Canon Residentiary and Precentor 
 of Wells Cathedral. 
 
$6 THE OR0AJVISTS AND COMPOSERS 
 
 CHAPTER III. 
 Organists and Composers of the new Cathedral 
 
 DURING THE EIGHTEENTH CeNTURY. 
 
 The death of Dr. Holder left us, it will doubtless 
 be remembered in 1697, in which year the choir of 
 the new cathedral was opened for divine service — an 
 event which is most fitly narrated in the words of 
 England's great historian, Lord Macaulay. 
 
 " At a council which was held a few hours after the 
 King's public entry, the 2nd Dec. was appointed to be 
 the Thanksgiving for the Peace. The Chapter of S. 
 Paul's resolved that, on that day, their new cathedral, 
 which had been long slowly rising on the ruins of a 
 succession of pagan and Christian temples, should be 
 opened for public worship. William announced his 
 intention of being one of the congregation. But it 
 was represented to him, that, if he persisted in that 
 intention 300,000 people would assemble to see him 
 pass, and all the parish churches in London would be 
 empty. He therefore attended the service in his own 
 
 chapel at Whitehall At S. Paul's, the 
 
 magistrates of the city appeared in all their state. 
 Compton was, for the first time, seated on a throne 
 rich with the sculpture of Gibbons. When the prayers 
 were over the Bishop exhorted the numerous and 
 splendid assembly. His discourse has not been pre- 
 served ; but its purport may be easily guessed, for he 
 took for his text that noble song, ' I was glad when 
 they said unto me, we will go unto the Lord.' " 
 
 These same words formed the subject of the 
 anthem, composed expressly for the occasion by Dr. 
 Blow. A copy of this anthem which (like many of 
 
OF s. Paul's cathedral. S7 
 
 Blow's compositions) was never printed, is in the Ely 
 Cathedral collection. Inscribed thereon is the following 
 note: — "Dr. Blow, Hampton Toivn, Oct. ye 15, 1697. 
 Anthem for ye opening of S. PauTs Cathedral, 1697." 
 The magnificent organ was completed in time for 
 the opening ceremony. Bernhardt Schmidt, a German 
 commonly called Father Smith, and who had been 
 very generally employed in building cathedral organs 
 to replace those destroyed during the Civil War, was 
 the builder. The cost — ^£2,000 — was a large sum of 
 money in those days, but the result proved that it was 
 well expended. 
 
 Sir Christopher Wren, with his usual great foresight, 
 much wished to place the organ over the northern 
 choir-stalls as in the old cathedral, in order that there 
 might be an uninterrupted view from West to East, and 
 also that the dome might be utilized for congregational 
 purposes. In this design, however, he was over-ruled 
 by the Building Commissioners, who wished to follow 
 the traditions of all the other cathedrals, and to have 
 an enclosed choir with return-stalls and a western 
 organ screen. Upon this screen Wren was compelled 
 to place the instrument. 
 
 The contract for the organ was dated and signed 
 Dec. 19th, 1694, and it was to consist of " Great and 
 Chayre (choir) organs and echoes " ; it was to be 
 completed by Lady Day, 1696, and to receive the 
 approval of several eminent musicians, "particularly 
 Dr. John Blowe." 
 
 Schmidt's contract was for the inside of the organ 
 only ; the case being provided for and designed by 
 Wren. It appears that after the contract was signed 
 Schmidt extended his design considerably, and at his 
 own expense. He had previously furnished Sir 
 Christopher with the dimensions of the case he would 
 require for his twelve-foot organ, and he now wished 
 to have them increased. Wren, however, gave him a 
 
58 THE ORGANISTS AND COMPOSERS 
 
 most decided negative, declaring that his building was 
 already spoilt " by the confounded box of whistles." 
 
 Schmidt had his revenge on the great architect by 
 letting the larger open diapason pipes in the two side 
 towers protrude nearly a foot through the top of the 
 case, in a most ungainly fashion. For this circum- 
 stance, however, we are indebted to Wren, for his 
 altars, surrounded by stately angels, who seem to 
 appear as if standing in awe, at " the glorious majesty 
 of the Lord."* 
 
 A more harmonious and beautiful organ-case has 
 probably never been designed than that of S. Paul's, 
 so admirably does it match that wonderful range of 
 stalls with their carvings of musical instruments, 
 cherubim, fruit, flowers, and foliage, in oak and lime- 
 tree wood, by the hand of that consummate master, 
 Grinling Gibbons, t 
 
 The organ retained its position upon the screen, until 
 the year i860, when it was taken down during a rear- 
 rangement of the choir, in order to accomodate greatly 
 increased congregations, and placed over the stalls on 
 the North side — the position undoubtedly intended for 
 it by Wren in the first instance. At the same time 
 the screen was wholly removed ; thus opening out the 
 church from end to end. These works were, at the 
 time, much criticised. 
 
 ■* A full ar-count of the or^an will be found in Appendix A, 
 t A most interestine and minute account of the payments which Gibbons 
 received for the cartings about the organ-case and choir, and those of other 
 artists for the enrichment of other parts of the Cathedral, will be found in 
 Malcolm's " Londinium Redivivum," Vol. III., pp. 104-5. 
 
 It may be interesting to mention that below the SvbstllcB or '* long seats " 
 were some forms running the whole length of the stalls, on a portion of 
 which the choir boys sat behind their brass desks. These were pulled out 
 in a very ingenious manner, and appear to have exrited the admiration of 
 John Evelyn, the diarist, when he paid a visit to the choir Oct. sth, 1695, 
 and on which date he wrote : — '* I went to S. Paul's to see the choir now 
 finished as to the stone work, and the scaffold stuck both within and 
 without in that part. Some exception might, perhaps, be taken as to the 
 placing columns on pilasters at the East tribunal. As to the r-ht it is a 
 piece ot architecture without reproach. The pulling out the forms like 
 drawers from under the stalls is ingenious.* 
 
OF S. PAULS CATHEDRAL. 59 
 
 In 1871 much dissatisfaction being felt at this 
 condition of things, the organ was again removed, 
 almost entirely rebuilt and greatly enlarged by Henry 
 Willis from the designs of Dr. (now Sir) John Stainer. 
 It was at the same time, divided into two portions and 
 erected at either side of the entrance of the choir, the 
 case being somewhat remodelled to suit its new posi- 
 tion. The stalls of the Greater Dignitaries which were 
 formerly returned under the screen, and which, since 
 i860, had been shamefully stowed away, were again 
 brought to light, and arranged as we now see them. 
 
 It must be understood that, prior to the alterations 
 (they cannot be termed improvements) spoken of in 
 i860, the organ screen of S. Paul's did not stand 
 flush with the huge eastern piers of the dome, but, 
 where the present low marble septum and grilles stand, 
 there was an iron railing with gates, supporting gas- 
 standards.* The said gates gave admittance to a 
 species of ante-choir (as at Ely after 1769, and before 
 the removal of the screen in 1850) on either side of 
 which, as the visitor entered, were the monuments of 
 Nelson and Cornwallis. Facing the spectator was the 
 solid wooden organ-screen, placed midway between 
 the first bay of the choir westward, the space thus 
 somewhat awkwardly cut off, and open to the side 
 aisles, being filled up with grilles and gates. The 
 monuments and iron railing, above alluded to, were not 
 removed until 187 1, when the flooring of the choir 
 was considerably raised. 
 
 Great improvements were contemplated in the 
 choir at this period (187 1) such as stained glass, mural 
 decoration, and a permanent altar-piece. Before 
 this portion of the building, however, had been closed 
 
 ♦ Gas was first introduced into the cathedral in 1822. Tom Moore, writing 
 in his diary, under dale May 6th of that ye»r, observes :—" Went with Lord 
 and Lady Lansdowne at 10 o'cloclt to S. Paul's, to see it lighted with gas, 
 for, I believe, the first time." 
 
60 THE OMGAXISTS xliVD COMPOSERS 
 
 for six months, preparations began .to be made for the 
 National Thank-^giving Day for the restoration to 
 health of the Prince of Wales, on Feb. 27th, 1872; 
 and the choir had to be hastily made ready for the 
 ceremony, ere many things of importance could be 
 undertaken. 
 
 Thus, ever since 1872, various ameliorations have 
 been slowly made in the choir; among the most 
 important being new seats of carved oak, to match 
 Grinling Gibbons' work, for the vicars-choral ; a new 
 pavement of white marble ; a septum of the same 
 material, to support a low iron western screen and 
 gates ; new steps and balustrade of marble for the 
 pulpit, and lastly the stately and elaborate reredos. 
 The ingenious way in which the wood-work has been 
 adjusted, and the rearrangement of old return-stalls 
 generally carried out, is worthy of the highest praise. 
 A portion of the original organ-screen with the well- 
 known inscription to Sir Christopher Wren, formerly 
 facing the dome, has been set up at the end of the 
 North transept, where it forms a species of inner 
 porch. The other portion which formerly faced the 
 Altar, is now in a corresponding position in the South 
 transept. The beautifully-veined columns of blue and 
 white marble of Wren's organ-gallery, together with 
 Gibbons' delicate and life-hke carvings in wood, 
 deserve the most careful examination. 
 
 The first organist appointed to the new cathedral 
 ■was Jeremiah Clark, familiarly called by his asso- 
 ciates " Jerry Clark." He received his first musical 
 education as a chorister of the Chapel Royal under 
 Blow, who, on the death of Wise in 1687, as pre- 
 viously stated, became Almoner and Master of the 
 Boys at S. Paul's. In 1693 Clark who had previously 
 been organist of Winchester College, came to London 
 
OF S. PAUL'S CATHEDRAL. 6 1 
 
 on being appointed Blow's successor in the Almonry. 
 It has been asserted that Blow resigned this post in 
 order that his pupil Clark might be appointed ; much 
 in the same way as he yielded his post of organist at 
 Westminster Abbey in 1682, to another pupil, the gifted 
 Henry Purcell. This, however, is not very likely to 
 have been the case. Blow, no doubt resigned at S. 
 Paul's from conscientious motives, finding so many 
 ofiSces incompatible, for it should be known that he 
 was already organist and Master of the Children of 
 the Chapel Royal and Composer in Ordinary to the 
 King. Moreover, Deans and Chapters in the times 
 of which we are now speaking, were very jealous of 
 their vested interests, as they are to this day, 
 and it is by no means probable that they would 
 have permitted any such an arrangement to take 
 place. 
 
 On June 6th, 1699 Clark was admitted to his pro- 
 bation as vicar-choral of S. Paul's, but does not appear 
 to have been fully admitted until Oct. 1705, "post 
 annum probationis completum," no explanation being 
 forthcoming among the Chapter Records for the long 
 interval which had elapsed. 
 
 In 1700, Clark was "sworne in" together with his 
 friend William Croft, as Gentleman Extraordinary of 
 the Chapel Royal, with the reversion of an organist's 
 place whenever it should " fall voyd " as the Cheque 
 Book of the Chapel Royal informs us. 
 
 Four years later, on May 15th, "Mr. Peggott, 
 organist of His Majesty's Chappell, departed this 
 life," and on account of this Clark and Croft were 
 made joint organists. When the former died in 1707, 
 the latter was left sole organist. 
 
 The Church compoMtions of Jeremiah Clark are 
 usually of an elegiac and pathetic character, and the 
 story of his strange and mournful end was still more in- 
 dicative than his music, of a sensitive and melancholy 
 
62 THE ORGAXISTS AND COMPOSERS 
 
 mind. It was as follows : — " Taking seriously to heart 
 his rejection by a lady in a condition far above his own, 
 he determined to commit suicide. Being at the-house 
 of a friend in the country, he took an abrupt resolu- 
 tion to return to London ; his friend having observed 
 in his manner marks of great dejection furnished him 
 with a horse and a servant. Riding along the road a 
 fit of melancholy seized him ; upon which he dismoun- 
 ted, and giving the servant his horse to hold, went 
 into a fieh), in the corner whereof was a pond and 
 also trees, and began a debate within hireiself whether 
 he should there end his days by hanging or drowning. 
 Not being able to resolve on either, he thought of 
 making what he looked upon as chance, the umpire, 
 and drew out of his pocket a piece of money, and 
 tossing it into the air, it came down on its edge and 
 stuck in the clay. Though the declaration answered 
 not his wish, it was far from ambiguous, as it seemed 
 to forbid both methods of destruction ; and would 
 have given unspeakable comfort to a mind less dis- 
 organised than his own. Being thus interrupted in 
 his purpose, he returned and mounting his horse 
 rode on to London, and in a short time shot him- 
 self." 
 
 Unfortunately the story of this romantic attachment 
 and suicide, which every English musical historian has 
 alluded to, has lately been contradicted by a contem- 
 porary broadsheet, discovered by Mr. Barclay Squire. 
 It is a large and single sheet, entitled A Sad and 
 Dismal Account of the Sudden and Untimely Death of 
 Mr. Jeremiah Clark, one of the Queen! s Organists, who 
 shot himself with a screw pistol at the Golden Cup in S. 
 PauVs Churchyard on Monday morning last, for the 
 supposed love of a Young Woman, near Pater-Noster 
 Row. 
 
 " The account " (says Mr. Barclay Squire, in a Me- 
 moir of Clark, contributed to the tenth volume of the 
 
OF I,. Paul's cathedral. 63 
 
 Dictionary of National Biography) " states how Clark, 
 a bachelor, with a salary of over ^300 a year, about 
 9 o'clock Monday morning last, was visited by his 
 father and some friends at which he seemed to be 
 very chearful and merry, by playing on his musick for 
 a considerable time which was a pair of organs in his 
 own house, which he took great delight in, and after 
 his father had gone, returned to his room, when, 
 between 10 and 11 o'clock, his maid-servant heard a 
 pistol go off in his room, and, running in, found he 
 had shot himself behind the ear. He died the same 
 day about 3 o'clock. The occasion .... is 
 variously discoursed ; some will have it that his sister 
 marrying his scholar (Charles King) which he feared 
 might in time prove a rival in his business, threw him 
 into a kind of melancholy discontent." " Very curious 
 discrepancies " (continues Mr. Squire) " exist as to the 
 exact date when Clark shot himself. Burney (fol- 
 lowed by F^tis) says the event took place in July 1707; 
 the first edition of Hawkins fixes it as Nov. 5th, 1707 
 in which he has been followed by Mendel, Baptie and 
 Brown. But Hawkins left a copy of his Hibtory in 
 which he had made numerous corrections, and in this 
 the date appears Dec. ist, 1707, which date is given 
 in the 1853 edition of the work. In the Chapel Royal 
 Cheque Book is an entry signed by the Sub-dean to 
 the effect that, on Nov. 5th, 1707, Croft was admitted 
 into the organist's place, ' now become voyd by the 
 death of Mr. Jeremiah Clark,' and in Barrett's En' 
 glish Church Composers (p. 106), is a statement that 
 the books of the vicars choral of S. Paul's contain an 
 entry to the effect that on ' Nov. y° first Mr. Jerry 
 Clark deceased this life.' These various accounts 
 seem quite irreconcilable, but the following facts throw 
 some light on the subject. I. In 1707, Nov. 5th was 
 a Wednesday, and Nov. ist a Saturday, while Dec. 
 I St was a Monday. The latter date, therefore, tallies 
 
64 THE ORGANISTS AND COMPOSERS 
 
 with the broadsheet account (published by John 
 Johnson "near Stationers' Hall" and therefore close 
 to Clark's house) within a week of the event, though 
 no entry of the exact date of publication can be found 
 at Stationer's Hall. H. The burial of Jeremiah Clark 
 on Dec. 3rd, 1707. III. Administration to his goods 
 was granted by the Dean and Chapter of S. Paul's to 
 his sister, Ann King, on Dec. 15th. The entry in the 
 Chapel Royal Cheque Book, was probably not made 
 at the time, and so November might easily have been 
 written for December. The order of the entries, 
 preceeding and following it, is this : 28th Jan. 1703; 
 24th March, 1710 — 11; 25th May, 1704; 5th Nov., 
 1707; 1 2th June, 1708. The entry also is not 
 witnessed. With regard to the quotation from the 
 records at S. Paul's everything points to its being 
 either a mistake or a misprint." 
 
 Clark's death was alluded to by the coarse poet, 
 Edward Ward, who, in his work The London Spy, 
 concluded what was intended to be a pathetic ode, 
 with these lines : — 
 
 Let us not therefore wonder at his fall, 
 
 Since 'twas not so unnatural 
 
 For him who lived by Canon to expire by Ball. 
 
 The Chapter House in S. Paul's Churchyard has 
 usually been pointed out as the scene of Clarke's 
 melancholy suicide ; it is more probable, however, that 
 it was the Almonry House or choristers' residence 
 which stood close by. According to another story, 
 his former fellow chorister, old John Readmg, hap- 
 pened to be passing through the churchyard at the 
 time, and hearing shots fired, rushed in and found 
 his friend in the agonies of death. 
 
 Thus died Jeremiah Clark, nearly at the same early 
 age which was fatal to Pelham Humphreys, Henry 
 Purcell, Mozart, Schubert, Weber, Mendelssohn, and 
 Goetz. 
 
OP s. Paul's catsedaal. 6$ 
 
 Two Morning Services * (consisting of Te Deum and 
 fubilate) by Clark in the keys of G and C minor, were 
 published by Dr. Rimbault in his admirable collec- 
 tion of Cathedral Services which appeared in 1847, 
 while a portion of a Communion Service in A minor, 
 comprising a Sandus and Gloria in Excelsis, was 
 given by Dr. Arnold in the first volume of his Cathe- 
 dral Mmic, published in 1790. 
 
 Of Clark's anthems the following (as far as the 
 writer has been able to discover), are the only ones 
 which have been printed. He was, by no means, a 
 prolific writer, for his untimely death occurred well 
 nigh before his genius had time to expand itself. 
 
 £ow down tAine ear (verse h, 3 V.) I Harmonia Sacra, 
 
 Lord God of my salvation (full i 6 v.) }■ a collection of An- 
 The Lord is my strength (verse S. 3 v.) thems. 3 vols, 
 
 J 1800. 
 How long wilt Thou forget me (treble, ] 
 
 solo, and chorus) f Printed in Boyce's 
 
 1 will love Thee, Lord (verse k 2 v.) X Cathedral Music. 
 Praise the Lord, Oyerusakm (full k 4 v.) ) 
 
 1 VnxAe&KnTheCathe- 
 Praise the Lord, O my soul (verse k 3 v.) ( dral Magazine, a 
 The Lord is full of compassion (ditto) ( collection of An- 
 
 ) thems. c. 1767. 
 
 Perhaps the highest flight of Clark's genius is his 
 anthem *' I will love Thee, O Lord." This fine piece 
 of music is more frequently performed than anything 
 else of Clark's. It is one of the most vigorous and 
 
 * These two services were printed by Dr. Rimbault from a folio score- 
 book used by Clark himself in the organ-loft of S. Paul's. It was entirely in 
 the hand-writing of Charles, Badham, one of the Vicars-choral, and con- 
 tained, besides the services in (question, the following anthems by Clark ; — 
 " 1 will love Thee " (Thanksgiving Anthem, Aug. 23rd, 1705) ; "Praise the 
 Lord, O my soul " ; " O Lord, rebuke me not (written for John Elford's 
 voice); *'The Lord is full of compassion " ; "How long wilt Thou for^t 
 me " ; " Bow down thine ear ' ; " The Lord is my strength " (Thanksgiving 
 Anthem, June 27th, 1706). Another Interesting MS. volume also iormerly 
 in die possession of Dr. Rimbault, contained two 'Communion Services and 
 fifteen Anthems by Michael Wise. 
 
66 THE ORGANISTS AND COMPOSERS 
 
 musician-like anthems produced at the beginning of 
 the last century, abounding in deep pathos, and in 
 what we should term, dramatic force, were we 
 speaking of secular music. The composer evidently 
 bestowed more than ordinary care upon it, and 
 studied bringing into expressive relief the contrasts of 
 divine poetry. At certain of our cathedrals the MS. 
 copies of this anthem differ considerably from the 
 version furnished by Boyce in the third volume of his 
 Cathedral Music. 
 
 Some of Clark's anthems, as before remarked, are 
 written in an exceedingly pathetic and elegiac vein, 
 especially " Bow down Thine ear " and " O Lord 
 God of my salvation." In fact, expression and ten- 
 derness are so much his characteristics that he has 
 justly been termed "the musical Otway of his time." 
 
 Clark could, however, occasionally shake off his 
 boding thoughts, and produce such quaint and 
 sprightly strains as those to be found in the anthem, 
 " Praise the Lord, O Jerusalem," written for the coro- 
 nation of Queen Anne and performed at one of her 
 state visits to S. Paul's. 
 
 Some fine solid psalm-tunes were composed by 
 Clark ; one of them, " S. Magnus," or " Nottingham ' 
 has found a place in many modern hymnals, and is 
 still frequently sung in our churches. A double 
 chant in F sharp minor was adapted from one of 
 Clark's pieces by Sir John Goss, and included in his 
 collection of chants pubHshed in 1841. 
 
 It is worthy of remembrance that Clark was the 
 original composer of Dryden's celebrated Ode, "Alex- 
 ander's Feast," which was performed at Stationers' 
 Hall on S. Cecilia's Day, Nov. 22nd, 1697. The 
 music, however, was not printed at the time, and is 
 now lost. He likewise wrote a Cantata, The Assump- 
 tion, and, in conjunction with Daniel Purcell, organist 
 of Magdalen College, Oxford, an opera entitled The 
 
OF S. FAULTS CATBEDRAL. 67 
 
 Indian Princess. Numerous other operas and musical 
 pieces, harpsichord lessons, and songs, appeared from 
 his pen. Many of the last-named were included in 
 the various collections of the day. 
 
 Richard Brind was the next organist of S. Paul's. 
 Of his biography but little appears to be known, and 
 of his compositions rather less. The words, how- 
 ever, of five of his anthems were given in Dr. Croft's 
 collection of 235, entitled Divine Harmony, in 171 2. 
 We will pass on, therefore, to a more important per- 
 sonage, his famous pupil, Maurice Greene, who suc- 
 ceeded him on his death in 17 18. 
 
 Maurice Greene, the son of the Rev. Thomas 
 Greene, D.D., Rector of S. Olave, Old Jewry, in the 
 City of London, was born in 1692. Having a sweet 
 voice he was placed, in 1 706, in the choir of S. Paul'« 
 under the tutelage of Jeremiah Clark, and after the 
 death of that composer a year later, continued a 
 pupil of his brother-in-law, Charles King, a gifted, 
 but badly-trained musician. Four years later Greene 
 was articled to Brind, and, in 17 18, succeeded him in 
 his important post, having previously officiated 
 at the parish churches of S. Dunstan, Fleet Street, 
 and S. Andrew, Holborn. To the former of these 
 posts he succeeded mainly through the influence of 
 his lawyer uncle, Serjeant Greene, while the latter he 
 obtained after a sharp competition with John Isham, 
 Edward Purcell, and others. 
 
 On the death of Dr. Croft in 1727, Greene, who 
 had already greatly distinguished himself in his pro- 
 fession, was appointed his successor as one of the 
 organists and composers of the Chapel Royal, and 
 in this capacity, more so perhaps than in that of S. 
 Paul's, his anthems were written. Three years later 
 the professorial chair of music at Cambridge fell 
 vacant by the death of Dr. Thomas Tudway, who had 
 held it since 1705, and our composer was elected, 
 F 2 
 
68 tsE on^ANisrs and composers 
 
 having at the same time the degree of Doctor, in 
 Music conferred upon him. His exercise upon this 
 occasion was a setting of Pope's " Ode on S. Cecilia's 
 Day." The poet, at Greene's request, made consider- 
 able alterations in the poem and introduced a new 
 stanza, "Amphion thus bade wild dissensions 
 cease." 
 
 In 1736 Greene succeeded John Eccles as Master 
 of the King's Band of Musicians, a post afterwards 
 held by Dr. Boyce, and during the early part of the 
 present century, by that charming composer of artless 
 English melody, William Shield. 
 
 Greene's later years were spent in comparative 
 affluence, for the lawyer uncle already alluded to, 
 bequeathed him a country house called Bois Hall 
 near Abridge in Essex, an estate worth ^^700 a year. 
 Being thus possessed of ample means, and the con- 
 sequent leisure from teaching, etc., rising therefrom, 
 he commenced an undertaking upon which he had long 
 set his heart He had, for some time, reflected on the 
 corruptions that had taken place in English Church 
 music, occasioned chiefly by the multiplication of 
 copies, and the ignorance and carelessness of tran- 
 scribers, and he formed the resolution of securing it 
 against such injuries in future. 
 
 With this object in view he commenced collecting 
 a great number of the services and anthems of our 
 most distinguished composers from Tallis downwards. 
 He then collated them (the most arduous part of the 
 undertaking) and made considerable progress in 
 reducing them into score, with the intention of giving 
 the result of his labours to the public ; but this he 
 never accomphshed; for, having by the year 1755, a 
 conviction that his dissolution was not far distant he 
 bequeathed by will, the whole of his materials to Dr. 
 Boyce (himself a former chorister of S. Paul's) with 
 the request that he would continue the work. Boyce 
 
OF S. PAUL'S CATHEDRAL. 6g 
 
 complied, and the honourable and scholarly way in 
 which he finished the difficult task is well known. 
 
 It may not be uninteresting to mention that the 
 idea of making a collection of cathedral music 
 originated with Dr. John Alcock, organist and vicar- 
 choral of Lichfield Cathedral, and another chorister 
 of S. Paul's. He, about 1730, issued proposals for 
 publishing by subscription the services and anthems 
 of the great English masters. Being, however, 
 opposed in his scheme by Greene, who announced 
 his intention of presenting every cathedral in England 
 with a set of the books, Alcock very generously 
 gave up to him all the materials then in his posses- 
 sion. 
 
 Such was the origin of the famed compilation 
 known as Boyce's Cathedral Music, of which the first 
 volume appeared in 1760, the second in 1770, and 
 the third and last in 1778, only a year before the 
 death of the illustrious compiler, who, after Gibbons, 
 Purcell, and Croft, probably takes rank as the greatest 
 exponent of Anglican Church music. 
 
 During the earlier years of Greene's tenure of the 
 organistship of S. Paul's, an unwieldy figure in a great 
 white wig (well known to musical London) might 
 frequently have been seen at the cathedral, crossing 
 the empty space under the dome, presently disap-. 
 pearing under the organ-loft, and entering the choir 
 It was no less a person than George Frederick Handel, 
 who was extremely fond of rambling down from his 
 house in distant Brook Street to attend afternoon 
 service, and to play upon the organ afterwards. 
 Handel had a great liking for Father Schmidt's noble 
 instrument, gaining access to the keyboard through 
 his friendship with Greene. 
 
 The main attraction for Handel in the S. Paul's 
 organ was the circumstance of its possession of a set 
 of pedals, at this time quite a rarity in English organs. 
 
70 THM ORGANISTS AND COMPOSERS 
 
 Burney, the musical historian, writing an account of 
 the Handel Comraemoration of 1784, informs us that 
 " on Handel's first arrival in England, from Greene's 
 great admiration of this master's manner of playing, he 
 had sometimes literally condescended to become his 
 bellows-blower, when he went to S. Paul's to play on 
 that organ, for the exercise it afforded him in the use 
 of the pedals. Handel, after 3 o'clock prayers,* used 
 frequently to get himself and young Greene locked up 
 in the church together ; and in summer often stript 
 unto his shirt, and played away until 8 or 9 o'clock at 
 night." 
 
 It is not to be wondered that the composer of 
 the grand Organ Concertos should have delighted to 
 play upon an instrument whose compass not only 
 extended down to the i6-feet C, but whose tone 
 was then by far the most superb in the British 
 Isles. 
 
 When some additions and improvements were made 
 to the S. Paul's organ in 1724, we are informed in 
 a contemporaiy newspaper called Afplebee's Weekly 
 Journal of August 29th, that, "their Royal High- 
 nesses the Princess Anne and Princess Caroline came 
 to S. Paul's Cathedral and heard the famous Mr. 
 Handel (their musick-masler) perform upon the organ ; 
 .the Rev. Dr. Hare, Dean of Worcester, attending 
 their Royal Highnesses during their stay there." 
 
 At the conclusion of afternoon service it was fre- 
 quently Handel's practice to adjourn to the Queen's 
 Arms Coffee House in S. Paul's Churchyard (where 
 for many years, after 1755, the booksellers' trade sales 
 were held) in company with some of the Minor 
 Canons and Gentlemen of the Choir. In the large 
 room of the aforesaid coffee-house there was a harpsi- 
 
 * In 1742 the hour of afternoon service was aItere(J from 3 o'clock to a 
 quarter past. — J, S. B. 
 
OP S. PAUL'S CATHEDRAL. 71 
 
 chord, and here they amused themselves for hours 
 playing, singing, and listening. On one of these 
 occasions, Mr. Samuel Weeley, a bass-singer in the 
 choir, informed Handel that some recently-published 
 harpsichord lessons by Johann Mattheson were to be 
 had at Mears' the music-seller's in the churchyard.* 
 Handel sent out for them, there and then, and on 
 their arrival sat down to the harpsichord, and played 
 them through from beginning to end, without once 
 rising from the instrument. 
 
 Latterly, Handel's friendship with Greene greatly 
 cooled, when he found he had been paying equal court 
 to his Italian rival, Giovanni Buononcini. 
 
 Greene's reputation as an ecclesiastical composer 
 rests upon his Forty Select Anthems, originally pub- 
 lished by Walsh, of Catherine Street, Strand, in two 
 folio volumes in 1743. Their contents were as 
 follows : — 
 
 Vol. I. 
 
 Solo anthems. 
 Acquaint thyself {i\X.6). 
 Let my complaint (alto). 
 Lord, how are they increased 
 
 (alto). 
 My God, look upon me (tenor). 
 sin^ unfo the Lord (tenc r). 
 Praise the Lord, my soul 
 
 (treble). 
 
 Verse anthems, Jl 2 v. 
 Blessed are they that dwell. 
 O praise our God, ye people. 
 Praise the Tjyrd, ye servants. 
 Sing unto the Loi'd. 
 
 Verse anthems, Ji 3 v. 
 / will give thanks. 
 Let God arise. 
 God, Thou art my God, 
 Put me not to rebuke. 
 
 Verse anthems, ^ 4 v. 
 Arise, shine, O Zion. 
 
 Full anthems with verses. 
 / will sing of Thy power. 
 Lord, how long wilt Thou. 
 Lord, let vie know mine end. 
 sing unto the Lord. 
 
 Full anthem k 5 v. 
 clap your hands. 
 
 * Diiring the last century several well-known music-publishers and musi- 
 cal instrument makers were located in S Paul's Churchyard, the Cathedral 
 services doubtless having the effect of drawing them into the neighbourhood. 
 At C. and S. Thompson's (No. 75) was published about 1740, one of the ear- 
 liest printed Collections of Chants, entitled, F-JlyDoiMe and Single Chaunts, 
 being the moGt favourite as performed at S. Paul's,^Wegtmin£ter, and most of 
 t/ie Cathedrals in England, 8vo. Barak Norman and Nathaniel Cross, at 
 
72 
 
 THE ORGANISTS AND COMPOSERS 
 
 Vol. II. 
 
 Solo anthems. 
 JIave mercy upon me (alto). 
 My soul truly waiieth (bass). 
 
 Lord, grant the King (tenor). 
 The Lord, even the most mighty 
 
 God (bass). 
 
 Verse anthems h. 2 v. 
 Blessed are those thai are unde- 
 
 filed. 
 Behold, I bring you. 
 Hear, Lord. 
 
 1 will sr-ek unto God. 
 O give thanks. 
 
 God of my righteousness. 
 
 O Lord give ear. 
 sing unto God. 
 The Lord is my shepherd. 
 Thou, God, art praised. 
 Verse anthert-s Si 3 v. 
 The King shall rejoice^ 
 
 Verse anthems t 4 v. 
 God is our hope and strength. 
 Hear my prayer. 
 how amiable. 
 
 Full anthems. 
 How long wilt Thou forget me 
 
 (& 8 V.) 
 Let my complaint (k S v.) 
 
 There is much exquisite music in the above anthems, 
 and it has been truly said that they combine the 
 science and vigour of our earlier writers with the 
 melody of the best Italian and German masters who 
 flourished during the first half of the eighteenth 
 century. 
 
 Greene, however, was not without his faults as a 
 Church composer. His energies seem to have been 
 concentrated upon his solos, duets, and verses, many 
 of which he extended to a most undue length. Not- 
 withstanding this, certain of them are quite unap- 
 proachable for delicacy and propriety of expression. 
 Like several of his contemporaries (Kent, for example) 
 Greene was too apt to lose sight of that most essen- 
 tial part of an anthem, namely the chorus. In many 
 instances, he treated it as a mere finale. 
 
 " Acquaint thyself," is perhaps the happiest speci- 
 men of Greene's style as a composer of solos, and the 
 short final chorus, "The Lord will deliver the 
 
 the sign of the Bass Viol, were esteemed makers of violins. The music- 
 shops of Hare and Mears were also celebrated. Thompson's shop was after- 
 wards Button and Whittaker's, and here, in 1809, appeared Dr. Clarke- 
 Whitfeld's edition of Handel's vocal works, noteworthy as being the first to 
 which a separate part was provided for the organ or pianoforte, all previous 
 editions such as Walsh's and Arnold's having merely a figured bass, 
 
OF S. PAUL'S OATBEDRAL. 
 
 73 
 
 righteous, He will save the humble man," is exceed- 
 ingly soothing and beautiful. James Bartleman, the 
 celebrated bass-singer (1769-1821) when a chorister 
 of Westminster Abbey, had a remarkable contralto 
 voice, and his singing of the aforesaid solo was always 
 considered a great feature. 
 
 "Arise, shine, O Zion," " O Lord give ear," " My 
 God, look upon me," and " The Lord, even the most 
 mighty God hath spoken," are probably among the 
 anthems which also display Greene's abilities as a 
 writer of solos and verses to the greatest advantage. 
 
 As a composer of full anthems in four, five, and six 
 parts, Greene was perhaps second only to Croft. This 
 may be seen by an examination of the scores of " Let 
 my complaint," " I will sing of Thy power," and " O 
 clap your hands." 
 
 " Thou, O God, art praised in Zion " has a very 
 beautiful finale, consisting of a bass solo and chorus 
 to the words " Thou visitest the earth." This move- 
 ment, together with another anthem, " God is our 
 hope and strength " is more frequently performed in 
 our cathedrals than anything else of Greene's at the 
 present day. The last-named has many passages of 
 extreme grandeur and beauty, whether we consider the 
 verse or the chorus. 
 
 Vincent Novello issued a reprint of the Forty Select 
 Anthems abovA 1846. The same order was followed 
 in the placing of the pieces as in the original 
 edition, but an organ part was added, there having 
 been formerly only a figured-bass for the guidance of 
 the performer. Another reprint was issued somewhat 
 earlier by Lonsdale, and the following verse anthems, 
 several of which had not previously been published, 
 formed a third or supplementary volume : — 
 
 ffave mercy upon me, k 3 v. 
 Hear my crying, k 2 v. 
 Hear my frayer, k 3 v. 
 
 / imll alway give thanks, k 3 v. 
 / will magmfy Thee, k 2 v. 
 lAke as the hart, k 2 v, 
 
74 
 
 TBE ORGANISTS AND COMPOSERS 
 
 give thanks ^ 2 v. 
 
 O Lord our Governor, i 3 v. 
 
 TheJ^ord is my strength, k 3 v. 
 
 Certain of the Forty Select Anthems were published 
 separately by Greene under the title of Six Solo An- 
 thems as performed before His Majesty at the Chapel 
 Royal for a Voice alone, with a Thorough Bass for the 
 Harpsichord or Organ, viz.: — 
 
 1. Acquaint thyself. 
 
 2. Let my complaint. 
 
 3. Lord, how are they increased. 
 
 4. M^ God, look upon me. 
 
 5. Praise the Lord, my soul. 
 
 6. Sins unto the Lord. 
 
 In Arnold's collection of Cathedral Music were 
 given the following, none of which had previously 
 appeared in print ; — 
 
 *Hcar my prayer (verse k 4 v.) 
 / will mojnlfy Thee (verse ^ 
 
 2 V.) 
 
 like as the hart (verse \ 2 v.) 
 O God, Thou hast cast tis out 
 
 (verse \ 3 v.) 
 Lord God 0/ hosts (so\o). \ 
 
 In Page's Harmonia Sacra (3 vols, folio, 1800), 
 were included these seven from unpublished MSS.: — 
 
 Lord I will praise Thee 
 
 (verse \ 3 v.) 
 praise the Lord of heaven 
 
 (verse k 4 v.) 
 * Praise the Lord, my soul 
 
 (solo). 
 
 Bow down Thine ear (full k 6 v.) 
 Hear my crying (verse k 2 v.) 
 1 will al way give thanks (verse 
 
 k3 v.) 
 Ponder my words (verse k 2 v.) 
 
 Lord, look down from heaven 
 
 (verse \ 3 v.) 
 Save me, God (solo). 
 The Lord is my stren^h (verse 
 
 Ji,3v.) 
 
 Lastly, in a small collection of anthems published 
 by Birchall and Andrews (now Mills) at the sign of 
 the Handel's Head, New Bond Street, towards the 
 close of the last century, were given the following : — 
 
 / call with my whole heart (full I Hear my prayer (verse k 3 v.) 
 k 5 V.) I L cried unto the Lord (full h,^v.) 
 
 It cannot be said that Greene made any very marked 
 success as a writer of services. His Morning and 
 
 * Entirely different from tiie settings to the same Jirst words in t^a 
 P(yrty Select Anthems, 
 
OF S. PAULS CATHEDRAL, Jt, 
 
 Evening Service in the key of C major, given in the 
 second volume of Arnold's Cathedral Music, is much 
 too elaborate and intricate to be universally popular in 
 choirs, and appears to be rarely, if ever, performed. 
 The original score in the composer's handwriting had 
 upon it a note to the following effect : " Begun at 
 Fareham Castle in May 1737, and finished in London 
 in June following." 
 
 Among Greene's miscellaneous compositions may 
 be mentioned a Festival Te Deum in D, written for 
 the Thanksgiving Service held at S. Paul's for the 
 Suppression of the Rebellion of '45 ; the oratorios of 
 Jephiha, and The Force of Iruth ; several masques, 
 pastoral operas, odes, canons, catches, harpsichord 
 pieces, songs, and organ-voluntaries. One of the last 
 named, an overture, has recently been re-published. 
 
 To the above must be added a single chant in B 
 flat, included in many collections ; likewise two or 
 three psalm-tunes, still to be met with in some modern 
 hymnals. 
 
 Dr. Greene suffered from a personal deformity, but 
 this circumstance does not appear to have debarred 
 him from entering into society, where, on account of 
 his affability and polished manners, he' was a great 
 favourite. 
 
 I he Gentleman's Magazine of 1755 states that Dr. 
 Greene died on December ist of that year, at Bois 
 Hall, Essex. He was buried in the rectorial vault 
 beneath the church of S. Olave, Old Jewry. This 
 church, so familiar to passers down the Old Jewry 
 by its fine Wrennian east end and curious obelisked 
 tower, was, a few years ago, marked out for demo- 
 lition. At the time of the removal of the church 
 all bodies buried in the vaults were to be re-interred in 
 a suburban cemetery, unless the friends came forward 
 and claimed them. It was then suggested that, pro- 
 vided none of Dr, Greene's relatives claimed hig 
 
yS THE ORGANISTS AND COMPOSER 
 
 remains, they might be deposited in S. Paul's. This 
 was accordingly done through the instrumentality of 
 Sir John Stainer the organist, and Dr. W. A. Barrett, 
 one of the vicars choral of the Cathedral. 
 
 The coffin, containing the composer's remains, 
 having been satisfactorily identified in the vaults of 
 S. Olave's, was, at half-past six o'clock on the morning 
 of Friday, May i8th last, brought through the silent 
 streets, in a plain hearse, to the Cathedral, and imme- 
 diately carried to the crypt, where it was deposited in 
 the grave of Y)r. Boyce. The stone was then replaced, 
 and by the time of the 8 o'clock Morning Prayer the 
 floor of the crypt had resumed its wonted aspect. No 
 ceremony took place at the re-interment, but at the 
 4 o'clock Evensong the composer's fine anthem, " God 
 is our hope and strength," was performed, and at the 
 conclusion of the Office, the members of the Cathedral 
 staff, and a number of musical men, gathered round 
 the grave to hear a short account of the affair from 
 Dr. W. A. Barrett, who concluded his remarks by 
 observing, " Here we hope his bones may rest for 
 ever, unless S. Paul's Cathedral is required for City 
 improvements." 
 
 It was with great propriety that the remains of Dr. 
 Greene were placed in the same grave as those of Dr. 
 Boyce, who was, as we have previously seen, his lite- 
 rary executor, and his successor in the editing and 
 publishing of that great work. The Cathedral Music. 
 
 The following inscription has since been placed 
 underneath that of Boyce : Here also rest the remains of 
 Dr. Maurice Greene. Born 1695, died % Dec.*, 1755. 
 Organist of this Cathedral, 1718 — 1755. Removed 
 from the Church of S. Olave, Jewry, on its demolition, 
 and re-interred here on 18 May, 1888. 
 
 • This date is not reconcilable with that given in the " Gentleman's 
 Jilagazine."— J. S. B, 
 
Of s. Paul's gatbedral. 77 
 
 It must not be forgotten that Greene, in conjunc- 
 tion with his friend, Michael Festing (an eminent 
 performer on, and composer for, the violin) was 
 one of the founders of that most valuable institu- 
 tion, the Society of Musicians. It originated as 
 follows : — 
 
 Festing being seated one day at the window of the 
 Orange Coffee House in the Haymarket, in company 
 with Weidemann the flautist and Vincent the oboist, 
 they observed two very nice-looking and intelligent 
 boys driving milch asses. On enquiring, they found 
 them to be the orphan sons of Kytch, an eminent but 
 imprudent German oboist, who had settled in London, 
 and there recently died, literally in the street, from 
 sheer want. Shocked by this discovery, Festing con- 
 sulted with Greene and other musicians, and the result 
 was the establishment of the Society of Musicians 
 for the support of decayed musicians and their 
 families. 
 
 Festing's only son, the Rev. Michael Festing, rector 
 of Wyke Regis, Dorset, married the only child of his 
 father's most intimate friend, Dr. Maurice Greene. 
 From this union sprang many descendants to per- 
 petuate the name of Festing, and it appears that not 
 many years since a Hertfordshire innkeeper was 
 living, rejoicing in the name of Maurice Greene 
 Festing. 
 
 The minor canons of S. Paul's have frequently 
 been noted for their musical abilities. We have 
 already had instances of this in the cases of Barnard 
 and Clifford. Until comparatively recently they sat 
 with the vicars-choral in the sub-stalls, and, when 
 they attended in a body, formed a most important 
 addition to the somewhat meagre adult choral staff. 
 Many of them have attained to very great ages, and 
 
78 THE ORGANISES AND COMPOSERS 
 
 of this there is a striking illustration at the period of 
 which we are now treating.* 
 
 The Rev. Sampson Estwick, the case in point, 
 began his education as one of the first set of children 
 of the Chapel Royal after the Restoration, under Cap- 
 tain Henry Cook, having for his fellow-chorisLers 
 Pelham Humphrey, Michael Wise, John Blow, and 
 William Turner. 
 
 Designed for the Church, Estwick was sent to com- 
 plete his studies at Christ Church, Oxford, where he 
 formed a strong friendship with the versatile Dean 
 Aldrich, who is reported to have composed for Est- 
 wick, two other friends, and himself, his curious 
 " Smoking Catch," which is so constructed as to allow 
 each singer time for his puff. 
 
 While at Oxford, Estwick greatly distinguished him- 
 self by his musical abilities, and composed, in con- 
 junction with Richard Goodson, organist of Christ 
 Church, and Professor of Music in the University, 
 a set of Latin and English Odes, performed in 
 the Sheldonian Theatre at various Commemorations. 
 
 * In modern times the Rev. J. W. Vivian, appointed on April i3t. 1816, 
 died on April 17th, 1876, aged 91, and the Rev. Rd. Collier Packman, 
 appointed June Bth, 1822, died on January 27th, 1875, aged 83. The 
 Rev. Christopher Packe. appointed April 30111, 1817, died at a very 
 advanced age in 1878. It may be interesting to observe that in forei-^n 
 cathedrals, length of service on the part of the clerical and lay officials, 
 is of as frequent occurrence as in cur own. To take a case in point : — 
 During a recent visit of the writer to Amiens he was informed that 
 M. Retel, the ...erpent-player of the cathedral, had just died, at the age of 
 90, having passed 8t years of his life in the service of the Cathedral ! He 
 was one of the first-appointed children of the choir when the services were 
 re-established after the Reign of Terror. In 1816 he became serpent-player 
 of the cathedral, until the place of that instrument was taken by the small 
 choir-organ, lor the accompaniment of the plain-song. In the same mpnch 
 that he died the serpent waslre-introduced at a solemn service held at Amiens, 
 and in spite of his 90 years he performed with the greatest ability 
 on his beloved insirument. M. Retel saw nine bishops occupy the ihrone 
 of that glorious cathedral, Amiens. Those unacquainted withthe nature 
 of the serpent may like to know that it is a powerful bass wind-instrument, 
 consisting of a tube of wood covered with leather, furnished with a mouth, 
 piece lilce a trombone, ventages and keys, and twisted into a serpentine 
 fbrm ; hence its name. Its compass extends from B fiat below the bass 
 stave, to C in the third space of the treble clef, including eveiy tone and 
 semi-tone. It is, however, a difficult instrument to play, and, in the hands 
 
oP s. Paul's cathedral. jg 
 
 Several of these bore reference to the Duke of Marl- 
 borough's victories and other political occurrences. 
 On S. Cecilia's Day, November 22nd, 1696, he 
 preached a sermon in Christ Church Cathedral upon 
 the occasioti of the Anniversary Meeting of the Lovers 
 of Musick. This was subsequently printed. On Jan. 
 30th, 1698, Estwick preached a sermon at S. Paul's 
 upon the occasion ot the annual service for the Mar- 
 tyrdom of King Charles I. A copy of this discourse 
 is preserved in the Library of the Corporation of 
 London at Guildhall. 
 
 When this sermon was preached, Estwick had been 
 a minor canon of S. Paul's for six years. He held in 
 succession the livings of S. Michael, Queenhithe, and 
 S. Helen, Bishopsgate. In 1703 he was an unsuc- 
 cessful candidate for the Gresham Professorship of 
 Music. At the time of his death, which took place in 
 February, 1739, he was Senior Cardinal of S. Paul's. 
 
 " This venerable servant of the Church," wrote Sir 
 John Hawkins in 1776, "still survives in the remem- 
 brance of many persons now living. Bending beneath 
 the weight of years, but possessing his faculties and 
 even his voice, which was a deep bass, to the last, he 
 constantly attended his duty at S. Paul's ; habited in a 
 surplice, and with his bald head covered with a black 
 satin coif, with gray hair round the edge of it, exhibited 
 a figure, the most awful that can be well received." 
 
 Two of the vicars-choral living about this same 
 period, viz., John Elford and Dr. William Turner, must 
 not be passed over without a few words of mention. 
 
 The first-named of these was a gifted counter-tenor 
 
 of an indifferent performer, is apt to become decidedly unpleasant. The 
 serpent is now rarely met wiih in the French cathedrals, but in out-of-the- 
 way village and town churches it may occasionally be heard. In Wild's 
 very fine coloured print^ representing^ the choir of Amiens during the cele- 
 bration of High Mass (m the possession of the writer), a pair of serpents form 
 a very prominent feature. They were played from the subsella, close to the 
 Cantors' desks. 
 
8o TSE ORGfANISTS AND COMPOSERS 
 
 singer, so much so that John Weldon, one of the 
 sweetest of English Church composers (at the time 
 organist of the Chapel Royal), wrote a set of Solo An- 
 thems, expressly to display his voice. Elford was like- 
 wise a gentleman of the Chapel Royal, and a lay vicar 
 of Westminster Abbey. The same three appoint- 
 ments were held by William Turner, who began his 
 musical career as one of the first set of children of the 
 Chapel Royal after the Restoration, together with Hum- 
 phrey, Blow, and Estwick. An anthem is still in exis- 
 tence, composed by the above three boys when choris- 
 ters, to the words, " I will alway give thanks," usually 
 denominated " The Club Anthem." Dr. Boyce was 
 of opinion that it was intended as a memorial of the 
 strict friendship existing between the three young 
 composers. Each agreed to set different verses and 
 to connect and form them into a regular anthem. 
 Turner preceeded Doctor in Music at Cambridge in 
 1696, and had the singular honour of being a gentle- 
 man of the Chapels Royal to seven kings and queens 
 successively. His voice was a fine high counter tenor. 
 He died on January 13th, 1740, at a great age, and 
 was buried in the cloisters of Westminster Abbey, in 
 the same grave and at the same time as his wife 
 Elizabeth, whose death took place four days before his 
 own, after their having been married by a few years 
 short of seventy, and having lived together in the 
 utmost amity and affection. Their only daughter, 
 Elizabeth, was married to John Robinson, Croft's 
 successor in 1727, as organist of Westminster Abbey, 
 and composer of the familiar double chant in E flat, 
 said to have been the favourite of George III.* 
 
 Turner's Church compositions were not particularly 
 
 * Robinson was one of the children of the Chapel Royal under Dr. EIow 
 and according to the '* Succinct Account " given in Boyce's Cat/iedral Jjdusic 
 vol 111., was " a most excellent performer on the organ." It, was during his 
 tenure of the Abbey organistship that the new inttument was erected by 
 Schreider and Jordan, and used for the first time on Aug. i, 1730 die an- 
 
OF S. PAUL'S CATHEDRAL. §1 
 
 numerous. Two services in E minor and A minof 
 were included in the extensive collection of lylS, 
 Church music, niade by Tudway for the Earl of Harley, 
 now in the British Museum, together with the follow? 
 ing anthems : — 
 
 Behold novi, praise the Lard, 
 
 Lord, Thou hast been our refuge (also printed iii 
 the 3rd volume of Boyce). 
 
 O praise the Lord. i 
 
 The King shall rejoice. 
 
 The Lord is righteous. 
 
 A singularly melodious and beautiful anthem, '' Lift 
 up your heads," an excellent specimen of the short full 
 style then in vogue, was printed in The Parish Choir,_ 
 in 1848. 
 
 The Almoner and Master of the Boys at S. Paul's 
 during Greene's tenure of the organistship was Charles. 
 King, who gained considerable reputation on account 
 of the large number of services he wrote, a circum- 
 stance which gave rise to the sarcastic pun of Greene 
 (who appears to have thought it remarkably funny, for. 
 he was fond of repeating it), that " Mr. King was a 
 very serviceable man." 
 
 This serviceable composer, then, was born at the 
 good old town of Bury S. Edmunds in 1687. In 1693 
 he was sent up to London, and placed in the choir of 
 S. Paul's, with Blow for his master. On the resigna-. 
 tion of that composer very shortly afterwards, he con- 
 tinued his studies under Jeremiah Clark, to whose 
 office, as Almoner, he eventually succeeded. 
 
 During his early manhood, King remained in the 
 choir as a supernumerary singer, with the modest sum 
 of ;^i4 as his annual stipend. In 1707 he became 
 Almoner and Master of the Choristers, and in the same 
 
 them sung on the occasion bein^ that wonderful one of Purcell's, " O give 
 thanks." A very curious print is in the possession of the writer. It repre- 
 sents John Robinson, seated at an organ, with a double row of keys, in the 
 earlier Georgian flowing wig and dress. This print, which is believed to by 
 remarkably rare, was engraved by G. Vertuefrom a painting by T. Johnson. 
 G 
 
82 THE ORGANISTS AND COMPOSERS 
 
 year took his degree of Bachelor in Music at Oxford, 
 his exercise on the occasion consisting of a setting of 
 •' The Dialogue between Oliver Cromwell and Charon." 
 This was afterwards set by Henry Hall, organist of 
 Hereford. 
 
 In conjunction with his offices at S. Paul's, King 
 was permitted to hold the post of organist to the 
 church of S. Benet Fink, near the Royal Exchange, 
 now demolished, the parish being united with that of S. 
 Peter le Poer, Old Broad Street. It was not until 1 730 
 that he was appointed to a full vicarage at S. Paul's. 
 
 King was twice married, his first wife being the 
 sister of Jeremiah Clark. By his second wife he 
 appears to have had a fortune of some ^£"7,000 left her 
 by the widow of Humphrey Primatt, a druggist of Smith- 
 field, together with a beautiful villa at Hampton-on- 
 Thames, afterwards the property of David Garrick. 
 Notwithstanding this accession of fortune, he is said 
 to have left his family in but indifferent circumstances. 
 
 The books of the vicars-choral of S. Paul's state that 
 Charles King died on March 17, 1748. His death 
 took place at Hampton, at the villa aforesaid, and 
 his burial is recorded in the register of the parish 
 church.* Unfortunately, however, no stone exists to 
 mark the resting place of his remains, for, when the 
 ancient parish church of Hampton was demolished, 
 and the present edifice erected in the Pointed style of 
 i83o,t considerable havoc was made among the 
 old grave-stones, many of them being used to pave the 
 church-yard, and that of King may have thus perished. 
 
 * For this fact 1 am indebted to the kindness of Mr. Henry Ripley, the 
 present organist of Hampton Church, and the author of a most interesting 
 History of the parish, 
 
 t On the occasion of the consecration of the present church of Hampton 
 by Bisliop Blomfield, in the presence of Queen Adelaide, Sept. zst, 1831, the 
 following music was sung by the choir of the Chapel Royal, Attwood offi- 
 ciating at the organ : — Before service. Old Hundredth Psalm ; Te Deum 
 and Jubilate, King in P; Sanctus and Kyrie, Attwood in Q. After the 
 Nicene Creed, anthem, " I have surely built Thee an house" (Boyce). Aft^r 
 be sermon " Hallelujah" (HanM). 
 
OF S. PAUL'S CATIiEDRAL. 83 
 
 While at Hampton, King officiated as music-in- 
 structor to some of the royal and quasi-royal per- 
 sonages resident at the Palace. 
 
 The following is a list of his printed Church com- 
 positions : — 
 
 SERVICES. 
 In F. Te Deum, jfuiilate, Kyrie, Credo, Magnificat and Nunc 
 Dimittis (printed originally in Arnold's Cathedral 
 Music, Vol. II., and subsequently in editions too 
 numerous to particularize. The best modern one is in 
 Novello's octavo series). 
 In D. Te Deum, yubilaie, Sanctus, Kyrie, Credo, Magnificat 
 and Nunc Dimittis. (The Morning and Evening Ser- 
 vices printed by John Bishop, of Cheltenham, and 
 also by Marshall of Oxford. The Communion Ser- 
 vice has not been published, but there are MS. copies 
 of it at S. Paul's and several other cathedrals). 
 In B flat Te Deum, Jubilate, Sanctus, Kyrie, Credo, Cantatc 
 
 Domino and Deus Misereatur (Arnold, Vol. I.) 
 In A. (FuU) Te Deum, JuHlate, Kyrie, Credo ( Arnold,Vol. Ill), 
 
 Sanctus added by R. Hudson. 
 In A. (Verse) Te Deum, Jubilate, Magnificat and Nunc 
 
 Dimtttis. (Arnold, Vol. II.) 
 In C. Te Deum, Jubilate, Sanctus, Kyrie, Credo, Magnificat 
 
 and Nunc Dimittis (Arnold, Vol. III.) 
 In A. Gloria in Excelsis. (Printed by Bishop of Cheltenham, 
 c. 1850. There is a MS. copy of it at S. Paul's. It 
 was probably written to complete the Communion 
 Service in A).* 
 
 ANTHEMS. 
 Hear, Lord (full \s.t,\.) \ Printed in 
 
 pray for the pecue (fxHW^v.) f Arnold's 
 Rejoice in the Lord (full with verse ^ 5 v.) 1 Cathedral 
 Wherewithal shall a young man (verse ^ 3 v.) ; Music. 
 
 1 will alwav give thanks (verse ^ 2 v.) ■) p ■ i- ^ • 
 
 be joyful in God (full with verse Si 3 v.) | Patre's 
 
 1 he Lord is full of compassion (full with verse \ Harmonia 
 
 Unto Thee, O Lord (full k 4 v.) J ^'^'"^- 
 
 * In the manuscript choir books of S. Paul's, there are the parts of a 
 Momias and Evening <Crtn((i*€) Service by King, in the key of B minor. 
 Also a Cantate Service in A. These have never been printed* 
 G 2 
 
34 ^SE ORGANISTS AND COMPOSERS 
 
 As pants the hart (full h, 4 v.) Printed in Joseph Warren's 
 Choristet's Handbook. 1850. 
 
 Besides the above anthems King was the composer of 
 nearly thirty others, none of which have been published. 
 The words, however, of many of them are to be found 
 in the collections of Words of Anthems, edited by Mr. 
 Joule of Manchester, and the late Dr. Marshall of 
 Christ Church, Oxford. 
 
 King's remaining sacred compositions include two 
 single chants in F and C minor, and a setting, as a 
 round, of David's lamentation, "O Absalom, my 
 son," printed in Warren's First Collection (1763, p. 7) 
 and since to be met with in several other collections of 
 secular part music. 
 
 The popularity of King's services in our choirs may 
 be accounted for by the fact that they contain, as a 
 rule, few intricacies of writing and " ingenious con- 
 trivances."* They are, likewisej comparatively unfet- 
 tered by contrapuntal devices. There is, more- 
 over, an exceedingly rich vein of melody observ- 
 able in them, which at once captivates the singer 
 or the listener. Another good point is that the 
 antiphonal element is generally kept steadily in view 
 — a maxim which Purcell, Blow, Aldrich, and Wise t 
 with all their beauties were too prone to neglect, 
 breaking up their compositions into a number of 
 short choruses interspersed with verses, in a very 
 restless and purposeless manner. 
 
 King may have scored success as a melodist, but 
 he certainly did not do so as a harmonist. In some 
 of his services, there is much absence of judicious form, 
 and a considerable presence of unnecessary tautology. 
 
 * The harmless and hackneyed chords of King are in constant request at 
 the cathedrals all over England." — Extract of a letter from S. Wesley to V. 
 Novello, June loth, 1830. 
 
 t See the services of Purcell in B flat, and G minor ; Blow in G, A, and 
 E minor ; Wise in E flat, and Aldrich in A. One misses in these the calm, 
 soothing flow of Tallis, Gibbons, Childe, and Rogers. 
 
oP s. Paul's gatsedral. 3$ 
 
 This is especially observable in both the services in 
 A, and in that in B flat. His harmony is frequently 
 very crude and incorrect, and when he attempts an 
 elaborate piece of counterpoint he invariably makes a 
 sad mess of it. 
 
 The service in F is perhaps King's most felicitous 
 effort. Few pieces of Church music have ever been 
 so widely sung. Written when its composer was only 
 nineteen years of age, it is very pleasant to reflect that 
 " King in F " still enjoys frequent hearing at S. Paul's, 
 in spite of all the sweeping musical changes there of 
 late years. Dr. Boyce esteemed the service very 
 highly, and regretted his inability to give it a place in 
 his Cathedral Music. Many readers may be interested 
 to know that as the service in F was the first com- 
 posed by King, so that in C was the last, having been 
 written on his death-bed in 1748. Some of the verses 
 in the B flat service are very melodious and touching, 
 while the service in D has also many passages of a 
 most pleasing and expressive character. 
 
 King's anthems are not so useful as his services, 
 but they contain much sweet melody in his own cha- 
 racteristic style, and are still often used. " Hear, O 
 Lord," a short full anthem in five parts, and " I will 
 alway give thanks," containing a pretty solo, and duet 
 for trebles, are perhaps the two best specimens of 
 his abilities in anthem composition. 
 
 It is very probable that Charles King's industry 
 was greater than his ability, and it has been said of 
 him that if his works are not embarassed with much 
 enthusiasm, they cannot be reproached with many 
 faults. Dr. Greene appears to have thought lightly 
 of King ; but Handel thought lightly of Dr. Greene, 
 and, of the two, Charles King the vicar-choral, has, 
 we are bound to confess, written better and more 
 useful service music than Maurice Greene the organist 
 and composer. King's services have been generally 
 
86 TBE OROASISTS AND COMPOSERS 
 
 censured; but they are in constant requisition in 
 every cathedral in England and Ireland. This is an 
 incontestible proof of merit and silences all criticism. 
 Hawkins somewhat disparagingly remarks of King and 
 his compositions that " no one cares to censure or 
 commend them, and they leave the mind of the hearer 
 just as they found it. Some, who were intimate with 
 him, say he was not devoid of genius, but averse to 
 study, which character seems to agree with that 
 general indolence and apathy which were visible in 
 his look and behaviour at Church, where he seemed 
 as little affected by the service as the organ-blower." 
 King was much liked by the boys placed under his 
 charge, on account of his amiable and lenient dis- 
 position. The following doggerel concerning him has 
 been handed down by successive choristers of S. 
 Paul's :— 
 
 Indulgence ne'er was sought in vain, 
 
 He never smote with stinging cane, 
 
 He never stop't the penny fees,* 
 
 His boys were let do what they please. 
 
 Curiously enough there flourished at S. Paul's, con- 
 temporaneously with Charles King the vicar-choral, 
 another person of the same Christian and surname. 
 He was appointed to the fifth minor canonryini7 1 7, and 
 resigned at Christmas, 1730. Whether these two were 
 related we are not at present in a position to affirm. 
 
 Among King's pupils as choristers of S. Paul's 
 were Greene, Boyce, Alcock, Samuel Porter, and 
 Joseph Baildon. 
 
 Greene's successor as organist was John Jones, who 
 has gained a sort of reputation as the composer of a 
 once popular double chant, no collection being con- 
 sidered complete without it. 
 
 Jones, although but a poor composer, could not 
 
 ^ Allusion is here made to the allowance made to the choristers cf S. 
 Paul's of a penny a day out of the Almonry Fund, and which the master 
 occasionally stopped for bad behaviour. 
 
OP s. Paul's cathedral. Zj 
 
 have been an indifferent performer, (or we find that 
 in 1 749 he was appointed one of the two organists of 
 the Temple Church,* in 1753 organist of the Charter- 
 house in succession to Dr. Christopher Pepusch, and 
 on Christmas Day, 1755, organist of S. Paul's. He 
 was allowed to retain these three posts — a system of plu- 
 ralism which would not in the present day be tolerated. 
 
 John Jones died on February 17, 1796, and not in 
 1795 as usually stated in error. 
 
 He published at Longman and Broderip's, 26, 
 Cheapside, in 1785, Sixty Chants, Single and Double, 
 respectfully dedicated to the Dean and Chapter of S. 
 Paul's — oblong 4to. This is a collection of original 
 compositions now but rarely met with, and when found 
 is much prized by those interested in the bibliography 
 of chants. A copy is,, however, with the writer. The 
 chants are printed in vocal score with a separate ac- 
 companiment for the organ. Prefixed are the follow- 
 ing curious directions concerning the use of the 
 book : — " The Psalms of David being either Rejoycing, 
 Penitential, or Historical, those chants which best suit 
 such sentiments are marked with an R, P, or H. ; 
 bnt where the Psalms change from Rejoycing to Peni- 
 tential in the same Morning or Evening Service, 
 numbers XXX of both Single and Double Chants are 
 particularlv adapted." + 
 
 The majority of these chants are very florid and 
 undevotional, " streams of crotchets " as Dr. Crotch 
 would have said, also dotted quavers, being freely 
 used — the prevailing taste of the later Georgian period. 
 The first double chant is an odd arrangement of the 
 Grand Chant for six voices, viz., three trebles, alto, 
 
 * At this time there were two organists appointed to the Temple Church. 
 John Stanley, the blind musician, _ who had held office since 1734, was 
 Jones' colleague, and on his death in 1786, R. J. S. Stevens the glee com- 
 poser, was appointed. Stevens succeeded Jones ten years later as organis 
 of the Charterhouse. 
 
 t A Single in F and F minor, and a Double in E and E minor. 
 
88 fEE ORGANISTS AND COMPOSMS 
 
 tenor, and bass. No. 24 is the once popUlat unison 
 double in D, the singing of which affected Haydn so 
 much at one of the anniversary meetings of the London 
 Charity Children in S. Paul's.* It was also performed 
 on April 23rd, 1789, being George Ill's Thanksgiving 
 Day for his restoration to health and reason. 
 
 Many of the chants in Jones' book, as before re- 
 marked, are totally unsuited to the needs of the present 
 day. A few of the more sober and devotional ones, 
 however, have found places in several modern col- 
 lections, notably the Cathedral Psalter Chant-book. 
 The only chant of Jones' now used at S. Paul's, is a 
 Single in D (No. i), sung to the Venite on the 20th 
 morning of the month. 
 
 Two services by Jones, neither of which has been 
 printed, are contained in the manuscript part books of 
 of S. Paul's. One is in the key of G, and consists of 
 Te Deum, Jubilate, Sanctus, Kyrie, and Credo, the 
 other is in F, and comprises the Magnificat and Nunc 
 Dimittis. 
 
 In 1 761 Jones published at Peter Welcker's in Ger- 
 rard Street, S. Anne's, Soho, two volumes of Lessons 
 for the Harpsichord — oblong folio. Many of these 
 are very tuneful and pleasing, and afford good examples 
 of the style of such compositions prevalent at the period. 
 In the subscription-list prefixed appear the names of 
 Battishill, Boyce, Barrow, Cooke, Camidge, Nares, 
 and other well known cathedral men. Jones also pub- 
 lished in 1754 a similar book of lessons in eight sets. 
 
 William Savage, a bass-singer, succeeded King as 
 Almoner, Master of the Boys, and vicar choral in 
 1748. He does not appear to have possessed th6 
 amiable qualities of his predecessor. As was his name, 
 so was his nature, for we find that in 1773 it was 
 
 * '* A week before Whitsuntide I heard 4,000 children sing in S.' Paul's 
 
 Cathedral No music ever affected me so powerfully before 
 
 in my life."— Haydn's Diary. 
 
OF S. PAUL'S CATHEDRAL. 89 
 
 deeoved expedient to remove him, on account, it is 
 said, of the great harshness with which he treated the 
 boys committed to his charge. He was, however, 
 permitted to retain his vicarage. 
 
 Savage was a pupil of Dr. Pepusch, and, previous to 
 his appointment to S. Paul's, was organist of Finchley 
 Parish Church. At the time of his death on July 27, 
 1789, he was one of the gentlemen of the Chapel 
 Royal. Savage wrote a service, and a few other 
 pieces of Church music, but his reputation as an 
 ecclesiastical composer may, at the present day, be 
 said to be literally sustained upon a single chant 
 inC. 
 
 Jonathan Battishill, one of our most esteemed 
 Church musicians, was a pupil of Savage. Another was 
 Richard John Samuel Stevens, the successful com- 
 poser of Shakesperian glees, and Gresham Professor. 
 Stevens, who died in 1837, left by his will a; gratuity 
 of j£2o to choristers of S. Paul's, when, by the failure 
 of their soprano voices, they were no longer able to 
 take part in the Cathedral services. One of his fellow 
 choristers was Alderman Birch of Cornhill, a great 
 amateur of music, at whose house frequent glee parties 
 were wont to assemble. Richard Suett, the low 
 comedian, and Joseph Vernon, a popular tenor-singer 
 and actor, were others of Savage's pupils. 
 
 Robert Hudson, Mus.B., was the next Almoner 
 appointed. He had a pleasing tenor voice, and when 
 a young man, sang at the concerts at Ranelagh 
 Gardens. Having officiated for some time as assistant 
 organist of S. Mildred's, Bread Street, Hudson became, 
 in 1753, one of the vicars choral of S. Paul's, and in 
 1773 Almoner and Master of the Children. He held 
 the latter offices for twenty years when he resigned 
 them, retaining, however, his vicar choralship. He 
 was for many years senior gentleman or " Father " of 
 the Chapel Royal and music master at Christ's Hos- 
 
go THE ORGANISTS AND COMPOSERS 
 
 pital. He died at Eton, Dec. 19th, 1815, in his 
 seventy-seventh year, and his remains were interred in 
 the centre aisle of the crypt of S. Paul's, where there 
 is a flat stone to his memory. 
 
 Hudson's compositions for the Church include some 
 chants, a Service in E flat, contained in the MS. books 
 of S. Paul's, where it was once a great favourite, a Psalm- 
 tune called " S. Olave's," and " A Sanctus in F, as 
 performed at S. Paul's," printed in the second volume 
 of the Cathedral Magazine. He also wrote a Sanctus 
 to match King's full Service in A. 
 
 Hudson set to music the epitaph on Dr. Childe's 
 monument at S. George's Chapel, Windsor, beginning 
 " Go, happy soul and in the seats above," and in 1767 
 published The Myrtle, a Collection of new English Songs, 
 some of which were printed with accompaniments for 
 a band. [He trained some excellent pupils, among 
 the number being Dr. Chard, and the three amiable 
 brothers Pring. 
 
 Richard Bellamy (Mus.B., Cantab.) succeeded 
 Hudson in the Almonry on his resignation in 1793. 
 He was reputed one of the best cathedral singers of 
 his day, and Dr. Boyce, admiring his fine high bass 
 voice, was induced, it is said, to write some anthems 
 expressly to display it. 
 
 Besides his appointment at S. Paul's, which he 
 resigned in 1799, Bellamy was a lay vicar of West- 
 minster Abbey, and one of the gentlemen of the 
 Chapel Royal. He died on Sept. nth, 181 3, and 
 was succeeded by an equally fine bass-singer, and a 
 member of a talented family of musicians, John 
 Sale. 
 
 Bellamy printed at Thompson's, 75, S. Paul's 
 Churchyard, in 1788, a thin volume containing a 
 Te Deumfor a full orchestra (composed for and per- 
 formed at the ceremony of the Installation of the 
 Knights of the Bath in Henry VII. 's Chapel, May 
 
OF S. PAULS CATHEDRAL. 
 
 9' 
 
 1788) and a Sei of Anthems for i, 2, 3, and 4 voices, 
 comprising the following : — 
 
 Blessed is the man (alto solo). 
 Come, Holy Ghost (verse i 3 v.) 
 / waited patiently (verse k 3 v.) 
 God, whose nature (full, with 
 verse h. 4 v.) 
 
 Sing ye merrily (verse & 3 v.) 
 The ways of Zion (full with 
 
 verse Jl S v.) 
 When Saul was king over us 
 
 (full Ji S v., with verse k 3 v.) 
 
 A copy of the above collection, formerly belonging to 
 the composer, and purporting to have been used by 
 him in the choir at S. Paul's, is in the writer's posses- 
 sion. 
 
 Bellamy was also the composer of some chants, and 
 the compiler of some very questionable adaptations, 
 as solo anthems, from the works of Mozart. 
 
 George Ebenezer Williams (organist of Westminster 
 Abbey, 181 4-1 8 19) was one of his pupils. 
 
 John Sale, who, as stated above, became Almoner 
 on Bellamy's resignation in 1799, was born in London 
 in 1758. He was admitted a chorister of S. George's 
 Chapel, Windsor, and of Eton College, under Webb, 
 the organist, in 1767, and ten years later was appointed 
 a lay vicar in both those choirs. These offices he 
 retained till Christmas, 1796. He succeeded Nicholas 
 Ladd as gentleman of the Chapel Royal in 1788; 
 Soaper as vicar choral of S. Paul's in 1794; and 
 Hindle as lay vicar of Westminster in 1796. Con- 
 sequently, at one period of his Ufe he was a 
 member of five choirs. He began his duties as 
 Almoner of S. Paul's in 1800, and continued in office 
 till 1812, when he resigned. At the time of his 
 death, which occurred on Nov. nth, 1827, at Marsham 
 Street, Westminster, he was senior gentleman or 
 " Father " of the Chapel Royal. He was buried in 
 the crypt of S. Paul's. 
 
 Sale's voice was a magnificent mellow bass, and it 
 is asserted that in his anthem and glee-singing, it was 
 perfectly charming at times to mark the effect he pro- 
 
gi THE ORGANISTS AND GOMPOSJSRS 
 
 duced with apparently the greatest ease. His manners 
 were somewhat eccentric, and gave rise to occasional 
 witticisms — a fact recorded in the following impromptu 
 by Barham (Thomas Ingoldsby) a contemporary of 
 his as minor canon of S. Paul's and priest of the 
 Chapel Royal. 
 
 " Our attempts to be witty no longer need fail, 
 We can all be facetious when jokes are on Sale." 
 
 He edited three collections of glees, the first con- 
 taining three glees by Lord Mornington and three 
 by himself ; the second, six glees by Lord Morning- 
 ton ; and the third, glees by Dr. Arnold, Samuel 
 Webbe, Dr. Callcott, William Linley, and himself. 
 
 George Charles, his youngest son, was admitted a 
 chorister of S. Paul's in 1803. He was, for many 
 years, organist of S. George, Hanover Square, and 
 died in 1869. Another son, John Bernard, was a 
 chorister of Windsor and Eton in 1785. He succeeded 
 Bellamy as lay vicar of Westminster in 1800, and 
 Champness the bass-singer as gentleman of the 
 Chapel Royal in 1803. He succeeded Michael Rock 
 as organist of S. Margaret's, Westminster in 1809, 
 and died in 1856. He was, for some time, music- 
 master to our present Queen, and one of the organists 
 of the Chapel Royal. 
 
 A few brief notices of various other musicians con- 
 njected with S. Paul's at the close of the last century 
 will serve to conclude this chapter. 
 
 John Soaper, one of the vicars choral, and a pupil 
 of Savage, is still remembered by his double chants, 
 two of which are still in use at S. Paul's. He was 
 also the composer of a setting of the Litany (now 
 disused) composed for S. George's Chapel, Windsor. 
 Like many of the musicians we have lately been 
 noticing, Soaper was a lay vicar of Westminster, and 
 a gentleman of the Chapel Royal. His death took place 
 
OF S. PAULS GATEEDRAL. 93 
 
 on June sth, 1794, in his fifty-first year, and he was 
 buried in S. Faith's Aisle in the crypt of S. Paul's. 
 
 Edmund Ayrton, another vicar-choral, was one of 
 the most respectable musicians of his day. Born at 
 Ripon in 1 734, he was, ten years later, placed in the 
 choir of York Minster under Dr. Nares, the then 
 organist and choir-master. At the age of twenty he 
 was appointed successor to William Lee as organist, 
 auditor, and rector chori of the Collegiate Church of 
 Southwell, Notts. He left Southwell in 1767, and 
 came to London, on receiving an appointment to the 
 Chapel Royal, and as vicar-choral of S. Paul's. He 
 was installed as a lay vicar of Westminster Abbey in 
 1780. Three years later he succeeded Nares, his old 
 master, as teacher of the Chapel Royal choristers, 
 which office he resigned in 1805, when John Stafford 
 Smith was appointed. 
 
 Ayrton graduated as Doctor in Music at Cambridge 
 in 1784, and four years later was admitted ad eundem 
 at Oxford. He died May 22nd, 1808, at 24, James 
 Street, Buckingham Gate, Westminster, a large house 
 with a garden of three acres, but which had the repu- 
 tation of being haunted, so that he occupied it at a 
 low rental. The twelve choristers of the Chapel Royal 
 were wholly maintained with him at this house. He 
 was buried in the cloisters of Westminster Abbey, 
 near Dr. Dupuis. 
 
 Dr. Ayrton's principal composition besides two com- 
 plete services in C and E flat, was a Festival Anthem 
 in the key of D, set to words commencing " Begin 
 unto my God with timbrels," and written as the exer- 
 cise for his Doctor's degree at Cambridge. It was 
 sung at S. Paul's on July 29th, 1784, being the day of 
 General Thanksgiving for the Peace of Paris. He 
 subsequently printed it in full vocal and orchestral 
 score, with a long list of subscribers. 
 
 Ayrton's predecessor as vicar-choral of S. Paul's was 
 
94 THE ORGANISTS AND COMPOSERS 
 
 William Clarke, who, in 1769, having taken orders, 
 became one of the minor canons. This is a very 
 unusual instance of a vicar choral becoming a minor 
 canon.* Clarke, who was Senior Cardinal, had a 
 magnificent alto voice. He died Dec. sth 1820, in 
 his eightieth year, and was buried in the crypt. On 
 his grave-stone was carved this epitaph : — 
 
 " Beloved friend, go join the heavenly throng 
 And in their harmony unite thy tuneful song. 
 Go, and vpith choirs of angels in that blest abode 
 Sing endless hallelujahs at the throne of God." + 
 
 John Page, likewise a vicar-choral at this epoch must 
 by no means be overlooked, inasmuch as he was the 
 compiler of a most useful collection of anthems by 
 various English masters, supplementary to the Cathe- 
 dral Music of Boyce and Arnold. But for his industry 
 and care, these valuable manuscripts might still, pro- 
 bably, be unpublished. 
 
 The compilation alluded to was entitled Harmonia 
 Sacra, and it appeared in three volumes (vocal score 
 and figured basses) in 1800, with a dedication to the 
 Princess Amelia. It is greatly to be regretted that 
 
 * S. Paul's and Chichester were the only two cathedrals of the Old Foun- 
 dation in which the minor canons were properly so-called. At the others, 
 viz., York, Exeter, Salisburyj Wells, Lincoln, Lichfield, S. Asaph, Bangor, 
 LlandafT, and S. David's, priest vicar was, and still is, their proper desig- 
 nation. The " Sub-Canonici " of Hereford were an invention of Archbishop 
 Laud, when the statutes of that cathedral were revised in the reign of 
 Charles I. 
 
 At Westminster Abbey, S. George's Chapel, Windsor, and at all cathe- 
 drals of the New Foundation, the minor canons were so designated in the 
 first instance, with the exception, however, of Christ Church, Oxford, which 
 is partly a cathedral and partly a college chapel. 
 
 At the college chapels of Oxford, Cambridge, and Winchester, those 
 upon whom the dutydevolves of chanting the service are denominated "Chap- 
 lains." At Eton they are called " Conducts," a term probably unique. 
 '■ Priest-in-Ordinary " is the corresponding term at the Chapel Royal, S. 
 James's. At S. Patrick's Cathedral, Dublin, they are_ termed * ' Clerical 
 /icars," and so they were called at Christ Church, until the recent recon- 
 struction of the foundation, when their title was altered to " Residentiary 
 ^nons." 
 
 t From a memorandum in the hand-writing of Richard Clark (the veteran 
 >^en>ber of the three Metropolitan Choirs) in my possession. — J. S. B. 
 
OF S. PAUL'S CATHEDRAL, 
 
 95 
 
 no edition of the Harmonia Sacra has appeared in 
 modern times with a proper organ accompaniment, 
 IDr. Rimbault once announced his intention of editing 
 the work, but he never appears to have accomplished 
 his design. 
 
 Allusion has been frequently made in former pages 
 of these sketches to various anthems published in the 
 compilation at present under discussion ; but a com- 
 plete list of its contents may be useful and interesting 
 to those unacquainted with a work which is now 
 obtainable only with considerable difficulty, and, espe- 
 cially also, as several of the composers represented 
 in it were connected with S. Paul's. 
 
 Vol. I. 
 Verse Anthems, 
 
 Blessed is the people Croft. 
 
 Deliver us, O Lord Croft. 
 
 I will lift up mine eyes .... ITeZdon. 
 
 Lee my complaint B<yyc& 
 
 Out of the deep Purcell. 
 
 O Lord, our Governor Kent. 
 
 Praise the Lord, O my soul - Crqft, 
 
 Ponder my words Oreene. 
 
 The Lord is my strength Clark, 
 
 The Lord even the most.. ..JDupuia' 
 The Lord is my shepherd .. ..Kent. 
 Whoisthis? Arnold, 
 
 Full Anthems with verses. 
 
 Call to Remembrance.. ..Boffis^ifi. 
 
 God is our hope Aldrich. 
 
 Hear ray prayer Stroud. 
 
 I cried unto the Lord Dupuis. 
 
 I will sing unto the Lord . . Qoldwin. 
 
 Lord of all power and might Moion. 
 My God, look upon me . .Reynolds, 
 
 O be joyful King. 
 
 Teach me, O Lord Attwood, 
 
 Full Anthems. 
 
 Burial Service Boyce. 
 
 Lord, for Thy tender mercies' 
 sake Farrant. 
 
 O give thanks Tttcher. . 
 
 O how amiable Richardson. ' 
 
 Unto Thee, O Lord King. 
 
 Vol. II. 
 
 Verse Anthems. 
 
 As pants the hart Handel. 
 
 Blessed is he Puroell. 
 
 Bow down Thine ear Clark, 
 
 Hear my crying Greene, 
 
 How long wiU Thou CUirk. 
 
 I said I will take heed . . S. Wesley. 
 
 1 was glad Purcell. 
 
 I will al\vay give thanks King. 
 
 My soul hath patiently ..C. Wesley. 
 O Lord, Thou hast searched .. Oo^, 
 O Lord our governor .... Marcello. 
 
 O praise God Qoldwin. 
 
 Rejoice in the Lord Hine. 
 
 Save me, O God Greene. 
 
 ITie Lord is king .Croft. 
 
 The Lord is my strength. 
 
96 
 
 THE ORGAmSTS AJP^D COMPOSERS 
 
 Full Anthems with verses. 
 
 I be the Lord ....... .Nares. 
 
 BehriM, how good Baildon. 
 
 I. have set God Blake. 
 
 KJe^P) we beseech Thee Travers. 
 
 Lord, of all power and might Wood. 
 
 O Lord God of my salvation ClarJc, 
 
 Sing praises Crqft', 
 
 Sing we merrily Blow. 
 
 The Lord is full of compassion King, 
 
 Vol. Ill, 
 Verse Anthems. 
 
 Arise and shine Holmes. 
 
 Behold, I tell you Handel. 
 
 Bow down thine ear Linley. 
 
 Hear my prayer Henley, 
 
 I will alway give thanks .... Greene. 
 I will magnify Thee HiTie. 
 
 I will magnify Thee Boyce 
 
 O Lord look down Greene, 
 
 There were shepherds Handel. 
 
 Thou art gone up Handel. 
 
 The Lord is my light d-oft. 
 
 Behold, how good Sattishill. 
 
 Behold the Lamb of God ..Handel. 
 I will magnify Thee Battiskill. 
 
 Bow down thine ear , 
 
 Deliver us, Lord Battishill. 
 
 From the depth Tye. 
 
 Lord, who shall dwell Rogers. 
 
 Full Anthems with verses. 
 
 Moses and the children Handel. 
 
 O God, Thou art my God . . Busby. 
 O Lord, grant the King Banks, 
 
 Full Anthems. 
 
 0]Lord God of our salvation Aldrich. 
 O Lord, Who hastjtaught us Marsh. 
 Save Lord, and hear us . . Marenzio. 
 
 In 1804, Page issued a collection of Hymns by 
 various composers, together with twelve Psalm-tunes, 
 and an Ode, composed by Jonathan Battishill. He 
 likewise edited a collection of organ-pieces by the 
 last-named composer, and three years after his death 
 in 1801,* published a selection from his anthems, 
 together with ten single and double chants. 
 To this collection was prefixed a finely-engraved por- 
 trait of Battishill, and an excellent account of his life 
 from the pen of Dr. Busby, organist of the churches 
 of S. Mary Woolnoth, Lombard Street, and S. Mary, 
 Newington. 
 
 ^ Battishill's dying request was to be buried in the crypt of S. Paul's next 
 to Dr. Boyce. The Burial Registers of the cathedral state that he was in 
 terred in the crypt on Dec. 15th, 1801, but the stone (if one were placed) 
 could never have had any inscription upon it. John Malcolm, writing in 
 Londinium Redivivum in 1803 give a complete list of the grave-stones then 
 in the crypt, but in which that of Battishill finds no place. It is impos- 
 sible that the inscription could have been obliterated in only two years, 
 
 I am much indebted to Mr. R. R. Green, for many years the respected 
 Dean's Verger of S. Paul's, for his §reat courtesy in verifying for me the 
 date of Battishill's burial, in the Registers of the cathedral.— J. S. B, 
 
\ 
 
 OF S. PAUL'S CATHEDRAL. 97 
 
 Page published the whole of the music sung at the 
 state funeral of Lord Nelson at S. Paul's on January 
 9th, r8o6, and joined William Sexton, organist of S. 
 George's Chapel, Windsor, in editing a mutilated 
 edition of Handel's Chandos Anthems. He resided 
 for some years in Warwick Square, Paternoster Row, 
 and died in August, 181 2. 
 
 The Rev. William Hayes, third son of Dr. William 
 Hayes, the Oxford Professor of Music, was one of the 
 minor canons of S. Paul's at this period. He was 
 the possessor of a fine powerful bass voice, and, when 
 George III. attended the cathedral to give public 
 thanks for his restoration to reason (S. George's Day, 
 April 23rd, 1789)* sang the bass solo, "Thou art 
 about my path " in Croft's noble anthem, " O Lord, 
 Thou hast searched me out," expressly commanded 
 and selected by the King. Hayes, who was born in 
 1 741, received his musical instruction as a chorister of 
 
 * The Morning and Communion Services were sung on this interesting 
 occasion to the music of Pvrce.ll in B fiat throughout. The service was in- 
 toned by the Rev. Minor Canon Moore, and the Litany chanted by Minor 
 Canons Hayes and Gibbons. The Communion Service was read by the 
 Dean, the Epistle by the Bishop of Bristol, and the Gospel by Dr. Jeffries, 
 Oanon Residentiary. Bishop Porteous preached a sermon (which is said 
 to have been the most interesting and affecting in the whole set of his 
 lordship's discourses), from the text " O tarry thou the Lord's leisure : be 
 strong and He shall comfort thine heart ; and put thou thy trust in the 
 Lord." The service concluded with the Offertory, read by Dr. Farmer, 
 Canon Residentiary. At the singing of Te Deum the guns were fired at the 
 Tower and in S. James's Park. A very fine engraving, depicting the interior of 
 the choir on this occasion, is in the possession of the writer. Ths King and 
 Queen are represented as occupying a canopied throne beneath the organ 
 gallery. The Princes are occupying the Decani choristers' seats, and the 
 Princesses the Cantoris ones. The choir occupy seats on either side of the 
 organ ; the Minor Canons, and those immediately engaged in the service, 
 being placed within the lectern rails. The Dean and other capitular mem- 
 bers are in the return stalls, the lateral stalls being occupied by the peeresses, 
 and other ladies. The Speaker is seated in the Lord Mayor's stall ; opposite 
 him is the Lord Chancellor. The Bishops and Peers are in the centre of the 
 choir, and the Members of the House of Commons are in the galleries. 
 Bishop Porteous is in the pulpit preaching the sermon. 
 
 A companion picture to this represents the Royal procession advancing up 
 the nave into the choir. Round the dome, on tiers of seats, are the charity 
 children, who are said to have numbered on this occasion about six thousand, 
 and who addressed their Creator, on the Ring's approach, with the Hund- 
 redth Psalm. 
 
 H 
 
qS THE ORGANISTS AND COMPOSERS 
 
 Magdalen College, Oxford, under his father, the then 
 organist. He obtained a minor canonry at Worcester 
 in 1765, and on January 14th in the ensuing year was 
 elected a minor canon of S. Paul's. In 1783 he 
 became Junior Caidinal, and, with his minor canonry 
 he held the rich chapter living of Tillingham in Essex. 
 At his death which took place on October 22nd, 1790, 
 he was buried in S. Gregory's vault in the south west 
 portion of the crypt of S. Paul's. He contributed to 
 The Gentleman's Magazine for May, 1765, a paper 
 entitled " Rules necessary to be observed by all 
 Cathedral Singers in this Kingdom." 
 
 The Rev. Anselm Bayley, LL.D., another minor 
 canon, was a man of considerable literary abilities. 
 He graduated at Oxford in 1740, and in the following 
 year succeeded John Church * as a gentleman of the 
 Chapel Royal. In 1743, having taken orders, he was 
 admitted a Priest in Ordinary of the same establish- 
 ment. He subsequently became a minor canon both 
 of S. Paul's and Westminster Abbey, and Sub-dean 
 of the Chapel Royal. He resigned his stall at S. 
 Paul's in 1764, and died thirty years later. Among 
 Anselm Bayly's didactic works on music may be men- 
 tioned A Practical Treatise on Singing and Playing, 
 8vo ; The, Alliance of Musik, Poetry, and Oratory, Svo ; 
 and A Collection of Words of Anthems used in His 
 Majesty's Chapels Royal and most Cathedrals, 1769 — a 
 work remarkable, not only for the very elegant style in 
 
 * John Church was also a lay vicar of Westminster and Master of the 
 Cho-isters from 1704 until his death in 1741, when he was succeeded by 
 Bernard Gates. One of his services, in th-^ key of F, is pr-iserved in the 
 Rev. Sir F. A. Gore Ouseley's valuable collection of Cattiedrol Services by 
 Encilish Masters (folio, 1853), It shows some fertility of invention, and 
 proves its composer to have been a great master in the resources of counter- 
 point. Kichard Church, his cousin, was organist of New College, Oxford, 
 from 1731 to 1776. and it is a singular fact that he was born within a year of 
 Dr. W. Hayes, that they were hrought up in the same choir (GJouc ester), 
 apprenticed to the same master (Hine), came to reside at Oxford almost ^t 
 the same time, and d ed within a year ' f each other, 
 
OF S. PAULS CATHEDRAL. 99 
 
 which it was printed, but also for its learned and in- 
 teresting preface on Church music. Several theo- 
 logical works proceeded from his pen. 
 
 The Rev. William Fitzherbert, the last subject of 
 the present biographical notices, has long been known 
 as the composer of a double chant in F.* He was 
 elected to the fourth minor canonry which carried 
 with it the title of Epistolar, in 1744, and in 1776 he 
 became Sub-dean of the Cathedral. Fitzherbert was 
 also a minor canon of S. Peter's, Westminster from 
 1751 to 1778; one of the priests of the Chapel Royal 
 in 1746 ; Rector of Hadlow in Kent 1753, of Horne- 
 don-on-the-Hill in Essex from 1756 to 1771, and of 
 S. Gregory by S. Paul at the time of his death, which 
 took place at S. Paul's College at the advanced age of 
 84, on October 2nd, 1797. He was interred in the 
 eastern portion of the crypt where there is a flat 
 gravestone to his memory. 
 
 ^ 
 
 * I am anxious to call attention to this chant by Fitzherbert, upon which, 
 by the way, Dr. Crotch, once wrote a ve-y clever fugue. In a collection of 
 chants in daily use at S. Peter's, Westminster, published in TheParish Climr 
 (1846) it occurs as a single chant, but it has been in many collections cor- 
 rupted into a double one, by the addition of a third and fourth strain. Now 
 it has often struck me as curious that two (perhaps more) versions of the 
 foresaid chant in its double form, exactly similar in the two first strains, 
 but different in the concluding ones, should exist. This appears (at least to 
 me) to be accounted for by the fact that Fitzherbert never wrote the latter, 
 and that they have been supplied by some other pers^n— Dr. Phillip Hayes 
 for example, who was, we know, somewhat fond of adding his own effu- 
 sions to those of other people (see the double-chant on page 21 of the first 
 volume of Dr. Clarke-Whitfeld's Colkctian, oblong 4to, whereof the firr-t part 
 is headed "Dr. Alcock," and the second " Dr. Phil. Hayes in addition," 
 and in which same book Fitzherbert's chant is similarly treated). There is 
 good reason for believing that this practice has been far from rare, and that 
 many double chants have been cnncc-ted from single ones. Whence came 
 the double chant in F, to which we invariably find the name of Dean 
 Al.'rich attached 1 Whence that in E flat so frequently assigned to Orlando 
 Gibbons? But instances might be multiplied.— J. S. B. 
 H 2 
 
ICX3 THE ORGANISTS AND COMPOSERS 
 
 CHAPTER IV. 
 
 Miss Hackett and her Labours for the 
 
 Choristers' School. — The Organists and 
 
 Composers of the Cathedral during the 
 present Century. 
 
 In many of our cathedrals during the earlier years 
 of this century, now fast drawing to its close, the boys 
 belonging to the various choirs, were, as a general 
 rule, very much uncared for by the capitular bodies, 
 who were enjoined by the several statutes to see that 
 they received a suitable education with the rest of the 
 King's scholars, or by whatever title the pupils of the 
 Grammar School, which we usually find attached to 
 a cathedral church were known. 
 
 So long as the children appeared in their places in 
 choir at the appointed hours of divine service, the 
 authorities knew little, and probably cared less, about 
 the way in which their time had been spent in the 
 intervals. Of this abuse S. Paul's was, at the time at 
 which our chapter opens, a glaring instance, the 
 miserably neglected condition of the eight * choristers 
 on the foundation being, for some time, the subject of 
 considerable animadversion. 
 
 Until the close of the last century the boys were 
 fairly well educated, and comfortably boarded in the 
 
 * Ten was the statutable number of choristers for S. Paul's by the regula- 
 tion of Bishop de Newport. Ten choristers are specified in Dowman's 
 bequest in the seventeenth year of the reign of Henry yill. Ten choristers 
 appeared to assert their claim to obit money in the reign of Mary, and these 
 payments were confirmed to ten choristers by the Letters Patent of Eliza- 
 beth (see ante, Chapter I.) The ten choristers occur in the Almoner's ac- 
 counts for 1675, and the same number is mentioned by the historians Tanner 
 and Willis. About the middle of the last century they were reduced tg 
 eight. Now the school will accommodate forty. 
 
OF 5. Paul's catmedral. loi 
 
 Almoner's house, which was situated in Carter Lane, 
 not far from the present commodious school. It was 
 used in lieu of the old Almonry House or residence 
 for the choristers, which stood in what was called 
 Pardon Churchyard, between the Chapter House and 
 Ludgate Hill. This latter was demolished early in 
 Queen Anne's reign, in consequence of an Act of 
 Parliament passed for the preservation of the Cathe- 
 dral from fire, by the removal of the adjacent build- 
 ings. 
 
 The sum of money, anciently assigned to the 
 Almoner for the board and education of the choristers, 
 became, at the time of which we are now treating, 
 quite inadequate, on account of depreciation. The 
 Almoner was, therefore, compelled to dismiss the 
 boys from his protection, paying them an occasional 
 trifle for their attendance at services and rehearsals. 
 
 In consequence of this arrangement many of the 
 children resided at considerable distances from the 
 Church, and a great proportion of the day was con- 
 sumed in loitering about the streets, there being no 
 one to call them to account for the employment of 
 their time. 
 
 John Sale, .who was then Almoner, applied to the 
 Dean and Chapter for an augmentation, but they 
 turned a deaf ear to his entreaties, and refused to 
 make any pecuniary advances. Matters stood thus 
 until 1 812, when Sale resigned. On the appointmen 
 of his successor, William Hawes, some better arrange- 
 ments were effected with regard to the attendance 
 of the choristers, and instead of running about the 
 streets all day, within earshot of the service-bell, they 
 were boarded at Mr. Hawes' house (first in Craven 
 Street, Charing Cross, and afterwards on the Adelphi 
 Terrace), receiving at the same time a fair educa- 
 tion. When, in 1827, Bishop Copleston, of Llan- 
 dafr, became Dean of S. Paul's, a substantial sum 
 
102 THE ORGAmSTS AND COMPOSERS 
 
 of money was once more set apart for the support 
 of the choristers' school, and but little was required, 
 beyond the stimulus of occasional public examinations, 
 to raise it from the neglect and obscurity into which it 
 had fallen during the latter part of the last century. 
 It was in the year 1811, that a very worthy, clever 
 lady, Miss Maria Hackett by name, then and for 
 many years a much respected resident of Crosby 
 Square, Bishopsgate, and afterwards of Clapham 
 Common and Hackney, first interested herself in the 
 welfare of the S. Paul's choir-boys. At an early age 
 she evinced a great predilection for cathedrals and 
 cathedral music, and during the greater portion of 
 her long life, she devoted her energies, and the bulk 
 of her fortune, to the educational condition of every 
 chorister in England and Wales. 
 
 We learn from her writings that in the above year 
 (1811) she took charge of a fatherless boy, named 
 Wintle, and, convinced that the boys belonging to S. 
 Paul's choir had a right to a classical education from 
 the funds of the cathedral, she placed him in that 
 choir. This circumstance is alluded to in a very 
 touching letter to Mr. Hawes, the choirmaster, writ- 
 ten on January i6th, 1813. Finding, however, that 
 her young protege did not obtain the benefit she had 
 anticipated, she made enquiries into the cause, and 
 discovered that property which had been left in trust 
 for the benefit of the choristers had been diverted 
 from its original pious purpose. Some of this pro- 
 perty had been left so long ago as 1315, by Richard 
 de Newport, Bishop of London,* who founded an 
 exhibition, and, by his will, registered in the Court of 
 Hustings, left his mansion in Sermon Lane to the 
 
 * See the woodcut representbg his tomb in old S. Paul's, given in Miss 
 Hackett's Popular Accovmt o] the Cathedral (edition of 1834, P- 83). The 
 same woodcut also heads the will of Bishop Hichard de Newport, given in 
 Miss Hackett's printed collections. 
 
OF & PAULS, CATHEDRAL. I03 
 
 Almoner of S. Paul's in trust, for the maintenance of 
 two or three choristers for two years after the breaking 
 of their voices. This bequest was the subject of a 
 Petition in Chancery in 18 14, when the Master of 
 the Rolls was pleased to say, " The trust by the will 
 is plain and express," and he made an order for 
 enquiry in the Master's office ; but the legal expenses 
 consequent on such a process would have been over- 
 whelming, and no action was taken at the time upon 
 the order of Sir William Grant. Other portions of 
 property, left at later periods for the maintenance of 
 the choristers, had, it was found, been alienated from 
 their original purposes. 
 
 Miss Hackett applied first to the Bishop of London, 
 and afterwards to the Dean, Canons in Residence, 
 Chancellor, Precentor, Junior Cardinal, and Almoner,* 
 for a rectification of this abuse in a series of letters, 
 couched in the most elegant and eloquent English, 
 extending over a period of nearly twenty years, but 
 which, as a rule, met with neglect, procrastination, 
 and, in one instance, with rebuke. 
 
 These functionaries, however, had mistaken the 
 character and energy of this talented and remarkable 
 lady. After trying conciliation, it was now her turn 
 to administer rebuke, coupled with the announcement 
 that she had placed the case in the hands of her legal 
 advisers. Even this produced no other effect than 
 that of an endeavour at further delay on the part of 
 the Dean and Chapter. At last, on August 5th, 1814, 
 upon the application of Maria Hackett, her uncle, 
 George Capper, and her two half brothers, John and 
 
 * The Bishop of London at this time was Dr. John Randolph ; the Dean, 
 Dr. George Pretyman Tomline (Bishop of Lincoln) ; the Canons Residentiary, 
 Dr. Wellesley, Dr. Hughes, and Dr. Weston ; the Chancellor, Dr. Richard- 
 son; the Precentor, Dr. Hamilton (afterwards Rev. H Randolph); the 
 Junior Cardinal, the Rev. W. Holmes ; the Almoner, Wm. Hawes. Miss 
 Hackett's first published letter was addressed on Jan. 12th, z8ii to 
 Bishop Randolph, and her last ^n May 3rd, 1830, to Bishop Blomfield. 
 
104 THE OROANISTS AND COMPOSERS 
 
 Samuel Capper, to the Master of the Rolls, an order 
 was made of which the result was the restoration of a 
 great portion of the school property left in trust for 
 the benefit of the choristers. 
 
 A more manly and open conduct on the part of the 
 dignified members of the cathedral body, would have 
 exempted them from the censures which they, at the 
 time, brought upon themselves. 
 
 In concluding her correspondence on the above 
 subject, a passage in one of Miss Hackett's letters to 
 the Rev. Canon Hughes ran as follows : — " You need 
 not be afraid that I am at all ambitious to enter into 
 any private correspondence on the subject. That it 
 has not been more public has been merely from a 
 respect to the feelings and the honour of the Chapter. 
 I neither court their approbation, nor dread their dis- 
 pleasure, and I wish it to be understood that it is, by 
 no means, my intention to limit my solicitude to the 
 present set of choristers. If life and leisure are 
 afforded me, I trust these powerless members of the choir, 
 so long as they require a friend, will find in me an ardent 
 and disinterested advocate to the utmost of my abilities." 
 
 A case, not dissimilar to that of S. Paul's, occurred at 
 Bangor in 1813, when the organist. Dr. Joseph Pring, 
 and three of the Vicars-choral, presented a petition to 
 the Court of Chancery, for the proper application of 
 certain tithes which had by Act of Parliament, passed 
 in 1685, been appropriated for the maintenance of the 
 Cathedral choir, but which had been diverted by the 
 capitular body to their own uses. The suit dragged 
 on until 1819, when Lord Chancellor Eldon, setting 
 at naught the express conditions of the Act, sanc- 
 tioned a scheme which, indeed, gave to the organist 
 and choir increased stipends, but at the same time 
 kept them considerably below the amounts they ought 
 to have received had the Act been carried out in all 
 its force. Dr. Pring subsequently printed the various 
 
Of s. Paul's cathedral. loj 
 
 transactions in connection with the case, with notes, 
 etc., and it has now become a remarkably scarce book. 
 
 It happened, in the above instance that Dr. Pring, 
 like Miss Hackett, was a person not only of substance 
 but also of determination ; but only those who have 
 lived in a cathedral city can understand the position 
 of an organist, minor canon, or lay-clerk, who dares 
 to array himself against his capitular superiors. He 
 is, from that moment, as far as they can effect it (and 
 they generally can effect it) doomed to poverty and 
 misery. Aware of the illegality of their acts, these 
 bodies have been known in some instances to have 
 habitually guarded themselves against any legal scru- 
 tiny, or question of them, by requiring of every 
 member of a choir, on his induction, an undertaking 
 that he will not prosecute any claim, beyond that of 
 his stipulated salary.* 
 
 While we are upon this topic, let us take another 
 case. At Dublin, during the early part of the present 
 century the Dean and Chapter of S. Patrick's tried to 
 lay ungodly hands on various livings and lands, the 
 exclusive property of that honorable body, the Vicars- 
 choral. Happily, however, they did not always suc- 
 ceed, owing to the strenuous exertions of one stalwart 
 Vicar, Dr. John Spray, an Englishman, in his time the 
 most gifted tenor singer in the kingdom. He sturdily 
 opposed the roguery (and indeed it was little better) 
 of the cathedral clergy. He could not recover all they 
 had gotten unto themselves, but he recovered a por- 
 
 * See Professor Taylor's eloquent and admirable essay on the Cathedral 
 Service, 1845, Whiston's "Cathedral Trustsand Their Fulfilment" (1S49), 
 and " An Apology for Cathedral Service " (by John Peace, Librarian of the 
 Bristol City Library) 1839, will read well with it. Dr. Wesley's papers on 
 Cathedral Establishments (1849 and 1854), and _Dr. Hiles' article on cathe- 
 dral choristers in the "Musical Quarterly Review " for Nov. 1886, are im- 
 portant contribution to the literature of the subject. A very able and 
 thoughtful pamphlet by the Kev. Edward Seymour, M.A., Precentor of 
 Christ Church Cathedral, Dublin, entitled "The Cathedral System" 
 (Hodges & Co., Dublin, 1870), should, if possible, be procured and read 
 with the above. 
 
I06 THE ORGANISTS AND COMPOSERS 
 
 tion ; and so pleased were his fellow choirmen that 
 they presented his son to the beneficence of Kinneagh, 
 which was in their gift, as a reward and memorial of 
 his father's rescuing it from the vultures.* 
 
 Miss Hackett endeavoured, as was stated at an 
 early stage of these papers, to procure admission to 
 S. Paul's school for the choristers, but her exertions 
 proved fruitless ; neither was she able to find any 
 place suitable for the purpose in the immediate 
 vicinity of the cathedral. A house, and above all, an 
 adequate salary for a grammar master, would have 
 removed every cause for complaint, and would have 
 restored the school to something of its former respect- 
 abiUty. 
 
 In the year 1812, as aforesaid, William Hawes was 
 appointed Almoner and Master of the Choristers, and 
 wished very much — falling in with Miss Hackett's 
 views — to obtain the Chapter House (which had 
 previously been occupied in the most incongruous 
 manner as a girls' school) as a place of residence for 
 himself and the choristers. This proposal was not, 
 however, to be entertained by the Dean and Chapter 
 for a single instant, and Hawes was compelled to find 
 a suitable residence elsewhere. This, it must be 
 owned, was at a considerable distance from the 
 cathedral, viz., in Craven Street,t Charing Cross, there- 
 
 * Dr. John Spray, originally a chorister in Southwell Minster, became 
 afterwards a Vicar-choral of Lichfield, and in 1795 Vicar-choral of Christ 
 Church and S. Patrick's Cathedrals, Dublin. He died Jan. 21st, 1827. 
 There is a monument to his memory in the Lady Chapel of S. Patrick's. 
 " Many now alive" wrote the Rev. R. Sinclair Brooke in his '* Recollections 
 of the Irish Church (1877) "can recall the lovely tenor voice of Dr. Spray, 
 and how he would send it forth with its rich swells, and every note full and 
 distinct, till it seemed to_ ripple along the walls like the summer waves of a 
 river. Who can forget his clear clanon notes in ' Comfort ye my people,' or 
 the warble of his solo in ' O worship the Lord in the beauty of holiness ' ? " 
 By "O worship the Lord" we presume is meant the tenor solo to those words 
 in Travers' " Ascribe unto the Lord." The anthem has always been a great 
 favourite nt the Dublin Cathedrals. 
 
 t The house was No. 27, nearly at the foot of the street. A subsequent 
 occupant of the house was Horace Smith, joint author with his brother 
 James of the " Rejected Addresses." He died Dec. 24th, 1839, and was 
 buried in the vaults of S. Martin's Church. 
 
OF S. PAULS CATHEDRAL. \oy 
 
 then by drawing forth a remonstrance from MissHackett, 
 relative to the long walk having to be taken by the boys, 
 to and fro, twice daily in all weathers, frequently to the 
 detriment of their voices. Latterly, Hawes removed 
 to a larger house — No. 7, Adelphi Terrace — on his 
 appointment as Master of the Children of the Chapel 
 Boyal in addition to that of Almoner of S. Paul's. 
 This continued to be the home of the cathedral 
 choristers until 1846, when Hawes died. After 
 this time, one of the Minor Canons received the title 
 of Almoner, and officiated as classical master ; one of 
 the Vicars-choral being appointed as instructor in 
 music. Arrangements were not, however, again 
 regularly made for the complete maintenance of the 
 S. Paul's boys, until the opening of the present choir 
 house in January, 1874, though a small number had 
 been boarded at a house in Amen Court for some 
 time previously. 
 
 Her success at S. Paul's led Miss Hackett 
 to make similar investigations into the condition 
 of the choristers in other cathedrals and colle- 
 giate foundations. By consistent entreaty and re- 
 monstrance with the authorities throughout England, 
 she succeeded in getting a restoration of many educa- 
 tional privileges for choristers, which they might even 
 now be without but for her kindness. Both Sir 
 George Elvey,* and the Rev. Sir Frederick Ouseley 
 wrote of her that she was the best friend chorister- 
 boys ever had, and many a musician of eminence in 
 his profession has reason to be grateful to her for the 
 
 * Sir George Elvey, born at Canterbury in 1816, became a chorister of 
 the cathedral there under Highmore Skeats, senior. In 1833, be was ap- 
 pointed a lay-clerk of Oxford Cathedral, and in 1835 succeeded Highmore 
 Skeats, junior, as organist of S. George's Chapel, Windsor. He resigned 
 this appointment in xSi^s. Sir George Elvey's compositions, and also those 
 of the late lamented Rev. Sir Frederick A. Gore Ouseley, the munificeDt 
 founder of S. Michael's College, Tenbury, are known throughout the 
 length and breadth of the land. The peus of both are facile and masterly. 
 
io8 THE ouganists and composers, 
 
 first lessons in the more advanced branches of his art, 
 for she was as quick to observe talent as she was to 
 foster and encourage it by good advice and pecuniary 
 assistance. For more than sixty years she made an 
 annual tour of friendly inspection among the various 
 cathedral cities to look after " her dear children " not 
 without the jealous opposition of the capitular autho- 
 rities at first, but afterwards with every possible en- 
 couragement from them. Only a short time before her 
 death she journeyed to S. David's, one of the most 
 distant and inaccessible of our cathedrals. She 
 usually made to the senior class the gift of a bright 
 silver coin, and frequently of some well chosen book 
 for their own library. Several autograph letters con- 
 taining many details, concerning these annual cathe- 
 dral tours, have been most kindly placed at the 
 writer's disposal by Sir John Stainer, who, when 
 a chorister at S. Paul's, was one of Miss Hackett's 
 most favourite proteges. They are, not, however, of 
 sufficient public interest to be quoted here. 
 
 In 1827 Miss Hackett printed the result of her 
 researches in a volume entitled A Brief Account of 
 Cathedral and Collegiate Schools, with an abstract of 
 their statutes and endowments, respectfully addressed to 
 the Dignitaries of the Established Church. Her labours 
 at S. Paul's called forth another work from her pen, 
 entitled Correspondence and Evidences respecting the 
 Ancient Collegiate School attached to S. Paul's Cathe- 
 dral, to which was added Registrum Eleemosynarice D. 
 Pauli Londinensis, first printed from a MS. in the 
 Harleian Collection, by permission of the Trustees of 
 the British Museum, with Corroborative and Expla- 
 natory Notes.* These works were the result of the 
 
 * In those days (1827) it was not consiritred etiquette for ladies to study 
 in the library of the British Museum. The authorities, however, consented 
 to Avaive this objection in the case of Miss Hackett upon the condition of 
 her finding a lady to study with her. This fellow-student was no less a 
 
OF S. PAUL'S CATHEDRAL. I09 
 
 most laborious and patient research, and displayed 
 great erudition. The Gorrespondence comprised the 
 letters addressed to the members of the Chapter, 
 previously touched upon. A copy (a private im- 
 pression on large paper) of the above three books, 
 formerly belonging to the Rev. James Lupton, Minor 
 Canon of S. Paul's (1829— 1873) is in the possession 
 of the writer. Its interest and value is considerably 
 enhanced by an autograph letter of Miss Hackett to 
 Mr. Lupton, dated from Crosby Square, Feb. 26, 1838, 
 in which she announces her intention of making re- 
 searches into the history and rights of the minor 
 canons and vicars choral, as well as those of the 
 choristers of S. Paul's. 
 
 In 1873 Miss Hackett supplemented her Account 
 of Cathedral Schools by a few pages, shewing the im- 
 provements effected up to that time, in most of these 
 essentially Church establishments, under the exclusive 
 patronage and jurisdiction of the capitular clergy. To 
 this she added some remarks made in 1870 on the 
 choir of Eton College entitled A Voice from the Tomb : 
 seriously addressed to all Etonians, who reverence the 
 memory of their Founder. 
 
 Miss Hackett's attendance at S. Paul's may be 
 described as almost life-long. From the time when 
 the present century was in its teens, to that of a 
 month before her death she invariably attended 
 service twice on Sundays, and very frequently during 
 the week, when in London. 
 
 In 1816 she wrote a hand book entitled A Popular 
 Account of S. PauTs Cathedral (Rmngtons). It had 
 a very extensive sale, and ran through many editions 
 
 person than Mary Somerville, the eminent authoress of the " Physical Geo_ 
 graphy," and " The Physical Sciences." 
 
 Miss Hackett derived much assistance in her researches from the Rev. 
 Ralph Churton, Archdeacon of S, David's, and the author, inter alia, of the 
 " Life of Alexander Jlowell, Dean of S, Paul's." 
 
1 10 THE ORGANISTS AND COMPOSERS 
 
 of which the twenty-first appeared in 1834 It was 
 originally intended as a mere guide book for persons 
 visiting the Cathedral, and contained little more than 
 a mere description of the building, and its monu- 
 meiits ; but, on account of its favourable reception by 
 the public, it was considerably augmented, and made 
 worthy of a place among the historical records of the 
 metropolis. It contained information, not to be found 
 in works of greater magnitude and pretension, and 
 contemporary topographical writers, by adopting 
 without acknowledgment, the conjectures first 
 broached in its pages, perhaps paid the most un- 
 equivocal compliment to its accuracy. 
 
 For many years Miss Hackett resided with her half 
 brother, John Capper, at 8, Crosby Square, Bishop- 
 gate, a fine old red brick city mansion adjoining 
 Crosby Hall. She was a great amateur of music, and 
 her fondness for the cathedral service induced her to 
 give annually (commencing in 1831) a prize medal, of 
 ^5 value called "The Gresham Prize" to the com- 
 poser of the best Service or Anthem in the true Ghurch 
 style, the words to be selected from the canonical 
 Scriptures, or the Book of Common Prayer. The com- 
 position of the successful competitor was afterwards 
 sung at a special service held at S. Helen's, Bishops- 
 gate, in commemoration of Sir Thomas Gresham, 
 formerly a parishioner. 
 
 This Commemoration (concerning which a few words 
 must be said ere we proceed) owed its establishment 
 to the name of the above illustrious merchant being 
 inseparably connected with the history of science and 
 the liberal arts in England ; also by the munificent 
 dedication of a part of his fortune to the foundation of 
 a perpetual series of public and gratuitous lectures by 
 Professors on these subjects in London. Change of 
 time and manners, however, reduced these lectures, at 
 the period of which we are writing, to something very 
 
OF 6. PAUL'S CATHEDRAL. Ill 
 
 like sinecures. But a praiseworthy effort was now made 
 to give new attractions and infuse new life into that, 
 at least, which had music for its object. 
 
 Accordingly, in the early part of 1831, MissHackett, 
 as already stated, decided upon founding an annual 
 prize, hoping thereby to encourage our rising genera- 
 tion of future Church musicians. The result was the 
 production of some very scholarly, but not always in- 
 teresting works. R. J. S. Stevens, the then Gresham 
 Professor of Music, having taken a prominent part in 
 the preliminary proceedings, it was named after him 
 " The Gresham Prize Medal."* 
 
 The first prize having been awarded in December, 
 1831, to Charles Hart, the question arose as to where 
 the medal should be presented and the composition 
 performed. It was decided that the presentation 
 should take place in the first instance, in the Gresham 
 Lecture Room : but it was considered that the com 
 position, a Jubilate for four voices, could not be per- 
 formed anywhere with so much propriety as in the 
 church where the founder of Gresham College was 
 buried. The first Commemoration Service was ac- 
 cordingly held at S. Helen's, Bishopsgate, on Thurs- 
 day, July 12, 1832. The prayers were chanted by the 
 Rev. James Lupton, minor canon of S. Paul's, and 
 the musical portion of the service sung by Vaughan, 
 Hawes, Goulden, Hawkins, and Atkins of the three 
 metropolitan choirs ; the treble part being supplied by 
 the boys of S. Paul's. W. Horsley, Attwood, and Vin- 
 cent Novello presided at the organ by turns. Before 
 the service Attwood's Coronation Anthem, " I was 
 glad " was sung. The appropriate Psalms were sung 
 to chants by Beethoven (adapted by Goss) in C minor, 
 
 * Miss Hackett likewise gav« a prize of ten guineas for the best Essay on 
 the life of Sir Thomas Gresham. J. W. Burgon, the late Dean C Chichester, 
 Viras one of the winners of this, 
 
112 THE ORGANISTS AND COMPOSERS 
 
 and Hawes in C. The Te Deum and Jubilate were the 
 compositions of Charles Hart. Before the sermon, 
 Joyce's fine anthem, " If we believe that Jesus died " 
 was given, the duet contained therein being sung by 
 Enoch Hawkins * (a lay vicar of Westminster and an 
 alto singer of surpassing sweetness) and J. O. Atkins. 
 At the conclusion of the sermon, which was preached 
 by the Rev. W. M. Blencowe of Oriel College, Oxford, 
 Horsley's scientific quartet, " I heard a voice from 
 Heaven," followed by Handel's " His body is buried 
 in peace," &c. was sung. After the service the con- 
 gregation, about 250 in number, adjourned to Crosby 
 Hall, where some more music was gone through, in- 
 cluding, Spohr's " Blest are the departed " sung by 
 Clara Novello, Hawkins, J. A. Novello, and Vaughan, 
 and, in compliment to Stevens, his admirable Shake- 
 sperian glee, " Ye spotted Snakes." 
 
 The subjoined list of published Gresham Prize 
 Compositions may be interesting. The cathedral 
 authorities regarded them as innovations, and re- 
 sisted their introduction as long as they could. 
 Thus, Goss' anthem, " Have mercy upon me," was 
 not sung in S. Paul's, the cathedral of which he was 
 so long organist, until after i860, when a better 
 feeling had arisen in such matters, and the dis- 
 position to effect reasonable improvements was taking 
 an active form : — 
 
 I. Te Deum and Jubilate in C Charles Hart. 1831. 
 
 II. Turn Thee again O Lord Kellmii J. Pye. 1832. 
 
 III. Have mercy upon me ... John Goss. 1833. 
 
 IV. Bow down Thine ear ... George Job Elvey. 1834. 
 V. Magnificat in F Charles Lucas. 1835. 
 
 VI. Magnificat in A Rev.W. H. Havergal. 1836. 
 
 VII. Turn Thee again Edward Dearie. 1837. 
 
 VIII. Out of the deep E. J. Hopkins. 1838. 
 
 * Enoch Hawkins died Jan. gth, 1847. A mural tablet was erected to 
 his memory in the cloister of Westminster Abbey, by the members of th« 
 Adelphi Glee Club, of which he was the President, 
 
OF S. PAUL'S GATSEDRAL. II3 
 
 IX. Proclaim ye this Jos. Kendrick Pyne. 1839. 
 
 X. God is gone up E.J.Hopkins. 1840. 
 
 XI. Give thanks to the Lord... Rev. W. H. Havergal. 1841, 
 
 XII. Blow ye the trumpet ... Alfred Angel. 1842. 
 
 These pieces were usually published in yellow 
 paper wrappers whereon were printed the number 
 of the composition, Sir Thomas Gresham's coat of 
 arms, and his motto Humani Generis Decus. Among 
 the judges at these competitions were Dr. Crotch, 
 R. J. S. Stevens, W. Horsley, and Sir J. L. Rogers. 
 
 Miss Hackett was herself a composer, one of her 
 songs, " I'm thinking on the happy past," being pub- 
 lished at Cramer's. Her name frequently appears in 
 the subscription lists of important publications of 
 Cathedral music, and she was instrumental in estab- 
 lishing a series of high class chamber concerts at 
 Crosby Hall, for one of which Mendelssohn wrote his 
 famous " Hear my prayer." 
 
 " I can remember Miss Hackett," recently wrote Sir 
 George Grove, the eminent principal of the Royal 
 College of Music to the author, "from an evening 
 which I spent at Crosby Hall, in 1843, when about 
 150 had been asked by her to sing over the proof- 
 sheets of the Musical Antiquarian Society's edition of 
 Wilbye's Madrigals .... Macfarren too was there, 
 not then quite blind, but obliged to hold the music 
 close up to his eyes." 
 
 It was greatly owing to the liberality and public 
 spirit of Miss Hackett that the unique piece of 
 domestic Gothic architecture, Crosby Hall, was 
 preserved. In 1831 she and her relatives made 
 strenuous efforts for its restoration and preservation, 
 an account of which will be found in the Rev. Dr. 
 Cox's Annals of S. Helen's, and fuller details in 
 an illustrated volume treating exclusively of the build- 
 ing, and published at the time of its resuscitation. 
 On Friday, August 5, 1842, a very interesting lecture 
 I 
 
114 TBE ORGGNISTS AND COMPOSERS 
 
 was delivered on Crosby Hall and Place by the Rev. 
 Charles Mackenzie, then Vicar of S. Helen's, Bishops- 
 gate, afterwards Prebendary of S. Paul's and 
 Rector of Allhallows, Lombard Street. It was sub- 
 sequently published by Smith and Elder of Cornhill, 
 with a dedication to Miss Hackett. 
 
 Mr. Mackenzie was also the winner of the Gresham 
 prize for his Essay on the Life and Institutions of 
 Oifa King of Mercia. 
 
 The history and antiquities of London were among 
 Miss Hackett's favourite studies. Many volumes of 
 the good old historians, Stowe, Pennant, Malcolm, 
 Maitland, and Seymour were interleaved with her 
 vigorous and scholarly notes, and at the time of her 
 death she was taking in the periodical publication Old 
 and New London, in which she was greatly interested. 
 To the Gentleman's Magazine for April, 1826, she 
 contributed a very interesting letter on the Anglo- 
 Saxon and Danisli Royal Palace in London. The 
 same periodical was enriched by many letters from her 
 graceful pen on archaeological and historical subjects, 
 the mode of performing service at the various cathe- 
 drals, and a variety of other topics of a kindred nature. 
 In the Harmonicon — ^a valuable musical periodical — 
 for 1832 appeared some remarks by her on the chant- 
 ing in our cathedrals. With characteristic modesty 
 her contributions were rarely signed in full, but 
 they are readily distinguished by the initials M. H. 
 A Memoir of Sir Thomas Gresham, with an Abstract 
 of his Will, appeared anonymously in 1833. 
 
 This gifted lady, one of the most interesting we 
 might say, of England's women, died at the residence 
 of her half brother, John Capper, 3, Manor Villas, 
 Amhurst Road, Hackney, on Thursday, November 
 Sth, 1874, at the advanced age of ninety-one years, 
 having been born on November t4th, 1783. 
 
 During her last illness, which was of brief duration, 
 
OF s. Paul's cathedral. 115 
 
 Miss Hackett was daily remembered in the Church's 
 prayers at S. Paul's, and visited by the Rev. W. J. 
 Hall, one of the good minor canons of her beloved 
 cathedral. Cheered by the repetition of her favourite 
 collects, the familiar cadences of the psalter, and other 
 portions of our precious Church service, she preserved 
 her vigorous intellect unclouded and unimpaired 
 almost to the last, and the end came during a celebra- 
 tion of the Holy Communion at her bedside. Thus 
 she died, as her whole life may be said to have been 
 spent, in actual worship, and such an end was exceed- 
 ingly touching and beautiful. 
 
 Miss Hackett was buried in the Cemetery at High- 
 gate on Tuesday, November loth, together with her 
 half brother, who died only three days previously, viz., 
 on All Souls' Day, and to whom she was deeply 
 attached. 
 
 The Dean of S. Paul's and some other members of 
 the chapter were present, and it was the wish of the 
 minor canons and vicars-choral that the first part of 
 the service should be sung in the cathedral in which 
 she had so long worshipped ; but this arrangement 
 was objected to by Miss Hackett's relatives, on account 
 of her half brother being interred on the same day, 
 and in the same grave. 
 
 At their own request and expense the choir of S. 
 Paul's, twenty-two in number, attended her to the grave 
 at Highgate, singing Croft and Purcell's Burial Service, 
 and Sir John Goss' lovely anthem : — 
 
 O Saviour of the world, Who, by Thy Cross and Precious 
 Blood hast redeemed us; Save us, and help us, we humbly 
 beseech Thee, O Lord. 
 
 But perhaps the most touching part of the ceremony 
 was the singing, at the conclusion of the Office, of the 
 hymn, "Abide with me." It was a beautiful autumn 
 afternoon; the birds singing, and the sun shining 
 brightly. 
 
 12 
 
Il6 TSE ORGANISTi, AND COMPOSERS 
 
 The above musical tribute was a fitting mark of 
 respect from the choir of the cathedral, whose welfare 
 Miss Hackett had always so much at heart, and to 
 whose amelioration she had so largely contributed by 
 her purse and her pen. Her memory is still vividly 
 cherished by many of the clerical and lay members of 
 S. Paul's, and numerous little anecdotes related to the 
 writer illustrate her thoroughly Christian unselfishness 
 and kind thought for others. 
 
 Miss Hackett was devotedly attached to the Church 
 of England ; its liturgy and ritual were dear to her, 
 and she numbered many of its dignitaries among her 
 firmest friends. 
 
 Wherever talent and ability existed she never failed 
 to detect them, and wherever need for help claimed 
 her, she was ready to give not only her money, but 
 herself. 
 
 She had not only lived and rejoiced to see the great 
 revival in the cathedral services and work generally, 
 under the present energetic Dean and Chapter, but 
 also to see the boys of the choir thoroughly well edu- 
 cated and cared for. Early in the last year of her life 
 she was permitted to enter the crowning object of her 
 years and years of toil, namely, the new choir-school 
 for forty boys, erected almost upon the site of the 
 ancient Choral Grammar School, and opened on the 
 day after the Feast of the Conversion of S. Paul, 
 Monday, January 26th, 1874. 
 
 In March, 1877, a cenotaph was erected to the 
 memory of Miss Hackett in S. Paul's, from subscrip- 
 tions raised by the choristers of England through the 
 exertions of Sir John Stainer and Dr. W. A. Barrett. 
 It is placed on the left hand wall of the South aisle of 
 the crypt, and is composed of dark variegated marbles, 
 with suitable adornments. The inscription on this 
 cenotaph runs as follows : — 
 To the memory of Marte Hackett, to whom, through tb? 
 
Of s. Paul's catbedral. iiy 
 
 course of a long life, the welfare of Cathedral and Collegiate 
 chorister-boys was the object of deep and unfailing interest, and 
 who, after devoting her time and substance to efforts which 
 nothing could discourage, for the improvement of their condition 
 and education, was allowed to see, on all sides, the result of her 
 labours. 
 
 Died November 5th, 1874, in her 91st year. 
 
 The grave at Highgate is situated in the old portion 
 of the Cemetery, and is just beyond the entrance gates 
 and Chapel, under an ivy-covered wall on the extreme 
 right. It consists of a coped tomb of mediaeval pattern 
 with a floriated cross, similar to those in the cloister- 
 garth of Salisbury Cathedral. There is no inscription 
 upon it beyond the simple dates of the birth and death 
 of Miss Hackett, and of her half brother and sister, 
 and the words ^'■Eternal Rest give unto them, C Lord., 
 and let perpetual light shine upon them." 
 
 The organist of S. Paul's at the period of the com- 
 mencement of the present chapter was Thomas 
 Attwood, a man who will always be regarded as one 
 of the most illustrious exponents of the school of 
 English Church music, and one of the first to raise 
 it from the somewhat degraded state into which it had 
 fallen since the death of Dr. Boycein 1779. 
 
 Influenced, as we shall hereafter see, by continental 
 study, Attwood succeeded in infusing into his Church 
 compositions what we may term the dramatic element, 
 and thus became the founder of a school, the results 
 of which may be seen in the works of the majority of 
 the ecclesiastical composers of the present day. 
 
 Thomas Attwood was the son of a coal merchant, 
 who, by way of relaxation in his leisure hours, appears 
 to have taken up trumpet and viola-playing. 
 
 Born in London on Nov. 23rd, 1765, Attwood was 
 admitted at the age of nine among the choristers of 
 the Chapel Royal, where he had for his masters first 
 
tl8 THM dRQANISTS AND COMPOSMk 
 
 Dr. Nares and afterwards Dr. Ayrton. Perhaps a 
 more perfect master of melody than Nares could not 
 have been found, and to this circumstance, combined 
 with that of further study under eminent continental 
 theorists, may be attributed Attwood's excellence as 
 a sweet melodist, sound harmonist, and learned 
 contrapuntist. 
 
 At the age of seventeen, while performing in some 
 concert at Buckingham House, Attwood attracted 
 the notice of the Prince of Wales (afterwards George 
 IV.) who, like his father, was not slow in discovering 
 true musical talent. So, Uke Pelham Humphreys, 
 another English Church composer and former choris- 
 ter of the Chapel Royal, Attwood was provided with 
 a handsome sum of money from the royal private 
 purse and sent to complete his musical studies on 
 the continent. 
 
 Accordingly, in 1783, he bent his steps to Naples, 
 and passed some time in study there with Filippo 
 Cinque and Gaetano Latilla. Attwood derived from 
 nature the feeling and the capacity to form an 
 accomplished musician, and the inclinations of his 
 early genius were, perhaps, excelled only by the first 
 set of children of the Chapel Royal (Humphreys, 
 Blow, Purcell, and Wise), Lord Mornington, William 
 Crotch, the two Wesleys, and Mozart. 
 
 To the last-named composer Attwood repaired, 
 after leaving Naples, remaining with him at Vienna 
 until 1787. " Many exercises in harmony and 
 counterpoint which Mozart corrected are preserved, 
 having been presented by Attwood to his pupil, Sir 
 John Goss. Mozart's notes, written on the margin 
 of the music-paper, are interesting and amusing, and 
 many of Attwood's notes show that Mozart enjoyed a 
 game at billiards and a cup of coffee quite as much 
 as he did the noble art of teaching counterpoint." * 
 
 * Dr. W. A. Barrett. 
 
OF s. Paulas cathedral. tig 
 
 These very interesting mementos of Mozart are now 
 in the possession of Dr. J. F. Bridge, the genial and 
 gifted organist of Westminster Abbey. It is possible 
 that the Doctor may some day give a short account 
 of these treasures to the public. 
 
 If Altwood's veneration for his instructorwas ardent 
 and unchanging, the attachment of Mozart to his pupil 
 was no less warm and genuine. "Attwood," said 
 Mozart, " is a young man for whom I have a sincere 
 esteem ; he conducts himself with great propriety, 
 and I feel much pleasure in saying that he partakes 
 more of my style than any other scholar I ever had, 
 and I predict that he will prove a sound musician." 
 
 In 1787 Attwood returned to his native country, 
 with his head, no doubt, well stored with Mozart's 
 tender phrases. In the same year he obtained his first 
 organ appointment; this wasto the church of S.George 
 the Martyr, Queen Square, in the parish of S. Andrew, 
 Holborn.t The death of his beloved master in De- 
 cember, 1791, affected him deeply, and he never 
 afterwards alluded to him without great emotion. In 
 the following year our composer was appointed 
 musical instructor to the Duchess of York, and three 
 years later to the Princess Charlotte of Wales, at 
 Carlton House. 
 
 In February 1796, the important post of organist at 
 S. Paul's fell vacant by the death of John Jones.* 
 Attwood applied for it, and obtained it, and perhaps 
 there was no one who could have occupied the seat 
 more worthily. 
 
 On the death of Dr. Thomas Sanders Dupuis in 
 June of the same year, Attwood was sworn in as Com- 
 poser to the Chapel Royal, his initial undertaking in 
 that capacity being a superb setting of the Morning 
 
 * Jones was biuied in the Piazza of tlie cloister at the Charterhouse, of 
 whichhe was also organist. , ^ , ^ . , . .v ... 
 
 t Recent research has proved that Attwood never held this appointment. 
 
t20 TEE ORGANISTS AND COMPOSERS 
 
 and Evening Service, together with a Sandus and 
 Kyrie Eleison^ in the key of R 
 
 In the following year he wrote his fine anthem in 
 the key of E flat, the words from the 119th Psalm, 
 "Teach me O Lord." This shortly afterwards ap- 
 peared in Page's Harmonia Sacra, It is to be regretted 
 that the remaining portions of this beautiful composi- 
 tion are not heard with the same frequency which the 
 opening movement seems to enjoy. 
 
 For the State Funeral of Lord Nelson in S. Paul's 
 on January 9th, 1806,* Attwood composed a solemn 
 
 * It may be interesting to mention here, that not one member of the choral 
 staff of S. Paul's absented him'^elf on this memorable occasion. The follow^ 
 ing were the names of those forming the choir. The college of twelve minor^ 
 canons:— Rev. Weldon Champneys (sub-dean). Rev. Wm. Clarke (senior car- 
 dinal), Rev, Dr. Henry Fly (junior cardinal). Rev. John Moore (warden). 
 Rev. John Pridden, Rev. W. Thos. Bennett, Rev. James Salt, Rev. Wm; 
 Holmes (sub-dean of the Chapel Royal), Rev. Wm. Clarke, Rev. Edwar^ 
 James Beckwith (succentor), Rev. Richard Webb, and Rev. William Hayesi 
 At this time it must be remembered that the minor canons formed an important 
 item in the choir ot S. Paul's. The six vicors choral: — Robert Hudson, Mus.B.i 
 Edmund Ayrton Mus.D., Israel Gore, John Sale (almoner and master or 
 the choristers), Thoma.s Attwood (organist), and John Page. The eighi 
 choristers : — Masters Cutler, Rogers, Hart, Blackburne, Michelmore, Chippj 
 Holmyard, and G. C. Sale. To the above must be added the choristers an4 
 lay vicars of Westminster.and the children and gentlemen of the Chapel 
 Royal. A volume containing ihe whole of the music sung on this occasion 
 was edited and publi'-hed by John Page. It contained Purcell and Croft's 
 Burial ServicCf Attwood's Mog^iiijlcat and Nunc Bimittisin V ; Greene^ 
 anthem, " Lord, let me know mine end " ; Handel's '* His body is buried in 
 peace," and the Dirge composed expressly by Attwood. 
 
 An account of the ceremony, written soon afterwards, states "It woulfl 
 be injustice not to notice more particularly the active exertions of the Rev. 
 John Pridden, one of the minor canons, on whom the very arduous task 
 devolved of conducting the whole ceremony within the cathedral. The 
 number of persons pres.nt cannot be estimated at fewer than 10,000; the 
 business was novel and various and in itself intricate ; at once to direct the 
 military and the choristers, and to prepare for ihe reception of the noble and 
 illustrious mourners, with their numerous attendants and supporters, required. 
 it may be supposed, no small degree of vigilance^ attention, and presence of 
 mind ; and when we add that with one trivial exception not an erroi 
 was manifest from the beginning to the end of this solemnity, this public 
 testimony will be acknowledged to have been justly merited by the rev. gen- 
 tleman alluded to. On Mr. Attwood's skilful management of the fine orgai] 
 (perhaps the best of its kind in Europe), it is unnecessary to dilate ; his 
 talents are well known and were never more strenuously or successfully 
 exerted." 
 
 With reference to the " trivial exception " alluded to we are informed that 
 " one of Mr. Pridden's signals to the attendant on Mr. Attwood (who was 
 seated between the great and choir organ-cases, and consequently out of 
 
OF s. Paul's cathedral. 12 1 
 
 Dirge in D minor, and for the coronation of George 
 IV., on July 19th, 182 1, he produced his noble anthem, 
 " I was glad," written and published, in vocal score 
 with full orchestral accompaniment, in the key of C. 
 The intrinsic merit of this composition is said to have 
 induced George IV. to appoint Attwood director of the 
 music at his newly-erected private chapel in the Pavi- 
 lion at Brighton, consecrated on New Year's Day, 
 1822. 
 
 For the Coronation of William IV. on September 
 8th, 1831, Attwood produced a similarly fine anthem, 
 " O Lord, grant the King a long life," written in the 
 festive key of D, and likewise published in full score 
 for voices and orchestra. 
 
 On the death of John Stafford Smith in September, 
 1836, Attwood was appointed his successor as one of 
 the organists of the Chapel Royal, his companion in 
 office being Sir George Smart, uncle of the famous 
 Henry. 
 
 Attwood was taken ill soon after Christmas, 1837, 
 and, preferring some peculiar method of treating his 
 complaint, neglected the proper remedies, and, on 
 March 28th, 1838, expired at his house in Cheyne 
 Walk, Chelsea, in his seventy-third year. 
 
 Only a short time before his death he had projected 
 another elaborate anthem for the coronation of our 
 present Sovereign, but did not live to complete it. 
 
 Pursuant to his dying wishes he was buried " under 
 his own organ " as he expressed it, in the crypt of S. 
 Paul's. At his funeral the choirs of the Chapel Royal 
 and Westminster Abbey joined that of the metropolitan 
 cathedral in rendering their last musical tribute to one 
 
 sight {both of the ceremony in the choir and under the dome) was the holding 
 up of a book ; at one time, however, another gentleman near Mr. Pridden 
 passing his band with a similar book in it over his face, it was mi taken for 
 the signal and the organ struck up about three minutes too soon. It had not 
 however, played half-a-dozen bars before the mistake was rectified," 
 
t22 THk oMANisfrs AND comPoseM 
 
 who may be justly termed an illustrious ornament of 
 English Church music. . . 
 
 An incised flagstone of the plainest description 
 marks Attwood's resting-place, in the solemn under- 
 church of S. Paul's. 
 
 Of Attwood's cathedral music there are two features 
 to be remarked : first, the originality in form ; and 
 secondly, the thoroughly devotional and chastened 
 spirit that pervades the whole. Attwood was, undoubt- 
 edly, a man of sincere piety, and, when engaged m the 
 composition of music for the Church, always felt that 
 he was employing the genius bestowed upon him by 
 God for the noblest and highest purpose to which it 
 could be devoted— His service ; and his great aims 
 and hope were that he might be able to praise Him 
 worthily. When Church music is written under the 
 influence of such feelings as these, we may never fear 
 that it will prove an unworthy or unimportant addition 
 to the treasures we already possess : nor will anyone 
 be rash enough to assert that, because a certain Church 
 composition is not exactly framed upon the models of 
 Tallis and Gibbons, it is not therefore to be styled 
 " Ecclesiastical." The " Beautiful " is for all time, 
 though the forms through which it is manifested may 
 be as diverse as the minds which produce them.* 
 Truly Attwood took as his motto that first verse of the 
 io8th Psalm, " O God, my heart is ready, my heart is 
 ready, I will sing and give praise with the best member 
 that I have." 
 
 The above reflections naturally lead us to a brief con- 
 sideration of Attwood's principal Church compositions. 
 
 It appears to be a general impression that the MS. 
 books of S- Paul's are plentifully supplied with Att- 
 wood's services and anthems. This is, however, quite 
 erroneous. During his inspection of the above books, 
 
 * See Preface to Attwood's Cathedral Mmk, edited by Profeiisor T. A 
 Walmisley. 
 
OF S. PAULAS OATHEDRAL 12^ 
 
 the writer was only able to discover the vocal parts of 
 the Magnificat and Nunc Dimittis in F, performed at 
 Lord Nelson's funeral — the Burial Office on that occa- 
 sion being interwoven with Evening Prayer ; those of 
 the Evening Service in D, and of a. Te JDeum in B 
 flat* It must be borne in mind that at the time of 
 Attwood's appointment to S. Paul's the cheap publica- 
 tion of Church music was a thing entirely unheard of. 
 Music-publishing, and especially that of sacred 
 music, was exceedingly expensive. Even the tran- 
 scription of the separate vocal parts, from the full 
 score, into the MS. books of our cathedrals was a 
 costly affair, and had to be done at the composer's 
 expense, a fact which speaks volumes for the miserable 
 parsimony and indifference evinced by those in eccle- 
 siastical authority towards the humbler members of 
 their foundations. Happily, all this is now changed. 
 
 At the Chapel Royal there are several of Attwood's 
 compositions in manuscript, the outcome of his offi- 
 cial appointment. In 1853 these were collected, 
 together with some additional MSS. left by Attwood 
 at the time of his death, and published by Ewer and 
 Co., of Regent Street, under the editorship of Thomas 
 Attwood Walmisley, his godson and favourite pupil. 
 
 The subjoined is an attempt at a list of Attwood's 
 services and anthems. Those indicated by an asterisk 
 were given in the published collection above alluded to. 
 
 SERVICES. 
 
 *In F. Te Deum, yuUlate, Sanctus, Kyrie, Magnificat and 
 
 Nunc Dimittis (composed for the Chapel Royal, 
 
 Oct., 1796). 
 *In A. Te Deum, jubilate, Magnificat and Nunc Dimittis 
 
 (lomposoi Dec, 1825). 
 *In C. Te Deum, Jubilate, Sanctus, Kyrie, Magnificat and 
 
 Nunc Dimittis (composed July, 1832). 
 
 * In the MS. Books at Canterbury Cathedral'this Te Deum is followed by 
 a JvMlale, which at S. Paul's is wanting. 
 
t24 TBE ORGANISTS AND OOMPOSMR^ 
 
 *Iii D. Te Deum, Jubilate, Sancius, Kyrie, Cantate Domin o 
 
 and Deus Misereatur (composed July, 1832). 
 In various keys. Several settings of the Sanctus and Kyrie. 
 
 ANTHEMS. 
 Be Thou my judge, Lord (full with verse \ 4 v.), unpublished. 
 Blessed is he that considereth (verse k 4 v.), unpublished. 
 Bow down Thine ear (ireble solo and chorus), published by J. 
 
 Alfred Novello at 67, Frith Street, Soho, c, 1830. 
 Come, Holy Ghost (treble solo and chorus), published by 
 
 Novello, t. 1830. 
 Enter not into judgment (full b, 4 v.), published by Novello. 
 *Grant, we beseech Thee (full k 4 v.), composed 1814. 
 I was glad (full 44 V. with orchestra), composed 1821 for the 
 
 Coronation of King George IV., published by Novello. 
 *Let the words of my mouth (full k 6 v.), composed 1835. 
 Let Thy hand be strengthened (second Coronation anthem for 
 
 George IV.), unpublished. 
 My soul truly waiteth (treble solo and chorus), published by 
 
 Welsh and Hawes, at the Royal Harmonic Institution, 
 
 Regent Street, c. 1816. 
 *0 God, Who by the leading of a star (full h, 4 v.), composed for 
 
 the Feast of the Epiphany, 1814. 
 Lord, grant the king a long life (full k 4 v. with orchestra), 
 
 composed for the Coronation of King William IV., 1830, 
 
 and published by Novello. 
 *0 Lord we beseech Thee (full k 4 v.), composed July, 1814. 
 *Teach me Lord (full with verse k 3 v.), composed 1797, and 
 
 first printed in Page's Harmonia Sacra, 1800, 
 
 * They that go down to the sea in ships (full with verse b, 4 v.), 
 
 composed Jan., 1837. 
 Turn Thee again Lord (full k 4 v.), composed in 1817, and 
 
 published at the Royal Harmonic Institution. 
 *Teach me Thy way, O Lord (verse k 3 v.), composed Sept., 1817. 
 Turn Thy face from my sins (treble solo and chorus), written 
 
 for a musical magazine * (afterwards published by Novello). 
 
 * Withdraw not Thou Thy m.ercv (full, with treble solo), com- 
 
 posed Jan., 1827. 
 *Nine Double Chants in various keys. 
 Various Double Chants (many of these not included among the 
 
 foregoing, appeared for the first time in the collections of 
 
 John Marsh of Chichester, Bennett and Marshall (1829), 
 
 Hawes (1836), and Goss (1841). 
 
 Attwood, compared with his predecessors at the Chapel 
 
 * Sacred Minstrelsy, Vol. I. (Parker, 1837). 
 
OF S. PAUL'S CATHEDRAL. 12$ 
 
 Royal,— Purcell, Blow, Croft, Greene, Boyce, Nares, 
 and Dupuis — was, by no means a prolific composer 
 of Church music, but what was wanting in quantity he 
 made up for in quality. Almost everything he has 
 left us bears the impress of his beloved master, Mozart, 
 with whose sweet phrases his mind must have been 
 well stored. Yet for all this Attwood was no plagiarist ; 
 he had a fine vigorous, expressive style of his own, 
 originally formed by constant study of the works 
 of the English cathedral masters, during his chorister- 
 days in the Chapel Royal. Upon this he was enabled 
 to engraft a lighter style, acquired during his sojourn 
 on the continent. 
 
 Attwood' s services and anthems are all original in 
 conception, suitable in dignity, and expressive in exe- 
 cution ; abounding in emphasis and tender phrasing, 
 and always in the purest taste. He was indeed a bold 
 pioneer, who fearlessly opened a new path in art. 
 
 As a player Attwood greatly excelled, and, in his 
 accompaniment of the Psalms, the glorious majesty 
 of the Lord, and man's sinful state, were, by turns 
 admirably portrayed by him in music. Fifty years 
 have elapsed since he played at S. Paul's, yet people 
 still speak of his powers with admiration. 
 
 The Hon. C. F. Greville writing in his Journal of 
 the Reign of William IV. under date Dec. i, 1834, 
 thus alludes to the cathedral service in Attwood's 
 time : — " Went to S. Paul's yesterday * to hear Sydney 
 Smith preach. He is very good ; manner impressive, 
 voice sonorous and agreeable, rather familiar, but not 
 offensively so, language simple, and unadorned, sermon 
 clever and illustrative. The service is exceedingly 
 grand, performed with all the pomp of a cathedral, and 
 chanted with beautiful voices; the lamps, scattered 
 
 * Advent Sunday (S. Andrew's Day) the last day of Sydney Smith's 
 November residence. — J. S. B. 
 
126 TEE ORGANISTS AND COMPOSERS 
 
 few and far between throughout the vast space under 
 the Dome, making darkness visible, and dimly reveal- 
 ing the immensity of the building, were exceedingly 
 striking. The cathedral service thus chanted and per- 
 formed is my beau ideal of religious worship,— simple, 
 intelligible and grand, appealing, at the same time, to 
 the reason and the imagination." 
 
 While upon this subject we cannot forbear quoting 
 the words of that delightful American writer Nathaniel 
 Hawthorne who, in his work Our Old Home and 
 English Note Books thus refers to the service at S. 
 Paul's, somewhat subsequent to Greville's account : — 
 "Oct. 6th, 1855, It rained heavily and being still 
 showery when we got to Cheapside again, we stood 
 under an archway (a usual resort for passengers 
 through London streets) and then betook ourselves 
 to sanctuary, taking refuge in S. Paul's Cathedral. 
 The afternoon service was about to begin, so after 
 looking at a few of the monuments, we sat down in 
 the choir, the richest and most ornamented part of 
 the cathedral, with screens or partitions of oak cun- 
 ningly carved. Small white-robed choristers were 
 flitting noiselessly about, making preparations for 
 the service which by and by began. It is a beau- 
 tiful idea that, several times in the course of the day, 
 a man can slip out of the thickest throng and 
 bustle of London, into this religious atmosphere, 
 and hear the organ, and the music of young pure 
 voices." 
 
 Somewhat earlier, Mrs. Harriet Beecher Stowe, 
 albeit a Nonconformist, records her impressions of 
 S. Paul's in her charming book. Sunny Memories of 
 Foreign Lands. It was a Sunday afternoon, and after 
 visiting Dean and Mrs. Milman at the Deanery, she 
 proceeded with them to the Cathedral where she was 
 much affected by the chanting and service, " some 
 pf the performers" she remarked "being boys of 
 
OF s. Paul's catbedral. 127 
 
 most beautiful countenances." The "pious and evan- 
 gelical" sermon, preached by the Rev. Montague 
 Villiers (canon in residence) was, of course, to her 
 mind. 
 
 These and many other passages scattered up and 
 down among the works of great writers tend to show 
 how deeply rooted is the affection for the daily choral 
 service of the Church in the hearts of many. It is 
 well known that Charles Dickens had a great anti- 
 pathy to anything savouring of ecclesiasticism, but 
 what reader of his last book, Edwin Drood, can 
 forget the fine description he gives, in the ninth chap- 
 ter, of a cathedral service at Rochester (under the 
 pseudonym of Cloisterham), on which occasion it will 
 be doubtless remembered, Mr. Grewgious looking in 
 at the great Norman West door, standing open " for 
 the airing of the place," declared that it was " like 
 looking down the throat of Old Time." 
 
 Many English composers since the time of Tallis 
 have set the Veni Creator to music, but few settings 
 can vie with Attwood's soothing and refined strain. 
 It has become as inseparably connected with our 
 Whitsun services, as Handel's " For unto us," and 
 " I know that my Redeemer liveth " are with those of 
 Christmas and Easter. At no time, perhaps, does 
 this exquisite and touching little composition sound 
 so solemn as on Ordination Sundays at S. Paul's, 
 when it breaks the " silence kept for a space '' before 
 the laying on of hands. 
 
 Among Attwood's longer anthems " Withdraw not 
 Thou Thy mercy," " Teach me Thy way," and " They 
 that go down to the sea in ships," deserve special 
 mention, as being full of that charming melody and 
 admirably-descriptive part-writing of which he was so 
 consummate a master, 
 
 An expressive full anthem, "Turn Thee again O 
 Lord at the la§t " was written by Attwood for the 
 
128 THE ORGANISTS AND COMPOSERS 
 
 special service held at S. Paul's on Wednesday, 
 November 19th, 181 7, being the day of the interment 
 at S. George's Chapel, Windsor, of the lamented 
 Princess Charlotte. The words of this anthem as 
 originally set and published were, " Turn Thee again 
 O Lord at the last, and be gracious unto Thy servant." 
 The modern printed copies, however, have it, " Turn 
 Thee again O Lord at the last, and be gracious unto 
 Thy servants." 
 
 The Princess Charlotte,* a great friend and 
 patroness of musical men, was exceedingly fond of 
 Attwood's compositions, so much so indeed, that she 
 frequently carried them about with her. Being upon a 
 visit to Bishop Fisher of Salisbury at his palace, on 
 New Year's Day, i8i6, she presented to Mr. A. T. 
 Corfe, the then organist of the cathedral, a very beau- 
 tiful setting of the Sanctus and Kyrie by Attwood, in 
 the key of E. These movements were, in 1861, 
 included by Mr. J. E. Richardson, assistant to Mr. 
 Corfe, in a small collection compiled by him. 
 
 It is worthy of notice that Attwood in his services 
 and anthems almost entirely disregarded the old form 
 of verse-writing, i.e., for alto, tenor, and bass ; his pre- 
 ference being, nearly always for a treble voice in the 
 melody. Certain of his verses, however, in the old 
 style are among the most touching things he ever 
 penned. Take, for example, those in the Te Deums 
 in F, and D, " When Thou tookest upon Thee," and 
 " Vouchsafe, O Lord," respectively. 
 
 Among his quartets for S.A.T.B., mention must 
 be made of the verse, " For the Lord is gracious " 
 from the Jubilate in C (the Gloria Patri of which, 
 
 * The Princess Charlotte and her musical proclivities formed the subject 
 of a very able article in the Mu&ical Standard of Sept. 13th, 1884, from the 
 pen of Dr. E. H. Turpin, with whose graceful and scholarly essays the 
 pages of that serial were, for six years, enriched. It is a description of an 
 MS. book in the handwriting of the lamented Princess, full, as br. Turpin 
 tells us, of " singularly tender, melancholy and suggestive interest." 
 
OF s. Paul's cathedral. 129 
 
 by the way, has a magnificently wrought-out fugue 
 culminating in some glorious outbursts of harmony on 
 the word " Amen ") ; " He remembering His mercy " 
 from the Magnificat in the same service ; a similar 
 verse in the Magnificat in A ; and " O let the nations 
 rejoice and be glad" from the Beus Misereatur in 
 D, perhaps the most tender and Mozart-like of them 
 all. 
 
 Attwood's solos are almost exclusively for a treble. 
 Many of them are very sweet and lovely, especially 
 worthy of note being, " My soul truly waiteth," " Turn 
 Thy face from my sins," " Come, Holy Ghost," "As 
 for me I am poor and needy " (from the anthem, 
 " Withdraw not Thou ") and one now not very gene- 
 rally known, viz., " Bow down Thine ear," expressly 
 written in 1830 to display the fine high soprano voice 
 of Miss Clara Novello : — 
 
 That tuneful daughter of a tuneful sire. 
 
 Attwood's skill as a profound contrapuntist may be 
 seen in the little full anthem in the key of E- — " O 
 God, Who by the leading of a Star," composed in 
 1814 for the Feast of the Epiphany, at the Chapel 
 Royal, when the symbolical offerings of gold, frankin- 
 sense, and myrrh, were made by the Sovereign. This 
 beautiful custom is still observed. 
 
 Following the example of Matthew Locke (the 
 reputed composer of " The Music in Macbeth," many 
 years before, Attwood set the Responses to the Com- 
 mandments in ten different ways.* 
 
 Attwood's double chants are too well known to need 
 any special description. In their calm, quiet beauty 
 
 * Pepys in his Diary, under date Sept. ist, 1667, thus alludes to Locke's 
 setting of the Kyrie : — *' Spent all the afternoon. Felling, Howe, and I and 
 my boy, singing of Locke's response to the Ten Commandments which he 
 hath set very finely, and was a good while since sung before the King, and 
 spoiled in the performance, which occasioned his printing them for his vindi- 
 cation and are excellent good." 
 
 K 
 
130 THE ORGANISTS AND COMPOSERS 
 
 they afford a striking contrast to the florid, flighty 
 abominations in which the latter part of the Georgian 
 era was far too proUfic. 
 
 It may not, perhaps, be generally known that Att- 
 wood was the composer of some very tasteful and 
 devotional hymn-tunes. These, like his chants, are 
 the more to be valued, from the circumstance of their 
 havirg been written at a period when this species of 
 composition was at its very lowest ebb. Five of them 
 — " Framlingham," * "S.Paul's," "Chelsea," "Lam- 
 beth," and " Crayford " (the last-named a beautifully 
 characteristic melody somewhat in the style oi" Come, 
 Holy Ghost ") made their appearance in a collection 
 edited by the Rev. W. J. Hall, a former much respected 
 minor canon of S. Paul's. Many of the tunes in this 
 book were specimens of the very worst taste in 
 psalmody. What lover of Gibbons or Boyce, could 
 possibly relish such compositions as " Calcutta," 
 "Arabia," and "Cambridge New"? Among such 
 miserably weak effusions Attwood's tunes rise like 
 lilies among weeds. To the same collection he con- 
 tributed a very beautiful "Thanksgiving after the 
 Gospel," which was specially composed for, and atone 
 time constantly sung in, S. Paul's Cathedral. It well 
 merits revival. 
 
 In The Sacred Minstrel, a tasteful collection of 
 sacred songs by various composers, edited by the late 
 Sir John Goss, were included four of Attwood's pieces, 
 viz., " Lord, Thou wilt hear me when I pray," " God, 
 Who madest earth and heaven," " Lord in the morning 
 Thou shalt hear," and " Shine, mightyGod on Britain." 
 All of these bear testimony to the pure and refined 
 taste of their composer, as also do three sacred pieces 
 
 I" The living of Framlingham, SuflFolk, in the gift of Pembroke Hall, 
 Cambridge, was, for many years, held by one of the composer's sons — the 
 Rev. George AtLwood, who died only a short time since. There exists at 
 Framlingham Church a most interesting and valuable prgan-case dating 
 from the reign of Henry VIII, ^ 
 
OP S. PAUL'S CATHEDRAL. 
 
 131 
 
 published in an interesting collection by Alfred Pettet 
 (organist of the Church of S. Peter Mancroft, Nor- 
 wich) in 1825, viz., "OLord Supreme" (words by 
 Mrs. Joanna Baillie) for a high soprano, and as Att- 
 woodian in style as it is possible to conceive ; " O 
 Sacred Star of Evening " ; and a duet for trebles, 
 " Songs of praise the Angels sang," which at one time 
 the choristers of Norwich Cathedral used to give very 
 sweetly. 
 
 In Goss' Parochial Psalmody (1832) were given 
 two other psalm tunes by Attwood, viz., " Pembroke " 
 and " Melchet," both very simple and beautiful. 
 
 During the earlier portion of his career Attwood 
 was much engaged in dramatic composition, and 
 between 1792 and 1807 he produced the incidental 
 music for the following pieces : — 
 
 Tht Prisoner 1 792 
 
 The Mariners 1793 
 
 Caernarvon Castle 1 793 
 
 The Adopted Child 1 795 
 
 The Poor Sailor 1795 
 
 The Smugglers 1796 
 
 The Mouth of the Nile 1 798 
 
 Devil of a Lover 1798 
 
 The Castle of Sorrento 1799 
 
 The Red Cross Knight 1799 
 
 The Old Clothesman ... 1799 
 
 A Day at Rome 1799 
 
 The Magic Oak 1799 
 
 True Friends 1800 
 
 Dominion of Fancy ... 1800 
 The Escapes or the 
 Water Carrier (adap- 
 ted chiefly from Che- 
 
 rubini) 1801 
 
 II Bondocani 1801 
 
 i'. David's Day 1804 
 
 Adrian and Orilla (with 
 
 Michael Kelly) 1806 
 
 The Curfew 1807 
 
 The excellency of the music of Attwood's operettas 
 has never been questioned, but he never made any 
 very marked success ; for the state of the lyric drama 
 at that period was such as to preclude the possibility 
 of any attempts towards establishing a grand national 
 opera. 
 
 Numerous charming secular songs and ballads were 
 
 written by Attwood, two of which, "The Soldier's 
 
 Dream," and "Reflected in the lake" (the latter 
 
 to Bishop Heber's beautiful words) attained consider- 
 
 K 3 
 
132 THE ORGANISTS AND COMPOSERS 
 
 able popularity in their day. A duet for equal voices, 
 " The waves retreating from the shore " is also worthy 
 of mention. 
 
 As a prominent member of the Glee Club, Concen- 
 tores Sodales, and other societies, Attwood had oppor- 
 tunities of composing some fine glees, conspicuous 
 among which stand, "Hark, the curfew's solemn 
 sound," and " In peace love tunes the shepherd's 
 reed." In many of his glees Attwood departed from 
 the conventional mode, and made an independent 
 accompaniment. In this way they cannot in strict- 
 ness be called glees, but rather trios and quartetts, as 
 a glee proper is sung without any accompaniment 
 whatever. 
 
 Attwood wrote some organ music, but beyond a 
 Cathedral Fugue in E flat, * and Nelson's Dirge,i 
 none of it has ever been published. 
 
 Mendelssohn, during his visits to London was fre- 
 quently the guest of Attwood ("dear old Mr. Att- 
 wood " as he called him) at his snug villa on Biggin 
 Hill, Norwood, previous to his removal to Chelsea. 
 Several of Mendelssohn's racy and piquant letters 
 are dated from there, and in one of them he 
 expresses his joy at finding, in Attwood's music cup- 
 board, which stood in his apartment, a full score of 
 Weber's " Euryanthe " 
 
 When Mendelssohn visited London in 1829, after 
 his Scottish tour, he had the misfortune to be thrown 
 from a carriage, thereby occasioning a serious injury 
 to his knee. He was, however, most assiduously 
 looked after by his many English friends, among them 
 being Attwood and Hawes. About the latter we 
 shall have a good deal to say later on. 
 
 The great composer notes in one of his home letters 
 
 * Published in Vincent Novello's Select Organ Pieces. 
 t Published in Vincent Novello's Melodies for the Soft Stops, 
 
OF s. Paul's oathedral, 133 
 
 during the time he was confined to his room : — " Yes« 
 terday a great hamper arrived from Mr. Attwood (at 
 Norwood) in Surrey ; on the top there were splendid 
 flowers, which are now smelling deliciously by my fire- 
 side. Under the flowers lay a large pheasant ; under 
 the pheasant a quantity of apples for pies, &c. Mr. 
 Hawes appeared this morning with grapes, than which 
 I never saw finer or more beautiful." When, on his 
 recovery Mendelssohn went down to Norwood for 
 change of air, he gave, in another letter, a droll account 
 of a milk white donkey fed on corn and thistles, the 
 property of one of Attwood's sons. This animal was 
 accustomed to draw hini about the village and adjacent 
 country in a little chaise, he being unable to walk by 
 reason of his accident. 
 
 While at Norwood, on November i8th, 1829, Men- 
 delssohn wrote the second of his Three Fantasias for 
 Pianoforte, in E {Op. 16), " Der Kleine Fluss" or 
 " The Rivulet." There is said to be a composition 
 extant, in which Mendelssohn introduces the tone of 
 Attwood's gate bell. 
 
 On the 24th of June in this same year Mendelssohn 
 directed his overture to A Midsummer Nighfs 
 Dream for the first time in England, at a concert 
 given by Drouet, the flautist. On returning home 
 after this concert, Attwood, who had accompanied 
 Mendelssohn, left the MS. score of the above marvel- 
 lous overture, by accident, in the hackney coach, " Oh, 
 never mind," replied the composer, when informed of 
 the mishap, " I will make another copy." And this 
 he did entirely from memory, without the variation of 
 a single note. 
 
 Mendelssohn often accompanied his host to S, 
 Paul's, and gave performances on the organ after 
 service, for which instrument, like Handel, he had 
 a great partiality. The main attraction for him was 
 the C pedal-board (then the only one in London), 
 
134 THE onefANISTS A^D COMPOSERS 
 
 and therefore the only one on which Bach's music 
 could be rendered without destructive changes. 
 
 At S. Paul's on June 23rd, 1833, Mendelssohn 
 played three pieces of Bach's, an extempore Prelude 
 and Fugue, and the Coronation Anthem, as a duet 
 with Attwood. On a previous occasion (September i oth, 
 1829) he played so long after the service — it was 
 Sunday afternoon — and the congregation were so loth 
 to leave the church, that the vergers in despair 
 withdrew the blower, and let the wind out of the 
 organ during the performance of Bach's Fugue in A 
 minor, at the point where the subject comes on in the 
 pedals. 
 
 Mendelssohn's " Three Preludes and Fugues " (Op. 
 37) composed at Spires in the year 1837, were dedi- 
 cated to Attwood, while the autograph of a setting of 
 the Kyrk Eleison in A minor was inscribed " For Mr. 
 Attwood, Berlin, 24th March, 1833." 
 
 It is extremely interesting to note that Attwood, the 
 favourite pupil of Mozart, was one of the first to re- 
 cognize the genius of the young Mendelssohn, and a 
 warm friendship was established between the two 
 composers, which was only broken by the death of 
 the elder. Thus, the gifted Englishman appears as 
 a connecting link between the two illustrious Germans. 
 
 Attwood possessed the well-cultivated understand- 
 ing of a scholar, and bore the highest and most 
 amiable character as a man. The latter trait endeared 
 him to all who came in contact with him. 
 
 He was an especial favourite with Mr. Hawes' 
 boys at S. Paul's and the Chapel Royal, some of 
 whom, still living, remember many of his little acts 
 of kindness and encouragement. Dr. E. J. Hopkins, 
 in an interesting paper read not long ago before the 
 College of Organists, thus alludes to one of them : — 
 
 " Aa composer to the Chapel Eoyal, Attwood wrote an anthetn 
 for the coronation of William IV. in Westminster Abbey en 
 
ov s. Paul's catbedral. 135 
 
 September 8th, 1831, and when, by the way, I was present as 
 a ohoiister. The anthem was written to words commencing, 
 " Lord grant the King a long life." It is preceded by an 
 instrumental introduction, which, after being played through 
 forte is repeated piano, and on the second occasion the nautical 
 air " Rule Britannia " appears, aud is played by extra horns and 
 trumpets in D in octaves, forte. Shortly after its performance 
 on the occasion for which it was written, it was repeated at a 
 meeting of a private musical society called Concentores. 
 
 " After dinner, copies of the new anthem were handed round to 
 the members as they sat at the table ; Attwood and Sir George 
 Smart' took their seats at the pianoforte to play the accompani- 
 ment as a duet for four hands ; behind them stood three or four 
 alto singers who were to hum " Rule Britannia " on the repetition 
 of the symphony, and my companion and I stood immediately 
 to Attwood's right. When the symphony was being played 
 through a second time, I was so delighted with the ingenious way 
 in which the nautical tune was interwoven, that 1 could not 
 help saying to my companion in a somewhat more audible tone 
 than I intended, " Oh, is it not' nice ! " The performance pro- 
 ceeded ; terminated ; and was followed by a tumultuous round of 
 applause. Attwood briefly bowed his acknowledgments, aud 
 before the sound had fairly died away he turned to me quickly 
 and enqviired, " What was that you said to the other boy just 
 now ? " Scared on finding that my observation had been over- 
 heard, I simply did not reply. Attwood, perceiving my embarass- 
 ment, with a kind look said, " Do not be afraid ! I am not 
 going to scold. D id you not say, ' Oh is it not nice ? ' " With a 
 still somewhat disturbed feeling I acknowledged " Yes." " Well," 
 he went on to say, "I am very glad to find that some • f you 
 choir-boys take so much interest m the music you have to sing." 
 Then, taking the copy from the pianoforte music-desk and 
 placing it in my hands, he said, " Accept this copy of my new 
 anthem, which Sir George Smart and I have been playing from," 
 add then turning to the other boy, he added, " And I will bring 
 you a copy with me to the cathedral on Sunday next," which he 
 faithfully did." 
 
 Dr. Hopkins gives another interesting instance : — 
 
 " During the last three years of my school days, as I chanced to 
 be the leading singing-boy in the Chapel Eoyal choir, my master 
 (Mr. Hawes) made me do double work on a Sunday by sending 
 me to sing at S. Paul's as well as fulfil my own AvU&as at S» 
 James'. And this arrangement could be the more easily carried 
 out, as morning service at S. Paul's commenced at a quarter 
 before ten, whue that at the Chapel Boyal did not begin until 
 
136 TBE ORGANISTS AND COMPOSERS 
 
 twelve o'clock ; and the afternoon service at the former took 
 place at a quarter past three, whereas that at the latter did not 
 commence until half-past five o'clock. 
 
 " Mr. Thomas Attwood, who as you all know was composer to 
 the Chapel Royal as well as organist of S. Paul's, used to utilize 
 this migratory course of mine. In those days (I am speaking 
 of fifty-five years ago) there were no faciUties for the publication 
 of Church music, and Attwood would frequently write out sepa- 
 rate voice-parts of his services and anthems with his own hand. 
 He would thus get, say, a particular service appointed to be sung 
 at the Cathedral and at the Chapel Royal on the same day. He 
 would then bring his copies to S. Paul's, place them in my 
 hands to carry to and fro, and if, after the fourth service, I 
 returned them to him, complete, and neatly tied up in paper as 
 he had handf d them to me, he would reward me with the wel- 
 come present of a sixpence, which showed his kindly sympathy 
 with a school-boy, to one of which class a small gift of this kind 
 is always acceptable." 
 
 How well do the words of the wise and witty Canon, 
 whose sayings have been already alluded to in the course 
 of these papers,bear out these pleasant little anecdotes 
 of Attwood : — " You have no idea of the value of 
 kindness. Pleasure is very reflective, and if you give 
 it you will feel it, and pleasure which you give by a 
 little kindness of manner returns to you with com- 
 pound interest" 
 
 A portrait of Attwood, apparently taken late in Ufe, 
 was engraved for.and prefixed to, Dr. Walmisley's col- 
 lected edition of his Cathedral Music. Another en- 
 graving, taken from a somewhat earlier portrait, and 
 believed to be not often met with, is in the possession 
 of the writer. 
 
 Attwood married, in 1793, Miss Denton, only child 
 of Matthew Denton, Esq., of Stotfield, Bedfordshire, 
 by whom he had issue, six children. Two of them 
 died during his lifetime. One son, as previously 
 stated, held, for many years, the living of Framling- 
 ham, SufTolk. Another was rector of Gosbeck. 
 
 Contemporaneously with Attwood at S. Paul's 
 
OF S. PAULS CATHEDRAL. 137 
 
 flourished, as Almoner, vicar choral, and Master of 
 the Choristers, William Hawes, who, in his day, was 
 one of the most prominent and laborious members of 
 the musical world of London. 
 
 Hawes was born June 21, 1785, and at the age of 
 eight years was placed in the choir of the Chapel 
 Royal under Dr. Ayrton. With this establishment 
 he was closely associated for the remainder of his 
 days. 
 
 In 1802 he began to teach singing, and officiated 
 as deputy lay vicar of Westminster Abbey. He 
 resided at this time in Millbank Street, Westminster, 
 and, for some time after the death of Richard Guise 
 had charge of the Abbey choristers. In course of 
 time he was advanced to a full vicarage, but resigned 
 his stall in 1820, finding it incompatible with his other 
 duties. 
 
 Hawes was, in 1805, appointed one of the gentle- 
 men of the Chapel Royal, and in 181 2 succeeded 
 John Sale, in the important office of Almoner and 
 Master of the Boys at S. Paul's, to which the place of 
 vicar choral was annexed. 
 
 Five years later he succeeded John Stafford Smith, 
 on his resignation, as Master of the ten children of the 
 Chapel Royal, and on this account, removed from his 
 residence in Craven Street, Strand, where he had been 
 located since 18 13, to a much larger house on the 
 Adelphi Terrace by the river side — a locaUty described 
 by Charles Dickens in Little Dorrit in a manner in 
 which he alone could describe it. This continued to 
 be the home of the two sets of choristers until Hawes 
 died.* 
 
 * The house, next door but one to the right of that occupied by Mr. 
 Hawes, was talcen by Garriclc, soon after the completion of the Adelphi by 
 the Brothers Adam in 1760. The great actor died ^here on Jan. 15th, 1780, 
 but his widow lived on at the same house, and survived him until Oct. i6th, 
 1822. Garrick, it will be remembered, purchased the villa at Hampton 
 formerly belonging to Charles King, the Almoner of S. Paul's, as a country 
 residence. 
 
138 THE ORGANISTS AND COMPOSERS 
 
 On Hawes' assuming the mastership of the S. Paul's 
 choristers, matters were established upon a much more 
 satisfactory basis, with regard to their education and 
 maintenance, as may be gathered from the following 
 Affidavit, filed in the Court of Chancery, January 
 17th, 1814 : — 
 
 William Hawes of Graven Street, in the Strand, in the County 
 of Middlesex, Gentlemen, maketh oath and saith : That in the 
 month of December, 1812, he was appointed liy the Dean and 
 Chapter of S. Paul's to the office of Almoner of the said Cathe- 
 dral, and to be Master of the eight choristers of the said Cathe- 
 dral ; and that he entered on the duties of the said appointments 
 on the 26th day of March, 1813. And this Deponent further 
 saith that at the time of his appointment the said Dean and 
 Chapter engaged him to teach the choristers the theory of 
 musick, eind the four senior boys to play upon the harpsichord, 
 and to pay a proper person to instruct the choristers to read, 
 write, and to cast accounts, the sum of £20 per annum. And 
 they also engaged him to board and lodge at his house the four 
 senior boys, and to provide a good and sufficient dinner for the 
 four junior boys every day. And that, the siid Dean and 
 Chapter imposed a strict charge on the Deponent to be particu- 
 larly attentive to the morals and behaviour of the choristers, 
 and that he should not permit the choristers to sing at any 
 public places except at such public concerts and oratorios as the 
 said Dean and Chapter should approve ; and that the choristers 
 when they attended any such concerts or oratorios as might be 
 approved by the Dean and Chapter should be accompanied both 
 to and from the same, either by this Deponent or a proper 
 person deputed by him. And this Deponent further saith that 
 he is a teacher of musick, and that he conceives the choristers' 
 attendance at such concerts and oratorios is an important part 
 of a musical education and a source of improvement to them. 
 
 The public engagements of the S. Paul's choristers 
 within little more than three months after this de- 
 position, appear to have amounted to nearly fifty in 
 number, exclusive of private concerts at the Almoner's 
 residence on Thursday and Sunday evenings. The 
 sum paid to the Almoner on these occasions, depended 
 upon the vocal abilities and musical proficiency of the 
 boysi At any rate, whether the profits were much or 
 
OF S. PAULS GATBEDRAL. 139 
 
 little, it was in direct contradiction to the acknow- 
 ledged statutes of the Cathedral. 
 
 When Dr. Coplestone, Bishop of Llandaff, became 
 Dean of S. Paul's in 1826, in succession to Dr. Van 
 Mildert, he made considerable additions to the salary 
 of the Almoner, and directed that the eight choristers 
 . should be wholly maintained with him, as required by 
 the statutes of the Cathedral, and according to the 
 usage of his predecessors up to the commencement of 
 the present century. At this time the revenues of the 
 choral school amounted to about ;^34o per annum, 
 exclusive of fines at the renewals of leases, which 
 might have averaged ftom ;^4o to ^£^50 more ; 
 thus making the allowance for each boy nearly 
 ^50 per annum. 
 
 Good taste and sound musicianship are perhaps 
 more conspicuous in Mr. Hawes' compositions for 
 the Church, than novelty of form and brilliancy of 
 genius. His style was beautifully melodious and 
 expressive, and partook considerably of that of 
 Attwood, with whom he was constantly associated, 
 both at S. Paul's and the Chapel Royal. 
 
 Hawes' Church compositions are not numerous. 
 There is a Service of his in the key of G major, 
 in the MS. books at S. Paul's, from which, however, 
 only the Sanctus and Kyrie have been printed. These 
 two movements are exceedingly beautiful, and it is to 
 be regretted that the complete service was never pub- 
 lished. The revival of the Magnificat and Nunc 
 Dimittis is here earnestly suggested by the writer to 
 the Succentor of S. Paul's, for they well merit it. The 
 risk of publication could be avoided by making a 
 vocal score and organ part (as the writer has, himself, 
 done) from the part books, and, as many copies as 
 might be wanted for the use of the choir, could be 
 reproduced by the lithographic process in vogue at 
 S. Paul's. 
 
I40 TEE ORGANISTS AND COMPOSERS 
 
 The Sanctus and Kyrie alluded to above, made 
 their appearance, together with another Sanctus in the 
 key of F, and fourteen single and double chants by 
 Hawes, in a collection which he edited and pub- 
 lished himself about 1830, in twelve periodical 
 numbers, entitled Chants, Sanduses and Responses to 
 the Commandments, as used at S. Paul's Cathedral 
 and Westtninster Abbey. Selected from Ancient and 
 Modern Composers. This very excellent publication 
 was dedicated to the Rev. W. Holmes, one of the 
 minor canons and Junior Cardinal of S. Paul's,* 
 and contained settings of the Sanctus and Kyrie 
 Eleison (in score with a separate organ accompani- 
 ment) from the services of Tallis, Gibbons, Childe, 
 Rogers, Goldwin, Croft, King, Travers, Savage, W. 
 Hayes, Nares, Arnold, Ebdon, and Davy, while 
 several compositions were furnished by living com- 
 posers, including the Revs. E. J. and E. G. A. Beck- 
 with (minor canons of S. Paul's), Kramer, Horn- 
 castle, Attwood, Adcock, &c. 
 
 The selection of chants (144 in number) was par- 
 ticularly good, including, in addition to the usual old 
 cathedral favourites, many new compositions by mem- 
 bers of the choirs of S. Paul's and Westminster 
 Abbey. Uniform with the above appeared a collection 
 of Anthems and other Sacred music as used at His 
 Majesty's Chapels Royal, and the various Cathedrals, 
 throughout the Kingdom, selected from Ancient and 
 Modern Composers, also edited by Hawes, and dedi- 
 cated to the Rev. Dr. Barrett. Samuel Sebastian 
 Wesley's lovely httle anthem, "O God, Whose 
 nature and property " was printed for the first time 
 in the above collection. Wesley was a chorister 
 
 * The Rev. W. Holmes was also Sub-dean of the Chapel Royal, and 
 Vicar of S. Giles', Cripplegate. ^ He died June 15th, 1833, and was buried in 
 the vaults of S. Giles . There is a mural tablet to his memory in the North 
 aisle. 
 
OF S. PAULS CATHEDRAL. I41 
 
 of the Chapel Royal under Hawes from 181 7 to 
 1824. 
 
 Hawes contributed three hymn-tunes — "Fulham," 
 " Hampton," and " Adelphi " * to the selection com 
 piled in 1836 by the editor of "The Christian 
 Remembrancer," and generally superintended the 
 musical portion of the work. Two other hymns of 
 his were included in a collection of sacred music 
 edited by R. Andrews of Manchester, about the 
 same period, viz., "The Sabbath Bell," and "The 
 thoughtless world shall sink to rest," both of them 
 being singularly melodious and pleasing in style. 
 
 In 1840, Hawes published by subscription a fine 
 large ])aper edition of Dr. Croft's services in A, and 
 E flat, together with several of his anthems. All 
 the above-mentioned works were issued from 355, 
 Strand (opposite the Savoy), where, after the disso- 
 lution of the Royal Harmonic Institution at the 
 Argyle Rooms, Hawes carried on the business of 
 music publisher. 
 
 From 1824 to 1836, Hawes was director of the 
 music at the English Opera House, now the Lyceum 
 Theatre, and it was at his instance that Weber's 
 " Der Freischiitz " was first presented to an English 
 audience in the vernacular, on July 24th, 1824, an 
 event which marks an era in the operatic history of 
 our country. Hawes did not, however, venture to 
 perform the whole work at first, several English 
 ballads being interpolated, and the finale omitted ; 
 but he soon had the satisfaction of finding that the 
 opera would be accepted without curtailment, so 
 great was the furore it created. This success induced 
 him to adapt other foreign operas to the English 
 stage, including Salieri's " Tarrare," Paer's " Free- 
 
 * These three tunes have recently been re-published by the late Rev. T. H. 
 Hawes, B.D., Rector of Burgh Oistle, Suffolk, formerly Minor Canon of 
 Wells, and Chaplain of New College, Oxford. 
 
142 TEE ORGANISTS AND COMPOSERS 
 
 hooters," Mozart's "Cosi fan tutti," Winter's "The 
 Interrupted Sacrifice," and Marschner's " Vampyre." 
 Hawes has been much censured for the above adapta- 
 tions by some of his biographers; but the state of 
 pubhc taste and opinion may be urged in paUiation. 
 
 There is extant a letter, in excellent English, from 
 Weber to Hawes, thanking him for the way in which 
 he had superintended the first performance of his 
 " Der Freischiitz " in this country, and in which he 
 mentions all his operas. 
 
 Shortly after this, in 1826, Weber (whose magnifi- 
 cent Mass in E flat,* adapted to the words of our 
 Communion Service is frequently sung at S. Paul's) 
 visited London, for the first and only time, in order 
 to direct the production of his opera " Oberon," 
 written at the request of Sir George Smart, Charles 
 Kemble, Hawes, and others, expressly for the 
 EngUsh stage. 
 
 Weber, in common with all foreign musicians of 
 eminence who came to London, was a frequent visitor at 
 the large, pleasant house on the Adelphi Terrace. He 
 would sometimes make his appearance in the fur- 
 trimmed cloak, so often depicted in his portraits, during 
 the breakfast hour at Mr. Hawes',and bursting into tears 
 at the sight of the assembled family, would exclaim, 
 " Oh ! how this reminds me of my once happy home." 
 The sad story of the parting with his wife and young 
 family, his struggles against disease (he arrived in 
 England in the last stage of consumption), his arduous 
 labours, his death at Sir George Smart's house in 
 
 "* This Mass in E flat {Missa Sancta, No i, Op. 75a) was written in 1817 
 for the celebration of the Saint's day of King Friedrich August I., of 
 Saxony. It is very majestic, effective, and thoroughly characteristic of t e 
 composer. Another Mass (Missa Sancta No. 2, in G, (Jp. 76) was written 
 by Weber in 1819 for the golden weeding day of the same king. It is very 
 bright and festive throughout, and more idyllic in character than that in K" 
 flat. '■ I mean to keep before myself," wrote Weber to Rochlitz the musical 
 critic, " the idea of a happy family party kneeling in prayer and rejoicing 
 before the Lord as his children." 
 
or S. PAULS GATBMDRAL. I43 
 
 Great Portland Street on June 5th, 1826, and the 
 Requiem service at the Roman Catholic Chapel in 
 Moorfields, has often been told. 
 
 Hawes was a prominent member of the Philhar- 
 monic Society, the Glee and Catch Club, the Madri- 
 gal Society, the Western Madrigal Society, the Con- 
 centores Sodales, and the Melodists' Club. He re- 
 ceived from more than one of these societies some 
 handsome and valuable pieces of plate, in recogni- 
 tion of his services to art ; and was also presented by 
 Her Majesty the Queen with a richly-chased silver 
 inkstand, on the occasion of her marriage in 1840. 
 
 Many delightful glees and madrigals proceeded 
 from Hawes' pen. Among the former may be cited 
 " Bring me flowers," " Requiescat in Pace " (prize 
 1831), " See, from the rose-tinged chambers of the 
 East" (written on the recovery of George III., 181 1), 
 " O merry the hour " (prize 1833), and " The bee, the 
 golden daughter of the Spring" (F'rize Glee on the 
 50th anniversary of the Glee Club, 1836), while among 
 the latter, " Sweet Philomela " is especially worthy of 
 mention. 
 
 The words of twenty glees by Hawes were given in 
 Clark's Words of the Most Favourite Pieces, performed 
 at the Glee Club, etc. (1824) ; and those of fifteen more 
 were included by Thomas Ludford Bellamy (son of 
 Richard Bellamy, Almoner of S. Paul's) in his Poetry 
 of Glees and Madrigals, 1840. Both these works, 
 together with Thomas Oliphant's Musa Madrigalesca 
 (1837) and Rimbault's Bibliotheca Madrigaliana 
 (1847) are indispensable to the students of a most in- 
 teresting branch of musical art, one peculiar to Eng- 
 land, viz., that of glees and madrigals. 
 
 Hawes published, in 1 814, an original Collection of 
 Five Glees and One Madrigal for 3, 4, and 5 voices, 
 and, in 1815, another of Six Glees for 3 and 4 voices. 
 He also, in 181 7, harmonized Six Scotch Airs as GkeSf 
 
144 ^ff-S ORGANISTS AND COMPOSERS 
 
 and edited a collection of the glees of Reginald 
 Spofforth,f from the MSS. left by that composer. 
 
 For more than thirty years Hawes was conductor of 
 the Madrigal Society, for which time-honoured musical 
 body he newly edited, while resident in Craven Street, 
 The Triumphs of Oriana described in an earlier 
 portion of this history in connection with Thomas 
 Morley the original editor. He likewise published 
 for the same society A Collection of Madrigals for 3, 4, 
 5, and 6 voices, from the works of the most eminent com- 
 posers of the I dth and i ']th centuries, carefully extracted 
 from the original books as preserved in the Madrigal 
 Society. 
 
 Under Hawes' direction, on the occasion of the 
 Anniversary Festival of the Madrigal Society, January 
 2 1 St, 1836, was revived Tallis' famous "Song of Forty 
 Parts," a motett for eight choirs of five voices 
 apiece. 
 
 At the time of the above performance a score (2 
 feet 1 1 inches high, and i foot 6 inches wide) was 
 made of this extraordinary composition by Thomas 
 Oliphant, late Secretary to the Madrigal Society. 
 
 This copy contains the following record : " This 
 motett was performed at the Anniversary Festival 
 of the Madrigal Society, 21st January, 1836, by the 
 undersigned members of the Society and their friends." 
 Appended is a hst of 106 vocalists, and 24 visitors. 
 Upon the reverse of this leaf, page 29, is a plan 
 of the arrangement of the eight choirs, with the 
 
 * Reginald Spofforth, one of our mo.->t esteemed glee composers was, on 
 his death in 1827, buried in the old parish church of Kensington. When 
 the church was rebuilt the monument whs placed in the south porch. The 
 following is the inscription upon it. " In memoriam. Under this church are 
 deposited the remains of Reginald Spojff'orth, professor of music, bom at South 
 well, Nottinghamshire. He died at Brompton on the Sth September, 1827, aged 
 5j years. Laus Deo." Underneath is a seraph. 
 
 Samuel Spofforth, Reginald's brother, was organist of Lichfield Cathedral 
 from 1807 to 1864. 
 
OF s. Paul's cathedral. 145 
 
 names of all the singers, William Hawes being con- 
 ductor. Sir John Rogers was president of the Society 
 at the time. 
 
 This unique piece of music has recently been pub- 
 lished in a cheap form under the editorship of Dr. A. 
 H. Mann, the much esteemed organist of King's Col- 
 lege, Cambridge. 
 
 Hawes was the composer or arranger of the inci- 
 dental music to the following pieces produced, for the 
 most part, at the English Opera House : — 
 
 Broken Promises (a ballad opera chiefly compiled from 
 
 Hitnmel, Weber, Meyerbeer, and Cherubini, 1825). 
 The Sister of Charity (1829). 
 The Irish Girl (1830). 
 Comfortable Lodgings (1832). 
 The Dilosk Gatherer (1832). 
 The Climbing Boy (18321. 
 The Mummy (1833). 
 The Quartette (1833). 
 The Yeoman's Daughter (1833). 
 Convent Belles (with J. A. Wade, 1833). 
 The Muleteer' s Vow (partly compiled, 1835). 
 
 He also wrote some excellent songs and ballads such 
 as " The Beacon " and " Father William," which were 
 very popular in their day ; likewise many others, to 
 words by Scott, Moore, Byron, Southey, Kirke White, 
 and Mrs. Opie. Two melodious duets for soprano 
 and contralto — " See how beneath the moonbeams' 
 smile," and " When you told us our glances " may be 
 added to the above compositions. He was an un- 
 successful competitor for the prize Requiem written 
 by W. Linley in memory of Samuel Webbe. The 
 other competitors were Lord Burghersh (afterwards 
 Duke of Westmoreland). Linley, W. Knyvett, Elliott, 
 Beale, and Evans. Each setting was subsequently 
 published ; Evans being the winner of the prize. 
 
 Although Mr. Hawes' voice was naturally a counter 
 tenor he could, curiously enough, take any part in 
 
146 THE ORGANISTS AND COMPOSERS 
 
 concerted vocal music, and in the absence of any par- 
 ticular singer at S. Paul's or the Chapel Royal, could 
 thus supply his place. He was also a good performer 
 on the violin and several other instruments. 
 
 Hawes was in his capacity as a master, a most stern 
 and strict disciplinarian. Many of the boys entrusted 
 to his charge for the choirs of S. Paul's and the Chapel 
 Royal, have risen to great eminence in their pro- 
 ession, either as vocalists, general musicians, or 
 cathedral organists. It will be quite sufficient to men- 
 tion the names of S. S. Wesley, John Hopkins, E. 
 J. Hopkins, G. W. Martin, E. T. Chipp, George 
 Genge, Donald King, and Frederick Walker. 
 
 Mr. Hawes was a most laborious and successful 
 teacher, and, in his scanty intervals of leisure, a man 
 of some literary pursuits and refined tastes. As a man 
 of integrity he was universally respected, and sincerely 
 regretted by a numerous circle. 
 
 He died on Ash Wednesday, February i8th, 1846, 
 and was buried at Kensal Green. The grave is on 
 the extreme north of the cemetery, close underneath 
 the wall, and facing one of the avenues leading from 
 the Chapel. 
 
 A portrait of Hawes was engraved (from arainiature 
 painted at Paris in 1815) lor a collection of secular 
 part music, published about 1830. Copies of this 
 portrait are not common, but one is in the library of 
 S. Paul's, and another is with the writer of this notice. 
 In the possession of Mr. John Hawes of Kensington, 
 there is a very touching painting representing the com- 
 poser upon his deathbed. 
 
 Hawes married in 1810, Elizabeth, sister of Henry 
 Mullinex, a gentleman of the Chapel Royal, who 
 survived him until May 3, 187 1. By her he had a 
 family of three sons, and three daughters. One of 
 the latter, Maria Billington (afterwards Mrs. Merest) 
 inherited her father's abilities, and became orje of the 
 
OF & PAULS CATHEDRAL. I47 
 
 first contraltos of her day. She sang at the pro- 
 duction of Mendelssohn's Lobgesang at Birmingham 
 in 1840, and at that oi EWah in 1846, when the com- 
 poser wrote the air, " O rest in the Lord " ex- 
 pressly for her. Miss Maria B. Hawes' powers of 
 declamation were almost unrivalled, and her rich, 
 deep, powerful voice, heard frequently in the sublime 
 works of those mighty masters, Pergolesi, Handel, 
 Haydn, Spohr, and Mendelssohn, moved whole 
 audiences to tears. Upon one occasion (it was at the 
 conclusion of a concert at the Hanover Square Rooms) 
 when she had been singing " He was despised," 
 Hawes was met by good Bishop Blomfield, who, with 
 the tears running down his cheeks, exclaimed " Oh ! 
 Mr. Hawes, pray tell your daughter from me, that her 
 singing of ' He was despised,' will, I am sure, do 
 more good than any sermon I could preach. "* 
 
 Hawes' successor in 1846, as music-master to the 
 . S. Paul's boys was William Bayley, one of the vicars 
 choral. He did not, however, assume the title of 
 Almoner, as that was transferred not long afterwards 
 to the Rev. J. H. Coward, one of the minor canons, 
 at that time rector of S. Benett, Paul's Wharf — Arch- 
 deacon Hale having previously held it for a short 
 period. Mr. Coward was classical master to the choris- 
 ters until the establishment of the present choir school, 
 and the appointment of the late master, the Rev. A. 
 Barflf. 
 
 Bayley was born in 18 10, and died in November, 
 1858 Besides being a vicar choral of S. Paul's, he 
 held the organistship of S. John's, Horsleydown, a 
 church conspicuous in Southwark by the extraordi- 
 nary appendage of a tower supporting an Ionic pillar 
 by way of a spire, 
 
 * For several interesting particulars in the course of tliis memoir I am in- 
 debted to my very Icind friend, the late Mr. John Hawes, of Kensington,—. 
 J. S. g. 
 
 I, ? 
 
148 THE ORGANISTS AND COMPOSERS 
 
 Among Bayley's sacred compositions may be noticed 
 a very pleasing Cantate Domino and Deus Misereatur 
 in F (composed, as stated on a MS. copy of it belong- 
 ing to S. Paul's, in 1840) ; a Magnificat and Nunc 
 Dimittis in E ; and three short anthems — " Enter not 
 into judgment," " To the Lord our God," and " The 
 mountains shall depart." The Cantate service, which 
 has been published, was, for many years a great 
 favourite at S. Paul's. 
 
 Bayley also published a collection of original hymn - 
 tunes, dedicated to the Rev. Dr. Knapp, one of the 
 minor canons of S. Paul's, a priest in ordinary of the 
 of the Chapel Royal and vicar of Willesden. Ap- 
 pended to these tunes were six single' and double 
 chants, of a pleasing character, one of which is still 
 sung at S. Paul's on the 29th evening of the month. 
 A setting of the Sanctus and Ryrie in the key of G 
 and another in E, were published in the Lyra Eccle- 
 siastica, a very excellent collection of chants, services, 
 anthems, and psalmody ( 1 844)<' ' 
 
 Two of Bayley's cavatinas, " Come, sister come," 
 and " Softly ring, ye gay blue bells ," evince con- 
 siderable grace and refined taste. Many of his 
 pupils have risen to great eminence in their pro- 
 fession. Mention may be made of Sir John Stainer, 
 Mr. Henry Gadsby, Dr. W. A. Barrett, and Dr. 
 Warwick Jordan, all of whom were choristers of S. 
 Paul's. 
 
 The veteran vicar choral, Richard Clark, may be 
 noticed in this place. Born at Datchet, near Windsor 
 in 1780, he became, at an early age, a chorister of S. 
 George's Chapel, and Eton College. In 1802, he was 
 appointed to succeed his grandfather, John Sale, the 
 elder (father of the Almoner of S. Paul's) as lay clerk 
 of the above two places, which he resigned in 181 1 on 
 obtaining similar appointments at S. Paul's and West- 
 minster, having previously officiated as deputy there, 
 
OP .S. PAVl's CATBEDtlAL. I49 
 
 In 1820 he was sworn in as a gentleman of the 
 Chapel Royal, in the room of Joseph Corfe. He 
 continued to divide his time between the three choirs 
 until his death, which took place on October 8th, 
 1856, at the Cloisters, Westminster. 
 
 Few of Clark's Church compositions are now known, 
 beyond a fine double chant in A minor, included in 
 the present S. Paul's Chant Book, and sung to the 
 77th Psalm, on the isth morning of the month, to 
 which it is admirably adapted. 
 
 Aspiring to some fame in pursuits of a literary cha- 
 racter, he wrote in j?>22, An Account of the Song "God 
 save the King" assigning its composition to John Bull. 
 In 1814 he had published a collection entitled The 
 Words of the most Favourite Pieces performed at the 
 Glee Club, the Catch Club, and other Public Societies, 
 8vo, a valuable work, the utility of which was increased 
 by the publication, in 1840, of Thomas Ludford 
 Bellamy's Lyric Poetry of Glees and Madrigals, con- 
 taining the words of many pieces composed since the 
 publication of Clark's book, and also of a good many 
 by earlier writers not included by him. 
 
 Prefixed to Clark's collection of 18 14 was a short 
 account of " God save the King," in which, however, 
 he assigned its composition to Henry Carey, 
 
 Like Dr. Spray, Dr. Pring, Miss Hackett, Edward 
 Taylor and others, Clark busied himself in endeavour 
 ing to procure for the various cathedral choirs a 
 restoration of their ancient rights and privileges. 
 
 He issued a second edition of his Words of Glees 
 in 1824, " revised, improved, and considerably en- 
 larged," and was also the author of the following 
 books and pamphlets : — On the Sacred Oratorio of the 
 Messiah previous to the death of Handel, 8vo, 1852; 
 An Examination into the derivation, etymology and 
 definition of the word " Madrigale," 8vo, 1852; An 
 Address on the existing high pitch of the musical scale, 
 
tJO THE ORGANISTS AND COMPOSERS 
 
 8vo, 1845 ; A Memorial to the Dean and Canons of S. 
 George's Free Chapel, Windsor, and the Provost and 
 Fellows of Eton College, 8vo, 1834 ; and Reminis- 
 cences of Handel, the Duke of Ghandos, Powells the 
 Harpers, the Harmonious Blacksmith, with music and 
 engravings, etc., etc., folio, 1836. These publications 
 are now, by no means commonly met with. 
 
 Clark was, no doubt, a man of some industry and 
 possessed of considerable enthusiasm ; but he was 
 too prone to credit idle stories, and to commit them 
 to paper' without first making strict enquiries into 
 their veracity. As an example of this, his folio pam- 
 phlet on Handel and the " Harmonious Blacksmith " 
 incident, is little better than a farrago of nonsense. 
 
 There is not very much to chronicle respecting 
 the minor canons of S. Paul's as practical musicians 
 during this period. The following brief notices must 
 therefore suffice. 
 
 The Rev. Edward James Beckwith was minor 
 canon and Succentor from 1797 until his death on 
 January 7th, 1833, in his sixty-second year. He was 
 the son of Edward Beckwith and a native of Norwich 
 — a city which has produced more than one composer 
 of distinction. One of his nephews, the Rev. H. A. 
 Beckwith, was a priest vicar of York, and rector of 
 Collingham ; his brother, Dr. John Christmas Beck- 
 with, the composer of many chants and anthems, was 
 organist of Norwich Cathedral and of the church of S. 
 Peter Mancroft. John Beckwith, his uncle, a volu- 
 minous composer of anthems, was a lay clerk of Nor- 
 wich Cathedral, so it will be seen that the family was 
 one of musicians. 
 
 The Rev. E. J. Beckwith's compositions include a 
 Sanctus and Kyrie Eleison in the key of C, printed in 
 W. Hawes' collection, together with a few excellent 
 chants. 
 
 Mr. Beckwith like many of his contemporaries was 
 
OP &. PAULS, CATHEDRAL. tgi 
 
 a pluralist, for, besides being a minor canon of S. 
 Paul's, he was one of the priests in ordinary to the 
 King, rector of S. Alban's, Wood Street, and vicar of 
 Tillingham in Essex. On his death he was buried in 
 the crypt of S. Paul's, where there is a flat stone to his 
 memory. 
 
 His son, the Rev. Edward George Ambrose Beck- 
 with, was appointed a minor canon of S. Paul's in 1825, 
 and of Westminster Abbey in 1828. He received the 
 succentorship on the death of his father in 1833, and 
 held it until his death in September, 1856, when he 
 was succeeded by the Rev. W. C. Fynes Webber. 
 He was also rector of the church of S. Michael 
 Bassishaw, near Guildhall, and was for some time 
 chaplain of Bromley College. Both he and his father 
 were originally choristers of Magdalen College, 
 Oxford, as was also the Rev. Richard Webb, another 
 minor canon, a diligent collector of music, and the 
 composer of several madrigals. Besides the seventh 
 minor canonry of S. Paul's, to which he was appointed 
 in 1799, the Rev. Richard Webb was a minor canon 
 of Westminster Abbey, and S. George's Chapel, 
 Windsor ; a priest in ordinary of the Chapel Royal, 
 S. James', and vicar of Kensworth, Herts, a living in 
 the gift of the Dean and Chapter of S. Paul's. He 
 died at Windsor, on April 13th, 1829. 
 
 His successor at S. Paul's, the Rev. James Lupton, 
 was originally a chorister of York Minster under 
 Matthew Camidge. He afterwards proceeded to 
 Oxford, matriculating at Christ Church in 1819. His 
 musical abilities procured for him in 1824, a chap- 
 laincy at New College, where, for some time, he was 
 a contemporary of the late Rev. Thomas Henry 
 Hawes (son of the Almoner of S. Paul's), who was 
 then holding a similar post. 
 
 Five years later Mr. Lupton came to London and 
 received the minor canonries of S. Paul's and West- 
 
t52 THE OkGANtSTS AND COMPOSERS 
 
 minster, which he held, together with the livings of S. 
 Michael's, Queenhithe, City, and Blackbourton, Ox- 
 fordshire,, until his death on S. Thomas' Day, Dec. 
 2 1 St, 1873. He was buried in the West cloister walk 
 of Westminster Abbey, near Dr. Dupuis. 
 
 Minor Canon Lupton was the composer, inter alia 
 of numerous chants, a Sanctus and Kyrie in G, for 
 some time in use at Westminster Abbey, and a psalm- 
 tune called " Stamford " contributed to the tune book 
 edited by Hawes for the Rev. W. J. Hall's hymnal, in 
 1836. 
 
 Another tune called " Cloister Hymn " was com- 
 posed for, and inserted in, the Rev. Peter Maurice's 
 well-known collection of psalmody, entitled "Choral 
 Harmony," in 1853. Mr. Lupton was the author of 
 Observations on the Public Schools Bill. He was reputed 
 in his day, one of the ablest chanters of Tallis' famous 
 service and Litany, and his fine, clear voice, preserved 
 to the last, will long be remembered at S. Paul's. 
 
 It remains now to close this chapter with an account 
 of the life and labours of one of the most eminent 
 Church musicians, our present century has produced, 
 viz., John Goss. In whatever clime the solemn tones 
 of our time-honoured Liturgy are heard, or any pre- 
 tensions to a choral service made, there will also be 
 heard the strains of this most delightful of eccle- 
 siastical composers. 
 
 Enchanting harmonist, the art was thine 
 Unmatched to pour the soul dissolving air. 
 
 Rarely a week, nay, a single day, passes without 
 one of his chants, services or anthems being used in our 
 cathedrals, " preaching and teaching," as it has been 
 well remarked " the truths ot religion, with as much 
 point and purpose as the most eloquent sermon, by 
 the most eminent divine.' 
 , John Goss was born at Fareham, Hants, on 
 
OP S. PAULAS CATHEDRAL. 1$^ 
 
 December 27th (S. John Evangelist's Day), 1800. 
 Like Gibbons, Purcell, Beckwith, Wesley, and others, 
 he came of a musical stock, his father, Joseph Goss, 
 being organist of the parish church and possessing a 
 good local reputation, whilst his uncle, John Jeremiah 
 Goss, a gifted alto-singer, was a member of the three 
 metropolitan choirs, and on his death in 18 17 was 
 buried in the crypt of S. Paul's. 
 
 Through the influence of his uncle, young Goss was 
 admited a chorister of the Chapel Royal in 181 1. 
 The master of the children was then John Stafford 
 Smith (the immediate predecessor of Hawes) of whom 
 our composer was wont to relate some amusing anec- 
 dotes. The education of the " Young Gentlemen " 
 of His Majesty's Chapel Royal, S. James' was, in 
 those days, of a very happy-go-lucky description. 
 Beyond the three R's, and the learning of the chants, 
 canticles and anthems, necessary for divine service, 
 little or no instruction was given to the boys, who 
 taught each other the rudiments of music and com- 
 position, the master marking and enforcing progress 
 by a liberal use of the cane. 
 
 On one occasion it is related that young Goss 
 bought, out of his hardly-saved pocket money, a copy 
 of Handel's Organ Concertos in Walsh's Pianoforte 
 Edition. Whilst walking across the school-room one 
 day with the book under his arm, he met his master, 
 who accosted him with " What's that you have under 
 your arm?" "If you please. Sir," said young Goss 
 trembling, " it's only Handel's Organ Concertos, I 
 thought I should like to learn to play them." " Oh ! 
 only Handel's Concertos," replied Stafford Smith, 
 " and pray. Sir, did you come here to learn to />lay or 
 to sing ?" " To sing, Sir," said Goss totally discomfited. 
 The master then seized the book and crowned his 
 argument by hitting his pupil on the head with it. 
 Poor Goss never saw his beloved book again. 
 
1S4 2*^-2? OMANtSTS AND COMPOSBttS 
 
 Notwithstanding this, and other pieces of petty 
 spite recorded of him, Stafford Smith seems to have 
 been really fond of this boy, " and," says Dr. W. A. 
 Barrett, " was wont to take him about during his daily 
 walks, and to tell him stories of his own childhood, 
 and of the great men he had seen and spoken with. 
 He had seen and remembered Handel, and pointed 
 out the place where the great man breathed his last. 
 He told how that in his youth, as a Chapel boy, he 
 had borrowed a gun to shoot snipe at the top of that 
 very Brook Street in which Handel had died ; and 
 how he had known Dr. Arne, whom he called a con- 
 ceited Papist, an evil living man, but a God-gifted 
 genius for melody. He had known Haydn, and held 
 all these three great men up to the future organist of 
 S. Paul's, as examples for imitation when he began to 
 write. He regretted, even then, the growing fashion 
 for discarding the pure principles of melody, in favour 
 of massive, startling harmonies, and the fascinations of 
 instrumental colouring. ' Remember, my child,' he 
 was wont to say, ' that melody is the one power of 
 music which all men can delight in. If you wish to 
 make those for whom you write love you, if you wish 
 to make what you write amiable, turn your heart to 
 melody, your thoughts will follow the inclination of 
 your heart.' " 
 
 "Then, as if to enforce his precept by a me- 
 morable argument, not likely to be soon forgotten, 
 when he returned home he impressed his teaching 
 on the skin of his pupil by a mild castigation. By 
 this means his dignity as a master was maintained, 
 he consoled himself for having unbent his mind to 
 a junior, and felt that he had justified his position 
 as a senior, according to the rule then prevalent 
 with parents and guardians."* 
 
 * Bfigliih Cfleea and Fart Songs, an Snquirp into their Siitorical Develop' 
 ment, by W. A. Barrett, Mus.Bac, Oxon., 1886. A valuable additon to our 
 somewhat scanty information on the subject. 
 
Oi' S. PAULAS oatuedraL ts5 
 
 The way in which Goss in after years carried his 
 old master's precepts into practice may be seen by 
 a glance at any of his compositions. 
 
 Upon the breaking of his voice Goss resided for 
 a short time with his uncle in Wood Street, West- 
 minster, with whom also lived, as an articled pupil, 
 James Turle. Little did these two lads then think that 
 they were destined to become the organists of the two 
 great churches of the metropolis. 
 
 For the further study of composition Goss repaired 
 to Attwood. He was fondly attached to that admirable 
 man and musician. It is well known that he cherished 
 every memorial of his intercourse with him, and after 
 his death never alluded to him without considerable 
 emotion. 
 
 Goss' voice subsequently settled down into a light 
 and pleasing tenor, and, for some time, he accepted 
 an engagement to sing in the chorus of the opera. 
 This was in 1817, when Mozart's Don Giovanni vias 
 first presented to an English audience, though in a 
 sadly mutilated form, under the direction of H. R. 
 Bishop who, in after years, confessed himself heartily 
 ashamed of the business. Attwood was present at 
 this representation of his master's work, and con- 
 tinued his attendance, it is said, for twenty-one nights 
 in succession. 
 
 In i8zi, Goss received his first organ appointment, 
 which was to Stockwell Chapel, now S. Andrew's 
 Church — a fact of which several of his biographers do 
 not appear to have been cognizant. Three years later 
 he was a successful competitor for the organistship of 
 the new Parish Church of S. Luke, Chelsea, a fair 
 specimen of the revival of the pointed style from the 
 designs of Savage — not of Barry as stated by the late 
 Canon Mozeley in his Reminiscences of Oriel and the 
 Oxford Movement. The rector of Chelsea at the time 
 of its completion was the Rev. Gerald Valerian Wellesley. 
 
IS6 THE ORGANISTS AND COMPOSERS 
 
 Here Goss remained until 1838, his time being 
 divided between teaching (of which he began to have 
 a large connection, coupled with a professorship at 
 the Royal Academy) and glee singing. Even at this 
 comparatively early period Goss seems to have had 
 considerable experience in part writing, when we 
 examine his charming set of Six Glees and One 
 Madrigal published in 1826, which includes "Kitty 
 Fell," " The Sycamore Shade," and " Ossian's Hymn 
 to the Sun,'' the last named gaining a prize at the 
 Glee Club in 1833.+ 
 
 While organist at S. Luke's, Chelsea, Goss pub- 
 lished a collection of Parochial Psalmody, consisting, 
 besides hymns, &c., of responses and chants. Among 
 the latter was the well-known double chant in C minor, 
 arranged by Goss himself from the Allegretto of Beet- 
 hoven's Symphony, No. 7 (Op. 92). 
 
 This collection, was published in four handy little 
 pocket volumes the first and fourth volumes consist- 
 ing of psalmody, responses and chants ; the second 
 of sacred melodies, and the third of organ voluntaries. 
 The title-pages were embellished with some pretty little 
 vignettes, one of them representing the exterior of S. 
 Luke's Church, and another a cherub playing upon an 
 organ in some marvellous manner — very charming 
 nevertheless. 
 
 It was also during the above period that Goss 
 edited, while resident at 30, Sloane Street, The Sacred 
 Minstrel in 3 vols, octavo, consisting of a number of 
 songs, duets, trios, etc. by various composers, English 
 and foreign. The first volume made its appearance 
 in 1833, with a dedication to Mrs. J. W. Lockwood. 
 The compositions of this period in the department of 
 sacred song writing were, as a rule, feeble in the ex- 
 
 \ '* This collection is a casket of gems of the rarest order and qualifies 
 him for a place among the higher ranks of English glee writers." — W. A. 
 Barrett. 
 
OF s. Paul's cathedral. 157 
 
 treme, and, to such, many of the pieces in The Sacred 
 Minstrel afforded a notable exception. Especially 
 deserving of mention in this collection are two songs 
 by the late William Hutchins Callcott, " They shewed 
 me the Lord on His Throne " and " The Star of Beth- 
 lehem " (both to words by the Rev. J. W. Cunning- 
 ham, Vicar of Harrow) ; four by Attwood, previously 
 mentioned in connexion with that composer ; one by 
 Thomas Forbes Walmisley, " Lo, the Lilies of the 
 Field" ;* a setting of the Lord's Prayer by the versatile 
 Tom Cooke; "Gratitude" by Sir Henry Bishop; 
 "The Lord of Hosts " by John Barnett (composer of 
 that charming opera, The Mountain Sylph), and four 
 by Goss himself, " Stand up and bless the Lord," 
 " They are not lost, but gone before," " O had I wings 
 like yonder bird," and "Weep not for me," the last- 
 named being a particularly touching and expressive 
 little composition to equally beautiful words by the Rev. 
 Thomas Dale, from 1843 to 1870 one of the Canons 
 Residentiary of S. Paul's. The book also contained 
 some adaptations from the works of Marcello, Per- 
 golesi, Haydn, Mozart, Beethoven, Hummel, Cheru- 
 bini, Neukomm, and others 
 
 Goss appears to have taken up orchestral writing at 
 this epoch of his career, for we find that an overture 
 in F minor was written for the concerts of the Phil- 
 harmonic Society in 1825, and performed several 
 times. It may be interesting to state that it was 
 revived at the Chester Musical Festival in 1882. The 
 success of this inspired Goss with courage, and shortly 
 afterwards another overture, in E flat, appeared from 
 his pen. Both were full of graceful, tender phrasing, 
 sometimes most skilfully handled, but neither would 
 
 * A very pleasing treble solo, " Lord, help us on Thy word to feed," by 
 Thomas Attwoud Walmisley (son of T. F. Walmisley), given in the third 
 volume, should be added to these. It ib quite in the beautiful an4 charac? 
 terisiic style of that compose):. 
 
IS8 THE ORGANISTS AND COMPOSERS 
 
 probably satiate the cravings of admirers of the modern 
 advanced school. At a meeting of the Philharmonic 
 Society in 1833 it was resolved to offer Goss the sum 
 of jQ^tS ^o"^ ^" occasional orchestral piece, but there 
 is no evidence to prove that he produced anything 
 more in this department of music. 
 
 In 1833 Goss composed an anthem (his first work 
 of the kind of any importance) to words from the 51st 
 Psalm commencing " Have mercy upon me, O God." 
 This he sent in to compete for the Gresham Prize 
 Medal. It was successful, and he afterwards pub- 
 lished it at J. Alfred Novello's, 67, Frith Street, Soho, 
 with a dedication to Attwood. An examination of the 
 score of this masterly composition will show how much 
 Goss was indebted to the influence of the above com- 
 poser. A copy in the writer's possession is inscribed 
 in a neat, fair hand, "For Miss Hackett, with the 
 Authot's respectful compliments." 
 
 Upon the death of Attwood in 1838, Goss was 
 nominated his successor as organist of S. Paul's, 
 obtaining the appointment, it is said, through the in- 
 fluence of the Dukes of Cambridge and Wellington. 
 At the same time he received the vicar choral's place, 
 held in combination with the organistship. 
 
 For the celebration of the Queen's Coronation in 
 the same year he produced an anthem, " O Lord grant 
 the Queen a long life," and, in honour of Her Ma- 
 jesty's Marriage two years later, wrote another, " The 
 Queen shall rejoice." Both were printed at Cramer's, 
 but have seldom been performed. The first-named 
 contained a very beautiful treble solo. 
 
 Several good stories are current in reference to 
 Goss' appointment as organist of S. Paul's. Dr. Hop- 
 kins in his interesting and amusing paper, previously 
 referred to, related some which are worth repeat- 
 ing :— 
 
 " In the year 18^8, Thomas Attwood, the org 
 
OF &. PAUL'S CATHEDRAL. 1 59 
 
 of S. Paul's Cathedral, died, and Sir John (then Mr.) 
 Goss thought of applying for the appointment, and 
 sought an interview with the Rev. Sydney Smith, for 
 the purpose of talking the matter over with him. 
 Sydney Smith commenced by tantalizing Goss slightly. 
 ' I suppose Mr. Goss, you are aware what the statuta- 
 ble salary is ? ' ' Not exactly.' ' Well, it is about 
 £ZA /«y annum.' ' Oh ! indeed is that all ? Well, 
 as I am receiving about .;£^ioo at Chelsea, I think 
 I will, if you will allow me, consider the matter a 
 little further before I leave my name,' and he was 
 about to retire when Sydney Smith continued : ' Per- 
 haps Mr. Goss, before you go, you would like to know 
 whether any other appointment or any perquisites ap- 
 pertain to the office of organist ? ' And he then entered 
 into particulars which gave so different a complexion 
 to the matter that Goss at once entered his name." 
 
 " Time went on, and Goss began to wish he could 
 gain some tidings as to whether anything had been 
 decided at the Cathedral ; when, one evening he met 
 Sydney Smith at a large dinner party. He did not, 
 however, like to make any enquiry. At the table Goss 
 sat opposite Sydney Smith to whom fell the duty of 
 carving a fine piece of salmon. ' Mr. Goss,' enquired 
 Sydney Smith, ' what part shall I send you ? ' ' I have 
 no choice, thank you.' Thereupon he cut a piece 
 right across the fish, and handing it said 'Accept 
 that ; and I trust Sydney Smith will always be found 
 ready to assist Mr. Goss through thick and thin.' 
 Goss readily perceived the possibility of a double 
 meaning being conveyed by this witty speech ; and, 
 on his return home, found a letter awaiting his arrival, 
 acquainting him of the successful result of his apphca- 
 tion to S. Paul's. 
 
 " Mr. Goss had not long been installed before he 
 discovered that the organ stood in need of the addi- 
 tion pf a few new and useful stops j so be took the 
 
l60 THE ORGANISTS AND COMPOSERS 
 
 opportunity one week day after service, of asking 
 Sydney Smith whether these desirable alterations 
 might be made. ' Mr. Goss,' replied Sydney Smith, 
 ' what a strange set of creatures you organists are. 
 First you want the bull stop, then you want the tom- 
 tit stop ; in fact, you are like a jaded cab-horse, always 
 longing for another stop. However, I will ascertain 
 what may be done in the matter.' And it is almost 
 needless toadd that the amiable organist had his desire.', 
 
 " In the Psalms " (continues Dr. Hopkins) " when- 
 ever there occurred any reference to 'storms and 
 tempest,' the organ used to give forth a deep roll, to 
 the great delight of Miss Hackett, who would look 
 up at the instrument with a smile of intense satisfac- 
 tion. On one occasion, when the Psalms had been 
 unusually full of references to atmospheric disturb- 
 ances, and the organ had been demonstrative to an 
 unusual degree, and this good lady's face had been 
 beaming almost incessantly, after service Sydney Smith 
 said " Mr Goss, I do not know whether you have ever 
 observed the phenomenon ; but your organ never 
 thunders but what Miss Hackett's countenance 
 lightens ! " * 
 
 Another little anecdote of the witty canon may find 
 a place here. It is as follows : — One of the adult 
 singers during lesson or sermon-time having con- 
 tracted a habit of staring fixedly into the dome, ap- 
 parently in a state of deep meditation, Sydney Smith 
 was asked by some one who had observed him, who 
 such an individual might be. " Oh," replied Sydney, 
 " he is a sleeping partner in a ham and beef shop close 
 by, and always appears to me to be engaged in a pro- 
 found calculation as to how many slices of ham and 
 beef it would take to cover the dome of S. Paul's." 
 
 "* See Dr ^a^Vms* PersmwX Reminiscences and ReiOlUctions^ a aperre^cl 
 tiefore the College of Organists. i8S$. 
 
OF S. PAUL'S CATHEDRAL. l6l 
 
 There is a curious tradition at S. Paul's about 
 Sydney Smith's musical predilections. It appears 
 that music in a minor key always had a depressing 
 effect upon him. He said that it unnerved him, and 
 when in residence he was compelled to forbid the 
 Succentor to introduce it into the Cathedral services. 
 
 But to return to our subject. One of Goss' chief 
 publications soon after he became organist of S. Paul's 
 was A Collection of Chants — Ancient and Modern, in 
 score with an accompaniment for the organ, folio. This 
 compilation, which appeared in 184 1, was one of con- 
 siderable utility, and was enriched by many compo- 
 sitions of great originality and meritj chiefly by James 
 Turle, Sir John Leman Rogers, Hobbs, the Rev. 
 James Lupton, the Rev. E. G. A. Beckwith, and Goss 
 himself, a large proportion of which appeared for 
 the first time. The arrangement, however, of some 
 of the old-established cathedral favourites was not 
 generally so good as might have been expected from 
 such an editor, being inferior to that in Bennett and 
 Marshall's Oxford collection which had been pre- 
 viously used at S. Paul's.* Goss's compilation forms 
 the ground-work of the present ^S". Paul's Cathedral 
 Chant Book, published in October, 1878. Two hun- 
 dred and fifty-seven chants were printed by Goss, 
 grouped under the heads of single, double, unison, 
 major and minor. 
 
 In the following year (1842) Goss wrote his anthem 
 " Blessed is the man." It met, however, with but a 
 cool reception from certain members of the composer's 
 choir, and several unkind criticisms passed thereon 
 deterred him, it is said, from writing another anthem 
 for ten years. This composition, a short "full 
 with verse" anthem, is extremely musicianlike and 
 
 * Ten copies of this collection were subscribed for by the Dean and Chap- 
 ter of S. Paul's on its publication in 1829. 
 
 , M 
 
l62 
 
 TEE ORGANISTS AND COMPOSERS 
 
 expressive, combining the ancient and modern styles 
 in the happiest and most judicious manner. 
 
 For ten years then, the sweet voice was silent, but 
 the pen was busily employed in many ways. 
 
 About 1846 Goss commenced editing, in conjunc- 
 tion with his old fellow-pupil James Turle, then 
 organist of Westminster Abbey, a collection of Cathe- 
 dral Services and Anthems in two volumes, by standard 
 composers. Some of these had not been previously 
 published in a cheap and accessible form, whilst others 
 had never been printed at all. The following list of 
 the pieces contained in this handsome and useful 
 collection may not be unacceptable : — 
 SERVICES. 
 
 ( Gibbons in F, 
 
 Batten in D minor. 
 
 Rogers in D. 
 
 Childe in F. 
 
 Childe in G. 
 
 Aldrich in G. 
 
 Arnold in B flat. 
 
 Cooke in G. 
 , Aiiwood in F. 
 
 Barrow in F. 
 
 Boyce in A, 
 
 Boyce in C. 
 
 Rogers in A minor. 
 
 Hayes in E flat. 
 
 Cooke (R.) in C. 
 
 ANTHEMS. 
 Farrant. 
 
 Morning, Communion, and 
 Evening Services. 
 
 Morning and Evening Service. 
 Morning Services. 
 
 Evening Services. 
 
 Hide not Thou Thy face 
 
 Lord, for Thy tender 
 
 mercies' sake. Farrant. 
 
 Bow Thine ear. ^ Byrde. 
 
 Almighty and Everlasting 
 
 God Gibbons. 
 
 O God. Thou art my God Pv.rcdl. 
 
 Teach me, O Lord Rogers, 
 
 Awake, up, my glory. Wise. 
 
 The Lord hear thee. Blow. 
 
 O Lord God of my salva- 
 tion. Clark. 
 
 Praise the Lord, Jeru- 
 salem. Clark. 
 
 give thanks. Aldrich. 
 
 1 have set God, Gold-win. 
 
 Hear my prayer. Btroudt 
 In Thee, O Lord. Weldm. 
 Cry aloud and shout. Cro/t, 
 God is gone up. Crojt. 
 Sing praises to the Lord. Croft. 
 We will rejoice Croft. 
 I will arise. Creyghtot 
 I will sing of Thy power. Greene. 
 O clap your hands. Greene. 
 Keep, we beseech Thee. Travers 
 Blessed be Thou. Kent. 
 Turn Thee unto me. Boyce. 
 Wherewithal shall Boyce. 
 Praise the Lord, O Jeru- 
 salem Haya. 
 Call to remembrance. Battithillj 
 
OF s. Paul's catbedral. 163 
 
 Any uneasiness that Goss may have felt respecting 
 the criticisms passed upon his anthem, " Blessed is 
 the man" must have been completely dispelled 
 by the warm reception accorded to the noble 
 Dirge which he composed at the request of Dean 
 Milman for the state funeral of the Duke of Welling- 
 ton at S. Paul's on November i8th, 185s. " Well do 
 I remember," says one who was present, " the rehearsal 
 of this work by a large and fine choir in the music 
 room, Store Street. When the last bars piaHissimo 
 had died away, there was a profound silence for some 
 time, so deeply had the hearts of all been touched by 
 its truly devotional spirit. Then there gradually arose 
 on all sides the warmest congratulations to the com- 
 poser, it could hardly be termed applause, for it was 
 something more genuine and respectful." 
 
 The anthem previously mentioned, set to the words, 
 "And the King said to all the people, &c." was per- 
 formed on the solemn day with grand effect, as well 
 as a short full one, " If we believe that Jesus 
 died," a beautiful and pathetic piece of writing in the 
 key of D minor. Both these compositions were pub- 
 lished in a volume prepared by Goss for the occasion, 
 similar to that edited by John Page for Nelson's state 
 funeral. It comprised the whole of the music per- 
 formed, viz.. The Burial Service of Croft and Purcell ; 
 Handel's anthem, " His body is buried in peace " ; 
 Mendelssohn's chorale, " Sleepers, Wake " from S. 
 Paul; chants by Lord Mornington and Beethoven; 
 and the Dead March in Saul. 
 
 After this, hardly a year passed without an anthem 
 appearing from the pen of Goss, although the then 
 Chapter of S. Paul's was not one particularly calcu- 
 lated to afford a Church composer much encourage- 
 ment. 
 
 For the Bi-centenary Festival of the Sons of the 
 Clergy on May 10th, 1854, our composer produced 
 
 M 2 
 
io4 THE- dRGANISTS AND COMPOSERS 
 
 " Praise the Lord, O my soul," one of his best-written 
 a.nd most popular anthems. It may not be generally 
 known that it was sung on the above occasion with 
 orchestral accompaniment — the slow movement, "O 
 pray for the peace of Jerusalem " being sung soUo 
 voce by the whole of the voices, 250 in number, and the 
 succeeding fine bold choral recitative, " They that put 
 their trust in the Lord " by the whole of the tenors and 
 basses, 120 strong, in unison. Attwood's Cantate 
 Domino and Deus Misereatur in D were used, and the 
 service was held under the dome. 
 
 A short full setting of the Alagnificat and Nunc 
 Simittis, in the key of E major, may also be assigned 
 to this period. 
 
 In the same year Goss edited, in conjunction with 
 the Rev. W. Mercer of Sheffield, a pointed Psalter 
 with a collection of chants and hymn tunes — an ex- 
 ceedingly useful and, in its day, an enormously popular* 
 manual. About the same time he revised the musical 
 edition of the Rev. W. J. Hall's " Mitre Hymn Book," 
 previously arranged by Hawes, but made no striking 
 original contributions to the collection. 
 
 In 1856 Goss succeeded William Knyvett as one of 
 the composers to the Chapel Royal, the other being 
 Sir George Smart, who was likewise organist. This 
 appointment gave further impetus to his labours. 
 
 For the enthronement of the Bishop of London 
 (Dr. Tait) on December 4th, 1856, Goss composed 
 " O praise the Lord, laud ye," an effective, short full 
 anthem in the key of C. This was sung in procession' 
 from the West door to the choir, on the above 
 occasion, producing a fine effect. 
 
 In the following year he wrote for insertion in the 
 Musical Times two of his most popular smaller 
 anthemS' — " Behold, I bring you glad tidings " (for 
 Christmas) and " Christ our Passover " (for Easter). 
 To the same periodical he contributed in 1859 
 
OF S. PAUL'S CATHEDRAL. 165 
 
 another short full anthem, " Almighty and Merciful- 
 God." 
 
 For the public funeral of Admiral the Earl of Dun- 
 donald in Westminster Abbey on November 14th., 
 i860, he had ready "O Lord God, Thou strength of 
 my health," and in the following year made that mag- 
 nificent contribution to modern Church music in the 
 shape of "The Wilderness." 
 
 In 1862 his once much-abused anthem, "Blessed 
 s the man " was, for the first time, published, being in- 
 cluded, together with a short full one — " These are 
 they which follow the Lamb" (composed in 1859) — 
 in a Collection of Anthems for certain Seasons and Fes- 
 tivals of the Church, then being formed by the Rev. 
 Sir F. A. Gore Ouseley. Another exquisite full an- 
 them, " I heard a voice from Heaven," dedicated to his 
 son, the Rev. John Goss, Succentor of Hereford Cathe- 
 dral, was probably composed about the same time.t 
 
 In 1863 there followed in rapid succession from 
 Goss' fertile pen, " Stand up, and bless the Lord ' 
 (written for the re-opening of Hereford Cathedral after 
 its restoration by Sir G. G. Scott in 1863)*, "Lift up 
 Thine eyes round about" for the Feast of the Epiphany, 
 and " O taste and see " for the Special Sunday 
 Evening Services at S. Paul's, which .were then not 
 so strictly congregational as they are now. These 
 three anthems perhaps show Goss at his best ; they 
 abound in fertile imagination, and that charmingly 
 descriptive part-writing in which he has had few equals. 
 
 At the request of Dean Milman in 1865, Goss set 
 
 * For the same solemnity the Rev. Sir F. A. Gore Ouseley (then Pre- 
 centor of Hereford) composed a complete Morning, Communion, and 
 Evening Service- in C, for double choir, i.e. in eight part's ; likewise a very 
 fine antnem, " Blessed be Thou." Mr. George Townshend Smith (organist 
 of Hereford, 1842 — 1876) wrote for the same function an elaborate anthem, 
 " O how amiable are Thy dwellings." 
 
 t This anthem was sung on the occasion of the funeral of the late Rev. Dr. 
 Liddon, Canon- Residentiary of S. Paul's, Sepi, i6;h, iSgo, 
 
1 66 TSE ORGANISTS AND COMPOSERS 
 
 to music as an anthem his beautiful lines " Brother, 
 thou art gone before us " from The Martyr of 
 Antioch. It was performed at the Festival of the 
 Corporation of the Sons of the Clergy at S. Paul's in 
 1865, when the Prince of Wales was present as one 
 of the stewards. The first movement of this lengthy 
 composition was afterwards set by Goss to the words 
 " Lord, let me know mine end " as being more 
 generally useful for choral purposes. 
 
 Between the years 1865 and 1868 Goss produced 
 several miscellaneous compositions, including a Burial 
 Service in E minor, Morning and Evening Services in 
 A and C, and four anthems — "Come, and let us 
 return," " Hear, O Lord," " O give thanks," and " In 
 Christ dwelleth all the fulness of the Godhead." 
 
 In 1869 he wrote his tuneful Te Deum in F, and 
 his loveliest inspiration, viz., the little short, full anthem 
 in A flat, "OSaviourof the world." This is always sung 
 at S. Paul's at matins on Good Friday, and it has been 
 truly said that, considering its modest pretensions, it 
 is one of the most natural, perfectly written and ex- 
 pressive pieces in the whole range of sacred musical 
 literature. For depth of expression, it has not been 
 inaptly compared to Mozart's last vocal composition 
 " Ave verum Corpus " frequently sung as an Introit 
 at the cathedral services. It was well known to Goss' 
 intimate friends that he delayed the completion of the 
 anthem " O Saviour of the world " for some weeks, in 
 consequence of his being unable to find the right chord 
 to suit a certain passage in the words. Yet the whole 
 appears so free and spontaneous, that it is difificult to 
 believe that it is not the result of a single uninter- 
 rupted effort. 
 
 Four longer anthems were written about the same 
 period (1869 — 1871), viz., "Fear not, O land," "I 
 will magnify Thee," " O praise the Lord of Heaven," 
 and "The glory of the Lord," all of them con- 
 
OF s. Paul's cathedral. 167 
 
 taining numberless gems, and " music that lingers in 
 the memory, and refuses to be forgotten." They 
 prove at the same time that Goss' talent for melody 
 and composition was as fresh as of yore, and that 
 too, at an age when most men have ceased to write 
 altogether. Goss thoroughly understood how to unite 
 to sound learning the expression of truth combined 
 with sublimity, and deep, though simple piety of 
 feeling, in a degree which has since rarely been ap- 
 proached and far less surpassed. 
 
 The above magnificent series of Church composi- 
 tions was fitly crowned in 1872 by the grand Te Deum 
 in D major, and the anthem, " The Lord is my 
 strength," written for the Thanksgiving Service held 
 at S. Paul's for the restoration to health of the Prince 
 of Wales. 
 
 Gounod, the distinguished French composer, at that 
 time a refugee here, had also written a festal TeDeum 
 with the intention of having it performed on the same 
 occasion. But it was not used : and very properly so. 
 For Goss in his capacity as composer to the Chapel 
 Royal as well as that of organist of S. Paul's, claimed 
 the privilege of composing the music for the national 
 thanksgiving, but the modesty which had distinguished 
 him throughout his life, and the long course of indif- 
 ference with which he had been regarded by the 
 Cathedral body, kept him at first from asserting his 
 right. Had not his numerous friends urged him to 
 furnish the necessary music for the great day, the first 
 Church composer then living would have been silent, 
 upon the very occasion when his voice ought to have 
 been heard. However, he acquitted himself as we 
 know, most admirably, and upon the grand effect with 
 which the Te Deum and anthem were sung on that 
 memorable 27th of February, 1872, it is needless here 
 to expatiate. 
 
 Shortly afterwards Goss was urged to set the Bene- 
 
1 68 TBE ORGANISTS AND COMPOSERS 
 
 dicius to music in order that it might be used with the 
 Te Deum as a morning service. He complied, and it 
 was probably while listening to a performance of 
 it by the fine choir of the Cathedral, that his last 
 visits to S. Paul's were paid, for, shortly after the 
 Thanksgiving Day, he retired from the organistship, 
 but continued to attend the Cathedral services and 
 never lost an opportunity of encouraging, by words of 
 praise or advice, those who were trying hard to improve 
 the musical services of his beloved church. 
 
 Soon after the Thanksgiving Day Goss received the 
 honour of knighthood from the Queen, and her thanks 
 for his music. Four years later the degree of Doctor 
 in Music honoris causd was conferred on John Goss 
 by the University of Cambridge, his distinguished 
 pupil Arthur Sullivan being at the same time the 
 recipient of a similar degree. 
 
 Thus, surrounded by respect and honours and ripe 
 in years. Sir John Goss enjoyed well earned rest. He 
 died at his house on Brixton Rise, near the great city 
 in which the whole of his long, useful, and laborious 
 life had been passed, on Monday, May loth, 1880, 
 in the eightieth year of his age. He was buried in 
 Kensal Green Cemetery on the Saturday following, 
 the first part of the service being rendered chorally at 
 S. Paul's, and in the course of which the affecting 
 anthem, " If we believe that Jesus died " was sung. 
 
 On the anniversary of the death of Sir John Goss in 
 1886 a cenotaph to his memory was unveiled in the 
 crypt of S. Paul's, not far from that of Miss Hackett 
 " the chorister's friend." It is a handsome piece of 
 workmanship, the principal material employed being 
 alabaster, varied by black and white marble. The chief 
 feature of the memorial is a panel with an exquisite 
 piece of sculpture in pure white Carrara marble by 
 Hamo Thornycroft, R.A. It represents five choristers 
 in surplices, holding music-books, and represented 
 
OF S. PAUL'S CATHEDRAL. 169 
 
 as singing ; the pipes of an organ are seen in the back 
 ground. At the time of the erection of this cenotaph 
 the features of the choristers depicted thereon were 
 likenesses of certain of the boys then, and until lately, 
 in the cathedral choir. The carving is in basso relievo. 
 Below the panel appears in musical notation the 
 opening phrase of the anthem " If we believe that 
 Jesus died," and underneath it the following inscrip- 
 tion : — 
 
 "In remembrance of Sir John Goss, Knight, Mus.D, 
 Cantab., Composer to Her Majesty's Chapels Royal and 
 34 years organist and vicar choral of this Cathedral. 
 Bom, Dec. 2'jth, 1800 — Died May 10th, 1880. His 
 genius and skill are shewn in the various compositions 
 with which he enriched the music of the Church. His 
 virtues and kindness of heart endeared Mm to his pupils 
 and friends, who have erected this monument in token of 
 their admiration and esteem." 
 
 The compositions of Sir John Goss not chronolo- 
 gically alluded to in this sketch include the overture 
 and music to The Sergeant's Wife, an operetta, the 
 libretto of which was originally intended to be used 
 by Attwood, but given by him to Goss (1827)* ; four 
 canons — "Hallelujah," "Who can tell how oft he 
 oifendeth" (1823), "I will alway give thanks" (1823) 
 and " Cantate Domino" (1824); A Requiem, in 
 memory of the Duke of York (1827) ; a similar com- 
 position for William Shield (1829); an anthem 
 "Forsake me not " still in MS. \ two short ones — 
 " Enter not into judgment " and " My voice shalt 
 Thou hear in the morning, O Lord," and two others 
 published posthumously — " God so loved the World " 
 (in the Musical Times for May, 1881) and "The God 
 of Jeshurun " (printed in Novello's series of Octavo 
 
 * This was produced at the English Opera House, now the Lyceum, and 
 ran for more than a hundred nights. 
 
I/O TEE ORGANISTS AND COMPOSERS 
 
 Anthems), The last-named was edited by Sir Arthur 
 Sullivan, who remarked in a prefatory note " This 
 anthem was left by the late Sir John Goss completed 
 down to the fifty-seventh bar. Numerous sketches, 
 altered and modified, testify to the difficulty he seemed 
 to encounter in continuing from that point. As none 
 of them were satisfactory to him, I have not made use 
 of them, but have continued and finished the anthem 
 in the endeavour to preserve the characteristics of his 
 writing." 
 
 Sir John Goss edited The Organist's Companion — a 
 Series of Voiuniaries, chiefly selected from the celebrated 
 works of Handel, Bach, Graun, Haydn, Mozart, Rinck, 
 6fc.., in four volumes ; Twenty-five Voluntaries for the 
 Organ arranged from the works of etninent composers ; 
 The Melodist — a Collection of Songs and Ballads by 
 various composers ; Six Songs from Scripture by Moore, 
 with additions; An Introduction to Harmony (1833) • 
 and an arrangement of Tallis' Responses for the Special 
 Services at S. Paul's. He was the composer of many 
 psalm and hymn tunes, and it is interesting to com- 
 pare the style of those written for the little manuals in 
 the early Chelsea days, with those to be found in The 
 Mymnary and other modern collections of tunes. 
 
 The character and works of Sir John Goss were 
 thus summed up in one of the leading musical periodi- 
 cals at the time of his death : — 
 
 " As an organist, it is difficult to pass an opinion on Goss. The 
 organs of his youth were very different instruments to those of 
 our time, and if he were not a brilliant performer from a modern 
 point of view, it is equally certain that many of our young organ- 
 ists would be utterly unable to produce the fine effects which 
 Goss produced on an organ having two octaves of very clumsy 
 pedals, a gamut-G swell, a l6-ft. (CCC) great organ manual, and 
 two or three unruly composition pedals. He always accom- 
 panied the voices (especially when soli) with thoroughly good 
 taste, and his extempore voluntaries were sometimes models of 
 grace and sweetness. 
 
 As a man, Goss commanded universal respect. The chief 
 
OF & Paul's cathedral, 171 
 
 features of his character were humility, genuine religious feeling, 
 and a strong love of home and home-ties. So deep-seated was 
 his humility that it produced a sort of shyness in his manner 
 which partially unfitted him for the rougher duties of public life. 
 The discipline and efficiency of the cathedral choir reached a very 
 low standard during the latter portion of his career. But, 
 although Goss was not altogether the man to cope with those 
 self-willed musicians who were on the staff, he must not be 
 solely blamed for the unsatisfactory state of the cathedral choir. 
 The fact is, he had, for a considerable period, to deal with a 
 Chapter which, taken as a body, had neither the power nor wish 
 to face the unpleasant duty of becoming reformers. His hearty 
 interest in all the improvements which he lived to witness in the 
 reorganisation of the choral staff by the present Dean and Chap- 
 ter, and the sincere pleasure which the now beautiful musical 
 services gave him, prove beyond doubt that, had his lot been 
 cast in better days, Goss would have been second to no one in 
 his efforts to raise the musical credit of St. Paul's to its proper 
 level. Probably no musician ever had fewer hostile detractors 
 than Goss. This was partly due to his natural amiability, but 
 also partly to the fact that he often shunned and avoided those 
 unpleasant calls of duty in which to take definite action means 
 to make a personal enemy. If we admire or envy him in this 
 respect, we must not the less give honour to those who accept 
 trusts and perform public duties at all hazards. That Goss was 
 a man of religious life was patent to all who came in contact with 
 him, but an appeal to the general effect of his sacred composi- 
 tions offers public proof of the fact. It is not less true in music 
 than in other arts, that the artist writes his character in his 
 works. In uncouth modulations and combinations can be 
 traced the man who wishes to be thought original ; in over- 
 wrought tone- colouring the bad taste of a man who, had he 
 been trusted with a paint-brush instead of a pen, would have 
 revelled in violent contrasts and in the grotesque ; in pedantries, 
 and conventional, clever tricks stands out the man who is anxious 
 to be thought learned, and values artifice more than art. A 
 careful study and familiar knowledge of the sacred compositions 
 of Goss leaves a very definite feeling that their author was a 
 man of refined thought, leligious in life, possessing a keen appre- 
 ciation of the resources of his art, tempered by a firm resolution 
 to use them only in a legitimate manner. There is that gentle- 
 ness and repose about them which eminently characterised the 
 man himself. He treated all others with consideration and 
 goodness, and seemed hurt when he had occasion to realise the 
 fact that others did not always treat him in the same way. He 
 loved quietness and valued the affection of others. " — The Musical 
 Times, Jane, 1880. 
 
172 THS ORGANISTS AND COMPOSERS 
 
 Let us conclude this chapter with some impressions 
 of a visit paid to S. Paul's, during the days of Goss, 
 by the eminent poet-bishop of Western New York, 
 the Very Rev. Arthur Cleveland Coxe. 
 
 " Going to S. Paul's to morning service, on Sunday the 4th of 
 May (1851), I entered the south transept, and, for the first time, 
 beheld its interior. The effect of the immense vault of the dome 
 as it first struck my sight, was overpowering ; the more so, 
 because at that moment, a single burst of the organ and the swell 
 of an Amen from the choir, where service was already begun, 
 filled the dome with reveberations that seemed to come upon me 
 like thunder. I was so unprepared for anything impressive in 
 S. Paul's, that I felt a sort of recoil, and the blood flushed to my 
 temples. I said to a friend, who happened to be with me, 
 ' After all, 'tis indeed sublime ! ' I now went forward with 
 highly excited expectations, and the voice of the clergyman in- 
 toning the prayers within the choir, increased my anxiety to be 
 at once upon my knees. I glanced at the monument of Howard, 
 and entered beneath the screen. The congregation seemed 
 immense. A verger led us quite up to the altar, and as he still 
 found no place, conducted us out into the aisle, where I passed 
 the kneeling statue of Bishop Heber with a trembling emotion of 
 love and admiration, and so was led about and put into a stall 
 (inscribed ' Weldland,' with the legend Exaudi Domine justi- 
 ■tiam), where kneeling down I gave myself up to the solemn 
 worship of God, and solemn worship it was ! I never, before or 
 since, heard any cathedral chanting, whether in England or on 
 the continent, that could be compared to it for effect. The two 
 clergymen, who intoned the Litany, knelt in the midst of the 
 choir, looking towards the altar. Even now I seem to be hear- 
 ing their full, rich voices, sonorously and articulately chanting 
 the suffrage — By Thy glorious Resurrection and Ascension — to 
 which organ and singers gave response — Good Lord deliver us — 
 
 as with the voice of many waters Tears gushed from my 
 
 eyes and my heart swelled to my throat as this overwhelming 
 worship was continued." 
 
 ^ 
 
OF S. PAULS CATHEDRAL. 1 73 
 
 CHAPTER V. 
 
 Music at the Cathedral in the present day. 
 
 Little now remains to be told. On the resignation 
 of Sir John Goss in 1872, as narrated in the foregoing 
 chapter, the authorities at S. Paul's appointed Dr. 
 (now Sir John) Stainer as his successor in the important 
 post. A happier selection could not have possibly 
 been made. His appointment may have been partly 
 influenced by his old association with S. Paul's as a 
 chorister, but it, no doubt, mainly arose from the fact 
 that an active administrator as well as a musician 
 was sorely needed. That the organist of the cathedral 
 should be a sound churchman was a sine qua non. All 
 these qualities were combined in Dr. Stainer. 
 
 It is a painfully well-known fact, that under Goss, 
 able as he was as a musician, and unrivalled as a com- 
 poser, but lacking that quality so essential in a modern 
 choir-master, viz., tact, the services at S. Paul's had 
 reached a pitch of slovenhness hardly to be found 
 elsewhere in England. It was impossible sometimes 
 for the choir to sing a simple response, or an Amen, 
 with neatness and precision. 
 
 To make a long and unpleasant story short, Goss 
 had, as previously remarked, for a considerable time 
 to deal with a Chapter which, taken as a body, had 
 neither the wish nor the pecuniary power to face the 
 
174 2!ff£ ORGAmSTS AND COMPOSERS 
 
 disagreeable duty, at their time of life, of becoming 
 cathedral reformers.* The intense interest, however, 
 which Goss took in all the improvements which he 
 lived to witness in the thorough reconstruction of the 
 choral body by the present energetic and far-seeing 
 Dean and Chapter, and the sincere pleasure afforded 
 him by the greatly improved musical services, all tend 
 to prove that, had his lot been cast in times more 
 favourable to the encouragement of cathedral music, 
 Goss would have -been by no means behindhand in 
 exerting himself to the utmost, in trying to raise the 
 musical credit of S. Paul's to its proper level in the 
 eyes of English churchmen and musicians. 
 
 Soon after his appointment in 1838, Goss wished 
 to introduce some salutary reforms into the services, 
 which were carried on in a most perfunctory manner ; 
 but his suggestions, though kindly listened to by 
 Sydney Smith and other members of the Chapter, were 
 never acted upon. 
 
 But the time was now (187 1) come for commuting 
 the estates of the Cathedral, and it was no light enter- 
 prise to calculate and weigh the claims of the various 
 interests which were concerned in the vast machinery 
 connected with the great Church of the metropolis. 
 This was nearly completed at the time of the death of 
 Dean Mansel, the successor in 1868 of Henry Hart 
 Milman ; and it was on the basis of his calculations 
 that the liberal arrangements of the Ecclesiastical 
 Commissioners were subsequently effected.* 
 
 Dr. Stainer then, as previously observed, was no 
 
 * Dean Milman, Archdeacon Hale, and Canons Dale and Melville were 
 all men well advanced in years in iS68. the ^lear of the death of the last 
 named. 
 
 * Dean Mansel — "The Christian Philosopher" — died at Cosgrove Hall, 
 Northamptonshire, Sunday, July 30th, 1871, He was succeeded by the 
 Very Rev. R. W, Church, the present Dean. On S. Paul's Day, 1879, a 
 stained glass window, representing the Incredulity of S. Thomas, with an in- 
 scription by Archdeacon Hessey, was unveiled to his memory in the north- 
 west chapel of 5. Paul's. 
 
OF S. PAUL'S CATHEDRAL. 175 
 
 Stranger to S. Paul's, having spent nearly ten years of 
 his life as a chorister, frequently taking the organ upon 
 occasion. 
 
 John Stainer was born on June 6th, 1840, and was 
 placed in the choir in 1847 under William Bayley, the 
 then singing master. While a chorister his precocious 
 talent and general sharpness were observed by Miss 
 Hackett, who paid for a course of organ lessons for 
 him from George Cooper, sub-organist of the Cathe- 
 dral, at S. Sepulchre's, Holborn. While still in the 
 choir he was, in 1855, appointed organist of the church 
 of SS. Benedict and Peter, Paul's Wharf (now the 
 Welsh Church), of which the Rev. J. H. Coward, 
 classical master to the choristers, was then Rector.f 
 With the exception of a course of lessons in counter- 
 point and harmony from Dr. Steggall, the instructions 
 of Mr. Bayley were the only ones Stainer ever had. 
 At the early age of seven he could play Bach's Fugue 
 in E major (called by old Sam. Wesley " The Saints in 
 Glory Fugue ") and the overture to Kandel's Act's and 
 Galatea on the piano, besides being a good performer 
 on the organ. This early period of Stainer's life is 
 associated with his friendship with Arthur Sullivan, 
 then a chorister of the Chapel Royal under the Rev. 
 Thomas Helmore ; and Sir John humourously 
 recalls how the two boys were wont, on half holidays, 
 to take trips on the Thames penny steamers, and how 
 their enjoyment was enhanced by the consumption of 
 oranges and nuts. 
 
 In 1858 Stainer was appointed organist of the 
 beautiful church of S. Michael's College, Tenbury, 
 erected by Mr. Henry Woodyer for that munificent 
 man and eminent Church musician the late Rev. 
 
 t Mr. Coward's predecessor at S. Eenedict's, was the Rev. W. J. Hall, a 
 fellow minor canon, whp, in 1851, was preferred to the chapter living of 
 Tottenham. 
 
•176 THE ORGANISTS AND COMPOSERS 
 
 Sir F. A. Gore Ouseley, whom Stainer has re- 
 cently succeeded in the Professorship of Music at 
 Oxford. 
 
 A year later, on the resignation of Mr. Ben- 
 jamin Blyth, Stainer was made organist of Magdalen 
 College, Oxford, where, under his direction, the choral 
 services were greatly raised, and subsequently became, 
 like those of S. Paul's, unsurpassable. 
 
 In i860, Stainer was appointed successor to Dr. 
 Stephen Elvey, as organist of S. Mary's, the Univer- 
 sity Church. While at Magdalen he passed through 
 the examinations which secured him the degrees of 
 Bachelor and Master of Arts, and those of Bachelor 
 and Doctor in Music. 
 
 From the time of his appointment to S. Paul's 
 in 1872, until that of his resignation in 1888, 
 Stainer continued to pour forth service after service 
 and anthem after anthem, in all of which beauty 
 • of melody, great individuality of form and originality 
 of harmony, scientific skill and expressive effect were 
 blended in the happiest and most judicious manner. 
 Where all is so fine, it would be invidious to single 
 out any one composition for special remark, but it is 
 impossible to resist pointing out the Morning Service 
 in E flat, The Communion Service in A and D, the 
 Evening Service in E major, and the anthems " I 
 desired Wisdom," " O clap your hands," and " I saw 
 the Lord," as being among the highest flights of his 
 inventive genius. 
 
 That the hand of this eminent composer has not 
 lost its cunning may be seen in one of his last con- 
 tributions to Church music, which took the shape of 
 an anthem, composed for the festival service held at 
 S. Paul's on June 23rd, 1887, in celebration of the 
 fiftieth reign of our Sovereign. 
 
 The annexed is a complete list of Sir John Stainer's 
 Church compositions down to the present time. 
 
OF S. PAUL'S GATHBDRAL. lyf 
 
 SERVICES. 
 
 In A and D. Te Deuvi, Benedictus, Kyrie, Credo, Offertory 
 
 Sentences, Sanctus, Gloria in Excelsis, Magnificat and 
 
 Aunc Dimittis. 
 In A. Kyrie, Credo, Sanctus, Gloria in Excelsis (short setting). 
 In A minor. Benedicite Omnia Opera (unpublished). 
 In B flat. Te Deum, Benedictus, Kyrie, Credo, Ojfertory, Sanctus, 
 
 Benedictus, Agnus Dei, Gloria in Excelsis, Magnificat 
 
 and Nunc Dimittis. 
 In C. Te Deum Laudamus (Parochial setting). 
 In D. Magnificat and Nunc Dimittis (for men's voices only, 
 
 unpublished). 
 In D. Magnificat and Nunc Dimittis (Parochial setting). 
 In E. Magnificat and Nunc Dimittis. 
 In E flat. Te Deum, Benedictus, JuUlate, Introit, " Jesus said 
 
 I am the Bread of Life," Kyrie, Credo, Offertory, 
 
 Sanctus, Gloria in Excelsis, Magnificat and Nunc 
 
 Dimittis. 
 In F. Magnificat and Nunc Dimittis (Parochial setting). 
 
 The Te Deum, Benedictus, Magnificat and Nunc Dimittis 
 arranged to various Gregorian Tones and harmonized. Series 
 I. to IV. 
 
 Magnificat arranged to S. Saviour's Tone. 
 
 A complete Choir Book of the Holy Communion containing 
 the whole of the proper Plain Song of the Priest's part, together 
 with the ancient Confiteor, Paternoster, Sursum Corda, etc., and 
 the Kyrie, Credo, Sanctus, Gloria, etc., of Marbecke. 
 
 Various arrangements of the Nicene Creed and Creed of S, 
 Athanasitts, The Miserere, the Versicles and Responses, the Bene- 
 dicite, &c. 
 
 ANTHEMS. 
 
 Verse Anthems. 
 *Drop down ye heavens. 
 Grieve not the Holy Spirit of God. 
 Ye shall dwell in the land. 
 
 Full Anthems with verses. 
 And all the people saw the thundering!. 
 Awake, put on thy strength. 
 Hosanna in the highest. 
 I am Alpha and Omega. 
 1 desired wisdom. 
 *I saw the Lord, 
 Let the peace of God. 
 
 N 
 
J 78 THE ORGANISTS AND COMPOSERS 
 
 Lead Tdndly light. 
 
 Lo I Summer comes again. 
 
 Lord, Thou art God alone. 
 
 O clap your hands. 
 
 O Zion that bringest good tidings. 
 
 Sing a song of praise. 
 
 The hallowed Day. 
 *The morning stars sang together. 
 
 The righteous live for evermore. 
 
 There was a marriage in Cana of Galilee. 
 *They were lovely and pleasant in their lives. 
 
 Thus speaketh the Lord of hosts. 
 
 Full Anthems. 
 
 Behold, God is my helper. 
 Blessed is the man that endureth temptation. 
 Deliver me, Lord. 
 Leave us not, neither forsake us. 
 Let every soul be subject. 
 * The Lord is in hts holy temple. 
 They have taken away my Lord, 
 What are these that are arrayed. 
 
 Notwithstanding the composition of this long series 
 of services and anthems, coupled with his innu- 
 merable professional avocations, Sir John Stainer has 
 found time to produce several works of greater magni- 
 tude, such as Gideon, an oratorio; and two Can- 
 tatas — The Raising of Jairui Daughter (composed 
 for the Worcester Festival of 1878), and S. Mary 
 Magdalene viitten for the Gloucester Festival of 1883. 
 One of Sir John Stainer's latest achievements in this 
 department of composition is a Lenten oratoriette or 
 meditation on the Passion, entitled The Crucifixion. 
 This, on account of its comparative facility of exe- 
 cution, has proved an immense favourite with parochial 
 choirs. 
 
 Sir John Stainer has composed some pieces for 
 the organ, including a grand " Jubilant March," and 
 
 * These were written for Sir Fredericlc Ouseley's Collw%ian cf 4nOtem* 
 tor the Chnrek Seaiont. 
 
OF S. PAULS CATHEDRAL. 179 
 
 has also published some very acceptable arrangements 
 from the works of the great masters. An exhaustive 
 and erudite treatise on the organ has appeared from 
 his pen ; and, in conjunction with Dr. W. A. Barrett 
 (vicar choral of S. Paul's) he has edited a compen- 
 dious Dictionary of Terms used in musical art. Many 
 of his hymn tunes contributed to Hymns Ancient and 
 Modem, and 7%< Hymnary, are among the most 
 original and beautiful modern compositions of the 
 kind our Church possesses. 
 
 Various publications have been edited by Sir John 
 Stainer, including Croft's anthem, " Sing praises to the 
 Lord," and Dr. W. Hayes' " Save, Lord, and hear us " ; * 
 The S. Paul's Cathedral Chant Book (1878) ; ITie Gre- 
 gorian Tones with Accompanying Harmonies for the 
 Merton Psalter; and The Cathedral Psalter, and Cathe- 
 dral Psalter Chant Book in conjunction with Barnby, 
 Turle, Rev. S. Flood Jones, and Rev. J. Trout- 
 beck. He has also edited, with the co-operation 
 of the Rev. H. R. Bramley, a very compre- 
 hensive collection of Christmas Carols, New and Old 
 in three volumes, some of which have also been 
 arranged for men's voices only. In 1879 a little 
 volume entitled I'he Music of the Bible appeared from 
 his busy pen, and he has also written on the Great 
 Bell of S. Paul's and other campanological subjects, 
 on which he is a great authority. Sir George Grove's 
 Dictionary of Music has been enriched by many con- 
 tributions from Sir John Stainer. A very charming 
 male voice glee, "Bind my brows," a madrigal in 
 the olden style, " The Praise of Victoria," and several 
 graceful songs, are among Sir John Stainer's principal 
 contributions to secular music. 
 
 The services Sir John Stainer has rendered to music 
 
 * An edition in octavo size of Mendelssohn's M(yming (md, Evening Service 
 should be added to these. 
 
 N 9 
 
l80 THE ORGANISTS AND COMPOSERS 
 
 in England have, by no means, been confined to 
 S. Paul's. He is a brilliant instrumentalist, and as an 
 organist he has few equals, and in some respects he 
 is acknowledged by the highest authorities to be quite 
 without a rival, but in innumerable other ways he has 
 worked with all the enthusiasm of genius for the pro- 
 motion and diffusion of the art he has loved from 
 childhood, and there are few men whose influence on 
 the music of this country has been so great and 
 salutary. The grand orchestral services on festivals 
 and other solemn days at S. Paul's all owe their origin 
 to his great tact and extraordinary ability for organiza- 
 tion, and in the training of the large voluntary Sunday 
 Evening Choir he has taken the keenest interest. 
 
 Such honours as are at the disposal of his 
 fellow musicians have been freely showered upon 
 him, for he is universally beloved and esteemed, but 
 his many onerous duties, his organistship of this, his 
 presidency of that, and his incessant hard work as an 
 examiner, have all involved responsibility and constant 
 application, and the result is that his sight and general 
 health have given way under the severe strain of sheer 
 hard work. On the 4th of May, 1888, he played his last 
 service at S. Paul's, retiring from his post of organist 
 there in time, as he has pathetically expressed it, to 
 save what little eyesight is left to him. Like his talented 
 predecessor, he received, during the summer of the 
 same year (1888) the honour of knighthood. 
 
 George Clement Martin, the successor of Sir John 
 Stainer, was bom at Lambourn, a Berkshire village, 
 September 11, 1844. The parish church contained 
 an unusually fine organ for such a situation, while the 
 services were greatly in advance of those to be found 
 in most villages at that period. 
 
 It was not, however, until his sixteenth year that 
 Dr. Martin had serious thoughts of adopting music as 
 his profession, and he was then quite unable to play 
 
OF s. Paul's cathedral. i8i 
 
 any instrament, but after some months' study it was 
 found that he was fully competent to take the parochial 
 services, and was appointed organist of Lambourn 
 church. One of his fine hymn tunes, contributed to 
 Hymns, Ancient and Modem, bears the name of his 
 native village. For more advanced study in the theory 
 of music he repaired to Dr. Stainer, then organist of 
 Magdalen College, Oxford, and in due course took 
 his degree of Bachelor in Music. 
 
 In 187 1 he was appointed organist to the private 
 chapel of the -Duke of Buccleuch at Dalkeith, which 
 post he held, together with that of organist of S. John's, 
 Edinburgh, until 1874, when he was invited by the 
 Dean and Chapter of S. Paul's to succeed Mr. Frederick 
 Walker as music master to the boys of the newly 
 constructed choral foundation of the cathedral. 
 
 Two years later he succeeded George Cooper as 
 sub-organist. In this position Dr. Martin showed 
 himself possessed to such a large degree of the many 
 qualities necessary to a successful administrator — for, 
 as previously remarked, the direction of such a choir 
 as that of S. Paul's demands something more than 
 executive ability — that, when in 1888 Sir John Stainer 
 resigned his position as chief organist. Dr. Martin 
 was indicated by a remarkable concensus of opinion 
 as the most proper successor to that eminent 
 musician. 
 
 Dr. Martin's labours in the sphere of English 
 Church music have been neither few nor small, 
 his services and anthems bearing the stamp of sound 
 musicianship, and being brim full of sterling musical 
 coin, with a tone and ring unmistakably his own. 
 
 It would be superfluous and absurd to speak in 
 this place of Dr. Martin's abilities as an organist; 
 suffice it to say that under his guidance the musical 
 services of S. Paul's are by no means likely to descend 
 from the high level to which they have been raised by 
 
t82 THE ORGANISTS AND COMPOSERS 
 
 the talented musician to whom he is so worthy a 
 successor. 
 
 The degree of Doctor in Music was conferred on 
 the present distinguished occupant of the organist's 
 seat at S. Paul's by the Archbishop of Canterbury, in 
 1883, in recognition of his unflagging labours in the 
 field of EngUsh Church music. It may be explained 
 that this, the Lambeth, degree is one rarely conferred 
 on a musician. Among those who have been its 
 recipients are John Blow, Zechariah Buck (the 
 venerable Norwich organist), John Henry Gauntlett, 
 Herbert Oakeley, W. H. Longhurst, E. J. Hopkins, 
 Warwick Jordan, C. G. Verrinder, and Edmund Hart 
 Turpin. 
 
 The following is a hst of Dr. Martin's compositions 
 for the Church : — 
 
 SERVICES. 
 
 In A. Magnificat and Nunc Dimittis (composed for the Sion 
 College Choral Union, 1877). 
 
 In B flat. Magnificat and Nunc Dimittis (composed with ac- 
 companiment for military band, for the festival held 
 at S. Pauls in 1878 in aid of the School for Daughters 
 of the ofiicers of the army. 
 
 In C. Te Deum, Benedictus, Kyrie, Credo, Offertory Sentences, 
 Sanctus, Gloria in Excelsis, Magnificat and Nunc 
 Dimittis (the last two movements composed for the 
 Dedication Festival at S. Paul's 1877). 
 
 In A. Je Deum and Benedictus, for men's voices, unpublished.* 
 
 In D. Magnificat and Nunc Dimittis (Parochial setting). 
 
 In E flat. Magnificat and Nunc Dimittis (Parochial setting). 
 
 In G. Magnificat and Nunc Dimittis (composed for the annual 
 Festival of the London Church Choir Association, 
 1887). 
 
 * In the early part of September, 1886, an epidemic in the choir school 
 deprived the Cathedral of trebles for more than a month. During this 
 period the whole of the services were sustained by men's voices. To meet 
 the emergency, this Te Deum was composed, rehearsed and produced for 
 tlie Sunday service within a week. It is a most scholarly and brilliant 
 composition, and probably one of the first things of the kind ever written by 
 an English Church musician, thereby opening up quite a new path in art. 
 
OP s. Paul's gatbedral. 183 
 
 Three settings of Benedicite Opera Omnia, in F, E flat, and G. 
 Setting of Benedicite for men's voices (unpublished). 
 Thirteen Ojfertory Sentences in the Office of Holy Communion, 
 Three Double Chants (in the 5'. Paul's Chant Book), 
 
 ANTHEMS. 
 
 Behold, now praise the Lord (meVLsyo\cesoxi\y) unpublished. 
 
 Come, my soul must thou be wAing (Si 4 v.) 
 
 Hail I thou that art highly favoured (for the Annunciation 
 
 of the B. V. M.) 
 Ho ! everyone that thirsteth (bass solo). 
 Holiest, breathe an evening blessing (k 4 v.) 
 Holy Spirit come, O come (treble and bass solos).* 
 In the end of the week. 
 Magnify His name.^f 
 
 bejoyiful in the Lord, all ye lands ^ 4 v.) t 
 O come be/ore his presence (tenor solo). 
 Rejoice in the Lord, O ye righteous ^ 4 v.) § 
 The great day of the Ijird (^ 4 v.) 
 Whoso dwelleih under the defence (tenor solo). 
 
 Dr. Martin has done good service to cathedral 
 music by editing cheap octavo editions of the fine 
 old services, Gibbons in F (transposed to G, as sug- 
 gested by Sir Frederick Ouseley), Croft and Elvey in 
 A, Travers in F, Aldrich in G, Cooke in G, and Samuel 
 (the elder) Wesley in F. He has also edited octavo 
 copies of Battishill's fine six-part anthem, " O Lord, 
 look down from Heaven," Byrde's "Sing joyfully," 
 and J. C. Beckwith's " My soul is weary." A very 
 useful and comprehensive collection of Responses to 
 the Commandments, selected firom English com- 
 posers, ancient and modern, has been compiled by 
 him. He has also published some very admirable 
 and acceptable arrangements for the organ from 
 
 • Composed (with Latin words) for the Convocation Service at S. Paul's, 
 April 30m, 1880. 
 
 t Composed for the Festival of the London Church Choir Association at 
 S. Paul's, 1890. 
 
 t Composed for the Festival of the Gregorian Association, 1S90. 
 
 I Composed for the Festival of the Sion College Choral Union, 1879 
 
1 84 THE ORGANISTS AND COMPOSERS 
 
 Schumann, Beethoven, Spohr, Gounod, and others, 
 and has edited a series of settings of the Communion 
 Service for parochial use. 
 
 It would be unpardonable to omit the names of the 
 two Coopers, father and son, from a chronicle of the 
 prganists of .S. Paul's, though neither of them was 
 actually on the foundation. The elder Cooper was 
 assistant organist to Attwood, and the younger to Goss 
 with the title of sub-organist. 
 
 When only eleven years of age George Cooper, Junior, 
 was a good organ-player. It was Attwood's delight to 
 make him extemporize before Mendelssohn during his 
 visits to the cathedral, and the great composer is said 
 to have marked and commended him on these occa- 
 sions. 
 
 George Cooper was appointed organist of the Chapel 
 Royal on the death of Sir George Smart in 1867, and 
 was also organist of S. Sepulchre's, Holborn. His 
 compositions for the church were neither manifold nor 
 of much account ; it is as a performer on, and arranger 
 for the organ that he will be longer remembered. His 
 accompaniments to the psalms at S. Paul's, and of 
 services and anthems that he hked, were very fine. 
 As a player of Bach he was simply unsurpassed. One 
 of the greatest treats imaginable to the writer was to 
 " drop in" to S. Sepulchre's after the Sunday evening 
 services at S. Paul's, to stand at the altar-rails and 
 listen to George Cooper's noble interpretations of 
 those wondrous pieces of music — the fugues of John 
 Sebastian Bach, on the grand old Harris organ, which 
 then occupied its legitimate place at the "West end of 
 the church. 
 
 Mr. William Hodge is Dr. Martin's able and 
 talented coadjutor as sub-organist of St. Paul's. 
 
 The names of George Buckland, James Shou- 
 bridge, William Machin, William Winn, and Charles 
 Lockey must not be omitted from the roll of 
 
OF S. PAUL'S CATHEDRAL. 185 
 
 vicars choral of S. Paul's within the last forty years. 
 All were gifted vocalists, and the prestige of S. Paul's 
 in this respect is well maintained at the present day, 
 several of the vicars and assistant vicars choral being 
 not only singers of refined taste, but composers of 
 undoubted ability. 
 
 Prior to the removal of the organ-screen of S. Paul's 
 in i860, and even up to the year 1 871, six men and a 
 dozen boys could, when they chose to put forth their 
 best powers, execute the choir-music with excellent 
 effect. When, however in 1872 the dome was con- 
 stituted the future abiding-place of the congregation, 
 the greatly increased space through which the sound 
 was to travel demanded a far larger body of vocalists. 
 Accordingly, the number of boys was gradually raised, 
 until 1874, when it reached its present strength, that 
 of forty. 
 
 In the above year a large school-house for the ex- 
 clusive education and maintenance of the choristers of 
 S. Paul's was erected from the designs of Mr. Penrose, 
 the cathedral surveyor, funds having been obtained for 
 the purpose from the Ecclesiastical Commissioners. 
 This building stands upon the ground formerly occu- 
 pied by the Proctors' offices in Doctors' Commons, 
 and is said to be contiguous to the site of the original 
 choral Grammar School of S. Paul, coeval with the 
 first foundation of the cathedral. 
 
 The teaching staff comprises a head master, three 
 under masters, and the organist of the cathedral 
 as trainer of the boys' voices, and general instructor in 
 music. Lately one of the assistant vicars-choral has 
 been appointed second music master and professor of 
 the pianoforte. The present head-master represents the 
 ancient statutory Magister Scholce Cantus, and Magister 
 Schohz Grammatices in one. The forty boys are 
 boarded and lodged in the house. They receive 
 
TSE ORGANISTS AND COMPOSERS 
 
 nothing, and, with the exception of clothes pay for 
 nothing. Their time is divided between their duties 
 in church, their musical training and their general 
 education. The school has been inspected in refer- 
 ence to the last named by a qualified examiner, and 
 his reports have been satisfactory. 
 
 The names of boys between the ages of eight and 
 ten are entered as candidates, on receipt of their bap- 
 tismal certificate, and their parents' name and pro- 
 fession. They are required to pass an examination in 
 the following subjects : — ^The leading incidents of Holy 
 Scripture and the Church Catechism; Reading, Writing, 
 and the four Elementary Rules of Arithmetic ; and the 
 simple rules of Latin Grammar. Although, in addition, 
 a knowledge of the theory of music is appreciated by 
 the examiners, this qualification is not considered 
 apart from a good voice and ear, which are absolutely 
 indispensable. Examinations are usually held twice 
 or thrice in the year, according to the number of vacan- 
 cies likely to occur at the end of a term. Due notice 
 of the day and hour, is sent to those whose names 
 have been entered. At these examinations it may be 
 stated that on an average, only two or three out of 
 about twenty-five candidates are successful. 
 
 Boys are admitted at first only upon probation, and 
 before they are formerly received into the choir their 
 parents must give an undertaking that they will not 
 remove them without express permission. The health 
 of the boys and the general state and discipline of the 
 school appear to be excellent. The advantages of 
 the establishment, perhaps enable the Dean and 
 Chapter to draw their choristers from a much better 
 class of boys than was the case formerly. 
 
 The whole school has a half holiday every Thursday 
 afternoon, when the cathedral service is sung by the 
 men's voices only. Should a Saint's day fall on a 
 Thursday the holiday is transferred to some more 
 convenient day in the same week. 
 
OF s. Paul's cathedral. 187 
 
 The boys have about a fortnight's holiday after the 
 octaves of Christmas and Easter, leaving in two por- 
 tions ; but in the summer (usually in the month of 
 August) the boys are given their holidays simul- 
 taneously, the services being sustained , in their 
 absence, entirely by the men's voices. They have a 
 large partially-covered playground upon the roof of 
 the school-house, an open space or field being an abso- 
 lute impossibiUty in close proximity to the cathedral. 
 
 UnUke the children of the Chapel Royal, the 
 choristers of S. Paul's formerly had no distinguishing 
 or uniform dress ; whereas, in their neat black suits, 
 Eton collars and square caps with the peculiar fringe- 
 less tassels, they are now easily recognizable in the 
 public streets.* 
 
 At the time of the reconstruction of the choral 
 staff, twelve assistant vicars-choral were appointed, 
 in addition to the six vicars-choral already on the 
 foundation. An efficient number of deputies was 
 enrolled, and an exhaustive table of rules and regula- 
 tions drawn up for their observance. 
 
 On Sundays, thirty-six boys and eighteen vicars 
 and assistant vicars-choral are present at the morn- 
 ing and afternoon services, the adult singers being 
 distributed as follows : — 3 altos, 3 tenors, and 3 basses 
 on the Decani side, and a Uke number on the Can- 
 toris side. On week days, the whole of the boys 
 attend, but only twelve adult singers, six on either 
 side, unless a certain service or anthem require extra 
 voices. 
 
 The new regulations respecting the minor canons 
 have been dealt with at considerable length in the 
 first chapter. 
 
 * An Interesting account of the system of musical education adopted witli 
 regard to tlie choristers of S. Pam'si will be found in Mr. J. S. Curwen's 
 little book, Stvdia in Worship Music (Second SeriesX 
 
1 88 THE ORGANISTS AAD COMPOSERS 
 
 The hours* of the capitular Offices at S. Paul's are 
 at present arranged as follows : — 
 
 On Sundays. At 10.30, choral matins, Litany, and 
 full choral celebration of the Holy Communion, with 
 sermon by the Dean, a prebendary, or a minor canon, 
 according to circumstances ; at 3.15, first choral 
 evensong with sermon by one of the four canons 
 residentiary ; at 7.0, second choral evensong, with 
 sermon by a preacher especially appointed by the 
 Bishop or the Dean and Chapter. 
 
 On week-days. At lo.o, choral matins, with Litany 
 on Wednesdays and Fridays, and, on Saint's days, a 
 full choral celebration of the Holy Communion ; at 4.0. 
 choral evensong, with a sermon on Holy days, and on 
 Wednesdays and Fridays during the season of Lent. 
 
 On Christmas Day, Good Friday, and Ascension 
 Day the services are held at the same hours as on 
 Sundays, with the exception, however, of Christmas 
 Day, when there is no sermon at the quarter past 
 three service, and no second evensong. 
 
 Besides the above there is a daily celebration of 
 the Holy Communion in the North- West or Morning 
 prayer Chapel at 8 a.m., first started on New Year's 
 Day, 1877.1 -^t the same hour matins is said in the 
 Crypt Chapel sine cantu, and there is a short evening, 
 or compline service, in the North-West Chapel at 
 8.O., which is partially choral. 
 
 In the same place there is held daily, at a quarter- 
 past one, a short mid-day Office, intended principally 
 
 * The greatest punctuality is, and always has been, observed in the com- 
 mencement of the daily Offices at S. Paul's. The same remark applies to 
 Westminster. Frequenters of the Abbey will remember, probably, how the 
 clergy and choristers contrive to be in their places, two or three minutes 
 before, lo and 3, and how, their preliminary devotions being ended, they 
 await the striking of the ancient clock in the South transept, when the 
 Minor Canon immediately commences the Office. The effect of this daily 
 punctual waiting upon God, is very touching and solemn. 
 
 t On the greater Festivals, and on all Saints' days, there is an additional 
 celebration at 7.15 a.m. 
 
OF S. PAUL'S CATHEDRAL. 1 89 
 
 for business men, by whom it appears much appre- 
 ciated. This is also partly choral, and a very admirable 
 manual of prayer has been drawn up for use at it, by 
 Canon Liddon. In Lent this service is transferred to 
 the Dome, when an address is given every day (Satur- 
 days excepted) by some preacher of eminence. The 
 singing of the hymns at these services by an immense 
 body of voices in unison, without any accompaniment, 
 is exceedingly impressive, tending to remind one of 
 what must have been the effect of the singing in the 
 days of Paul's Cross. 
 
 At Bishop Compton's Visitation in 1696 (the most 
 important Post Reformational Visitation, it is said, 
 now extant) the daily choral services at S. Paul's were 
 to be sung at lo.o and 3.0. Morning prayer on 
 Sundays was at 9.0. Early morning prayer was said 
 at 6.0 from Lady Day to Michaelmas, and at 7, from 
 Michaelmas to Lady Day, with evening prayer at 6 
 o'clock all the year round. 
 
 At Bishop Gibson's Visitation in 1742, the hours of 
 the Sunday and week-day capitular Offices were 
 altered to a quarter before 10, and a quarter after 3, 
 and the late evening prayer was abolished. 
 
 In November, 1869, the hour of daily choral matins 
 was altered to 10 o'clock, the time of choral evensong 
 having been, some time previously, altered to 4 o'clock. 
 A little later the Sunday morning Office was ordered 
 to be sung at half-past 10 o'clock. 
 
 It will thus be seen that the only service, the hour 
 of which has never been changed since 1 742, is the 
 iirst evensong on Sundays at a quarter past 3. 
 
 During Dr. Van Mildert's tenure of the deanery,* 
 the hour of early matins was made 8 o'clock to suit 
 the altered habits of the community. 
 
 In the time of Queen Elizabeth these same early 
 
 * From jSae to 1826. 
 
IQO THE ORGANISTS AND COMPOSERS 
 
 prayers were read at 5 o'clock, in summer, and at 
 6 o'clock in winter, in Jesus Chapel, by all the minor 
 canons in turn, except the Sub-Dean and the two 
 Cardinals. At the Visitation of Bishop Vaughan, 
 however, in 1605, all the minor canons and especially 
 the Sub-Dean and Cardinals were ordered to be present 
 at matins in Jesus Chapel. An old newspaper called 
 The Dutch Mirror, published in the days of Queen 
 Anne, informs us that the shop-keepers and residents 
 in S. Paul's Churchyard, were wont to rise before six, 
 and, soon after, were at their devotions on the marble 
 floor of the cathedral. 
 
 The Morning Prayer Chapel, separated from the 
 North nave aisle by one of Grinling Gibbons' chaste 
 and beautiful wooden screens, has, of late years, been 
 enriched by several embellishments. It was opened 
 two years after the choir, viz., on February ist, 1699.* 
 The eastern end of the crypt has, for some time been 
 fitted up as an under-church with an altar, desks, chairs, 
 etc. Much care has lately been expended on this 
 portion of the building, which is, with its numerous 
 memorials, fast becoming one of the most interesting 
 sights of the cathedral. 
 
 The evening services first started under the Dome 
 on Advent Sunday, i858,t have proved an immense 
 
 * The arrangement for the renovation and re-decoration of this beautiful 
 chapel were among the last acts of that christian philosopher, Henry Long- 
 gueville Maosel during his all too short career as Dean of S. Paul's. 
 
 t At Westminster Abbey nave Sunday Evening Services were commenced 
 (though there had been a series in 1851— the Great Exhibition year) in Jan. 
 1858 ; nearly a year, it will be seen, in advance of those of S. Paul's. They 
 owed their organization to the energy and ability of the Rev. J. Clarke 
 Haden, for twenty-three years Minor Canon and Precentor of the Abbey. 
 Mr. Haden was, for some time, a Minor Canon of S. Paul's, and it may be 
 mentioned that, while reading the prayer for the Queen, at the afternoon ser- 
 vice of April ist, 1843, he was fired at by a German, who proved to be Insane. 
 Happily he escaped unhurt. Mr. Haden died at Nightingales, Bucks, oii 
 Oct. 29th, 1869, and was buried at Chalfont, S. Giles. Close to the door 
 leading into Westminster Abbey from the West cloister, there is a tablet 
 to his memory,_with the appropriate inscription, " I was glad when they said 
 unto me, we will go into the house of the Lord." 
 
OF S. PAUL'S CATSEDRAL. 191 
 
 boon to the people of this great city, many of whom, 
 having no fixed places of worship, are regularly 
 attracted. The attendance is always large, but when 
 a preacher of extraordinary celebrity is announced it 
 is simply vast. A large volunteer choir (surpliced) 
 numbering, together with the cathedral choristers, 
 about seventy voices, leads the service on these occa- 
 sions. The music is of the plainest description, only 
 chants and hymns being sung. Being essentially a 
 people's service the music is perhaps more cha- 
 racterized by heartiness than finish. When not 
 effective, it is the fault of the congregation for not 
 helping to make it so ; but it is only fair to state that 
 the singing of such hymns as " The Old Hundredth," 
 Tallis' "Canon," "Abide with me," the Easter 
 Hymn, and many others, by the thousands under 
 the Dome produces an effect often approaching the 
 sublime. It has always been the wish of the Dean 
 and Chapter to make this service as good a specimen 
 of the parochial style, as those m the morning and 
 afternoon are of the cathedral or reflective type. 
 
 On Sundays, Mondays, Tuesdays, Thursdays, and 
 Saturdays, Te Deum and Benedictus are the canticles 
 invariably sung at matins. On Wednesdays and Fridays 
 Jubilate is used instead of Benedictus. The canticles 
 used at evensong throughout the year are MagniUcat 
 and Nunc Dimittis. In Advent and Lent Benedicite 
 is sung in lieu of Te Deum. 
 
 An anthem is sung every day at matins and even 
 song, with the exception of Sundays, Wednesdays, and 
 Fridays, when the Litany follows onimmediately afterthe 
 third collect at matins. On Sundays and Holy Days an 
 Introit (generally a short, anthem or a movement from 
 an oratorio, a chorale, or a hymn) is sung between the 
 Litany and the Communion service. It is somewhat 
 to be wished that the Sancius could be occasionally 
 sung as an Introit, for it has, in this place, a peculiarly 
 
192 
 
 TEE ORGANISTS AND COMPOSERS 
 
 solemn effect, and as before remarked, there is as 
 much propriety in its repetition as in that of the Gloria 
 Patri. Care, however, should be taken when the 
 Sanctus is used as an Introit to select it from the 
 services of those composers who have interpolated the 
 words " of the majesty " into their settings.* In the 
 Sanctus as given in the Communion service, these 
 words do not occur. 
 
 It is to be regretted that the anthem is omitted at 
 S. Paul's on the mornings of Litany days, i.e., Sundays, 
 Wednesdays, and Fridays. One of those exquisite 
 short compositions of a penitential, but not lugubrious 
 character, of the school of Tallis, Byrde, Batten, 
 Gibbons, Rogers, or Aldrich, might be chosen, and 
 thus form a fitting introduction to the deep supplica- 
 tion which follows. It is pleasant to observe that 
 the anthem has of late years been restored in this 
 place at S. Peter's, Westminster, where irregularities 
 ot every kind formerly prevailed, but which the autho- 
 
 * The following list of services where the BavxtVA is so set, may be found 
 interesting. 
 
 Gibbons in F. 
 
 Childe in A minor. 
 
 Childe in E minor. 
 
 Rogers in D. 
 
 Rogers in E minor. 
 
 Bryan in G. 
 
 Nares in F. 
 
 Arnold (for Boyce) in A. 
 
 Arnold in B flat. 
 
 Porter (for King) in C. 
 
 Sir John Stevenson in C. 
 
 Sir John Stevenson in E flat. 
 
 Sir John Stevenson in F. 
 
 Smith (of Dublin) in C. 
 
 Marsh in D. 
 
 Clarke-Whitfeld in E. 
 
 Attwood in F. 
 
 Rev. Lord O'Neill (for Kelway 
 
 in B minor.) 
 Attwood in D. 
 
 Beckwith (Rev. E. G.) in G 
 Croft in A. 
 Croft in B minor. 
 King (W.) in B flat. 
 King (Chas.) in B flat. 
 Davy (for King) in F. 
 Woodward in B flat. 
 Hawes in F. 
 Hawes in G. 
 Sir John Rogers in F. 
 Walmisley in F. 
 Hopkins (J. L.) in C. 
 flopkins (J. L.) in E flat. 
 Hopkins (E. J.) in F. 
 Hopkins (E. J.) in A. 
 Turle in D. 
 Ouseley in G. 
 Garrett in D. 
 Garrett in E. 
 Ross in F. 
 
 Beckwith (Rev. E. J.) in C. 
 
 The last-named service has two settings of the BmvAui (i) as an Introit 
 with the words " oif the majesty," (2) in its proper place in the Communion 
 Service. 
 
OF S. PAULS GATHEDRAL. I03 
 
 rities of that church have for some time past, 'done 
 their best to reform. 
 
 On the afternoons of Thursdays (unless a Saint's 
 Day) the service is sung by the men's voices only, the 
 boys, as previously stated, being given a rest and half- 
 holiday. Special music, including a very beautiful 
 and touching set of versicles and responses, has been 
 composed for this service, chiefly by members of the 
 cathedral choir. The singing of the whole Sunday and 
 daily services in the same manner during the boys' 
 summer holiday, has necessitated the composition of 
 some settings of the morning canticles as services, and 
 also of the office of the Holy Communion. 
 
 On all Fridays throughout the year, except during 
 the periods between Easter Day and Trinity Sunday, 
 and Christmas Day and the Octave of the Feast of the 
 Conversion of S. Paul, the choral capitular offices are 
 sung without organ accompaniment, and the anthem is 
 frequently selected as bearing reference to the event 
 relating to our redemption which took place on a 
 Friday. Should a Holy Day fall on a Friday the 
 organ is then used, and if a similar feast fall on a 
 Saturday, the organ is used at the first evensong, viz. 
 Friday afternoon. 
 
 These unaccompanied services, of which the effect 
 is very solemn and beautiful, have been the means of 
 calling into existence some exceedingly fine anthems 
 by modern composers. Mention may be made of 
 Champney^s' " O Most Merciful Jesu," Martin's 
 " Hohest, breathe an evening .blessing," Stainer's 
 " Grieve not the Holy Spirit of God," and Dr. Pole's 
 clever and effective setting of the Hundredth Psalm 
 for two choirs. On such occasions the services of 
 those great masters, Aldrich, Boyce, Cooke, Croft and 
 Elvey, Gibbons, King, Travers, Rogers, and others, 
 are heard to great advantage. The organ is not used 
 at S. Paul's on the last four days of Holy Week, 
 
 o 
 
194 y^-® ORGANISTS AND GuMPOSERS 
 
 except for a choral celebration of the Holy Commu- 
 nion on the morning of Maundy Thursday. The first 
 evensong of Easter is sung at four o'clock on Satur- 
 day, when the organ is of course used. * By far the 
 most important modern improvement which we have 
 to chronicle is the regular establshment, since Easter 
 Day, 1873, of a full choral celebration of the Holy 
 Communion every Sunday and Holy Day, Formerly, 
 the only parts of this, our highest service, sung at 
 S. Paul's were the Sanctus (as an Introit), the Kyrie 
 and the Nicene Creed. Even the singing of the last- 
 named was laid aside early in the present century and 
 not resumed till about 1842. Attwood never included 
 it in his services for this reason . 
 
 Few things can surpass the Eucharistic OfiSce as 
 now rendered at S. Paul's. Gounod, the distinguished 
 French composer, when he heard it, remarked that 
 it was the most superb thing of its kind on this side 
 the Alps. 
 
 Sir John Stainer, in 1873, at the request of the Dean 
 and ChapteT, prepared a complete choir book of the 
 Office, containing the whole of the traditional music 
 of the Priest's part, together with the ancient Confiteor 
 and Pater Noster, newly and beautifully harmonized, 
 and a very lovely Sevenfold Amen of his own com- 
 position, to be sung after the Prayer of Consecration 
 and the Blessing. 
 
 For the Kyrie, Credo, Sanctus, and Gloria in Ex- 
 celsis, the music of the best modern English com- 
 posers is drawn upon, varied by the occasional intro- 
 
 * At the Cathedral of Lichfield and also at that of Durham it was the 
 ctistom there years ago, and possibly may be so now, to sing the Fridav 
 Morning Service mth the organ, and the Evening Service without it— a most 
 ridiculous use, rendering the whole affair utterly meaningless For full 
 solemnity of effect the organ should be silent on Friday throughout the 
 day, as it is at S. Paul's, Westminster Abbey, and S. Andrew's Weill 
 Street. It is very gratifying to find that the beautiful custom of sinein^ 
 without the organ on Friday is being generally adopted in our Cathedraft 
 and College Chapels, v-itucurais 
 
OF s. Paul's cathedral. 195 
 
 duction of one of the masses of the great continental 
 masters, adapted to the words of our Communion 
 Service. 
 
 The Creeds, and indeed the entire services, of 
 Schubert in G and B flat, Hummel in D, and 
 Weber in E flat, Mozart in B flat, Beethoven in C, 
 and Gounod's Messe Solennelle and Messe des Orpheo- 
 nistes (for men's voices only) are veritable sermons in 
 music. The same remarks will apply to the services 
 of our own composers Stainer in A, and E flat, Martin 
 in C, Smart in F, Thorne in E flat, Garrett in D, 
 Wesley in E, and Stanford in B flat. 
 
 The custom has arisen at S. Paul's since 1873, of 
 performing on January 25th (Feast of the Conversion 
 of S. Paul), and on Tuesday in Holy Week, large 
 selections from Mendelssohn's S. Paul, and Bach's 
 great ^l Matthew Passion, respectively. These services 
 are sung by an augmented choir with the accompani- 
 ment of an orchestra, the whole of the singers and 
 players being surpliced. Spohr's Last Judgment is given 
 in its entirety on the first Tuesday in Advent, by the 
 cathedral choir alone. These functions are attended 
 by overflowing congregations, who evince, by their 
 reverent demeanour, that they regard the service, not 
 as a mere musical performance, but as a solemn act 
 of worship to the Almighty, aided by the noblest 
 music ever conceived by mortal man. 
 
 But perhaps one of the most interesting gatherings 
 of the year from a musical point of view is the time- 
 honoured Festival of the Corporation of the Sons of 
 the Clergy, held annually in May. It is conducted 
 upon the same lines as the services above alluded to. 
 The music for the canticles and anthem is varied 
 each year, but the Old Hundredth Psalm and the 
 Hallelujah Chorus are fixtures in the musical arrange- 
 ments. The cause of this most deserving Charity is 
 always pleaded by some pieacher of eminence, and 
 o ? 
 
196 THE ORGANISTS AND COMPOSERS 
 
 the service attended by the Archbishops and Bishops 
 and other high functionaries. 
 
 The cathedral is placed, by the Dean and Chapter, 
 at the disposal of many Guilds and Associations for 
 their annual Services, in which music is made a 
 prominent feature, such as the Festivals of the London 
 Church Choir Association, and the Lay Helper's 
 Association, besides others, too numerous to specify 
 in this place. These gatherings greatly tend to 
 deepen and broaden the spiritual work of a cathedral 
 like S. Paul's, and to cause the mother Church, not 
 only of the diocese, but of all England, to be regarded 
 as the f ount and centre of religious life and wor- 
 ship. 
 
 Compared with those of some cathedrals, the 
 manuscript music library of S. Paul's is neither in- 
 teresting nor extensive, having suffered considerably 
 from wear and tear, and the negligence of former suc- 
 centors. Of late years, however, much pious care has 
 been bestowed upon it by the librarian of the cathedral, 
 the Rev. Dr. Sparrow Simpson, and, as little or no 
 manuscript music is now used for choral purposes at 
 S. Paul's, the whole of the volumes have been removed 
 from the choir and places adjacent, carefully rebound 
 and repaired where necessary, and placed upon the 
 shelves of the Library, where they can readily be con- 
 sulted for purposes of reference. 
 
 The admirably compiled manuscript catalogue of 
 this collection is due to Mr. Henry King, one of 
 the assistant vicars-choral of the cathedral, the editor, 
 likewise, of the very comprehensive and usefully- 
 arranged book of words of anthems adopted in S. 
 Paul's. 
 
 A large quantity of manuscript Church music was 
 bequeathed to S. Paul's by Granville Sharp, the 
 philanthropist, and presented by his administratrix for 
 
Of S. PAUL'S CATBELRAL. 1 9^7 
 
 the use of the choir, Aug. 30th, 18 14. It consisted of 
 more than twenty volumes of chants, services, and 
 anthems, in various sizes and bindings. — {From a 
 memorandum in the possession of Mr. Ifawes.) 
 
 The library of printed music by ancient and modern 
 composers possessed by S. Paul's, is probably without 
 a rival in the British Isles. It consists of twenty-four 
 sets of octavo books all uniformly and strongly bound, 
 and lettered in sets, A, B, C, D, and so on. The first 
 set (A) bears date on its contents page, 1876 ; while 
 the last set (X) was completed in 1889. Forty books 
 make up a set, so some idea of the extent of the 
 S. Paul's printed music library may be gathered 
 from that fact. A comprehensive reference table is 
 used by the choir-librarian, by means of which a 
 certain anthem or service can be found in a minute. 
 Besides the above-mentioned sets there are a great 
 many quarto volumes, containing music exclusively 
 for men's voices ; together with sets of folio volumes 
 of vocal parts, copies of oratorios, cantatas, etc., far 
 too numerous to particularize. The choir also pos- 
 sesses a fair collection of the printed works of the great 
 composers and editors, such as Boyce, Arnold, Page, 
 Hayes, Croft, Alcock, Woodward, Greene, Attwood, 
 Ouseley, Rimbault, etc., subscribed for at the period 
 of their publication by various Deans and Chapters. 
 
 The history of a great cathedral, its architecture and 
 ritual, the study of the lives of its bishops, clergy, 
 choristers, organists, and musical life generally, form 
 undeniably, a study of deep and engrossing interest. 
 But all these things, beautiful as they are in them 
 selves, recall us to the ever-needed truth that art, 
 ritual and music, are in themselves, as nothing, that 
 spiritual worship is everything. 
 
 In these times it behoves a cathedral to be some- 
 
igS THE ORGANISTS AND COMPOSERS 
 
 thing more than " a petrifaction of religion." It must 
 set an example of spiritual activity to the whole of 
 the diocese. 
 
 The renewed life of our cathedrals, and especially 
 that of S. Paul's, is one of the most interesting and 
 striking features of the great revival of true Church 
 principles during the last fifty years, and of which we are 
 now reaping so abundant a harvest. When we 
 compare the chilling neglect and cold indifference, 
 once everywhere visible, with the stately services 
 and hearty co-operation now the order of the day at 
 the great cathedral in the heart of this mighty city, we 
 may well thank God and take courage. No one 
 who has had the privilege of being a worshipper in S. 
 Paul's can fail to come away impressed by the solemn 
 and spiritual tone which prevails there, and the care- 
 ful training evidenced by the accuracy and ability 
 with which music of the highest order is daily pro- 
 duced. Well may it be said that upon S. Paul s the 
 day has broken, and that the dark shadows which 
 once seemed to envelop it, have at last flown 
 away. 
 
 
OF S. PAULS CATHEDRAL. 1 99 
 
 APPENDIX A. 
 
 Some Account of the Organ, past and present, 
 OF S. Paul's Cathedral. 
 
 It is to be regretted that the information we possess 
 concerning the organ or " pair of organs " in Old 
 S. Paul's is of so meagre and scanty a character. 
 
 That an instrument existed there until the Great 
 Fire of 1666, we well know, the builder being William 
 Beton, but all details as to its size and mechanism are 
 completely lost. 
 
 Hollar, the distinguished engraver, has, however, 
 preserved the shape of the case to us in his fine view 
 of the interior of the choir given in the iirst edition of 
 the History of Old S. Paul's by Sir William Dugdale 
 in 1658. Hollar was a contemporary of Dugdale, and 
 his view, which must have been drawn from actual 
 survey, is, no doubt, as authentic as any we possess. 
 The organ is depicted as standing above the stalls on 
 the North side, having a very picturesque case of 
 mediaeval design, with shutters, and a choir organ in 
 front, all strictly secundum artem. This organ escaped 
 the iconoclastic zeal of the Puritans, remaining un- 
 touched during the Protectorate, and only falling a 
 victim to the Great Fire of 1666. 
 
 A very pleasing view of the interior of the old choir 
 taken, apparently, from a point towards the South 
 
■AOO TSE ORGANISTS AND GOMPOSMRS 
 
 East end, and showing a portion of the stalls and the 
 organ, was given among a series of woodcuts of Old 
 S. Paul's published in The Graphic newspaper at the 
 time of the Prince of Wales' Thanksgiving Day in 
 February r^i'iz; and some years ago, an interesting 
 collection of engravings of ancient London was on 
 view at Guildhall, when the present writer remembers 
 seeing there more than' one interior view of Old 
 S. Paul's. Some of these showed the organ, which 
 did not differ very materially from Hollar's view given 
 in Dugdale. 
 
 The original draft of Father Schmidt's contract for 
 the organ of the new cathedral was, by a piece of 
 great good fortune, discovered about ten years ago by 
 Mr. W. H. Cummings. He contributed the result of 
 his researches to the Musical Times of March 1880 
 as follows : — 
 
 " All that has hitherto been known respecting the 
 organ originally built by Father Smith for S. Paul's 
 Cathedral is to be found in ' The Organ : its History 
 and Construction,' by Hopkins and Rimbault (third 
 edition, 1877), and that account is taken from a maga- 
 zine published in 1819, under the editorship of Dr. 
 Busby. It gives various details of certain disputes 
 between Father Smith and Sir Christopher Wren, but, 
 unfortunately, no authorities are given, so that one is 
 unable to decide how far the story is true, or how 
 much of exaggeration there may be in it. Dr. Rimbault 
 has also reprinted a very curious broadside, found in 
 the British Museum, entitled ' Queries about S. Paul's 
 Organ,' * which doubtless emanated from Smith's rival, 
 the celebrated organ-builder, Renatus Harris, or from 
 some of his partisans. The eleventh Query asks, 
 ' Whether the great organ-builder will condescend to 
 submit his organ to the same Scrutiny which all 
 
 * This will be found at full length at the end of this appendix. — J. S. B. 
 
OF S. PAULS CATHEDRAL. 201 
 
 Artists of the same Profession do in all Countries ? 
 And if it be deny'd whether it will not give the World, 
 and particularly the Dean and Chapter of S. Paul's, 
 reason to fear that this Noli-me-tangere proceeds from 
 some secret cause ? ' and the twelfth Query asks, 
 ' Whether the Cupola, or the Organ at S. Paul's, will 
 be first finished ? ' " 
 
 " The writer of this anonymous broadside was evi- 
 dently not aware of the terms of Smith's contract, by 
 which he was bound to submit his work to be " ap- 
 proved by able organists," &c. 
 
 " I have had the good fortune to discover the original 
 contract ; it is important as a piece of history. The 
 document is written very clearly in a clerk's hand, on 
 stamped paper, and is signed by " Bernard Smith " 
 with a bold autograph. It is preceded by a minute, 
 as follows : — 
 
 S. Paul's Church, London : — At a ^Committee, Friday, Oct. 
 19th, 1694. 
 
 Present. 
 
 Lord Mayor of London. Dr. Oxenden. 
 
 Ld. Arch Bp. of Canty. Sr. Thomas St. George. 
 
 Ld. Bp. of London. Sr. Thomas Pinfold. 
 
 Ld. Bp. of Lincolne. Dr. Godolphin. 
 
 Mr. Dean of S. Paul's. Dr. Newton. 
 
 Mr.Sweetaple ) sheriffs. Sr. Chr. Wren. 
 
 Mr. Cole, i 
 
 Ordered that it be referred to the Dean and Chapter of S. Paul's 
 and to Sr. Chr. Wren and Dr. Blowe to receive Proposalls from 
 Mr. Smith Organ-Maker, and to; treat and agree with him to 
 make the Organ for S. Paul's. 
 
 At a Committee, Wednesday, Deer. 19th, 1694. 
 
 Present. 
 Lord Bp. of London. Mr. Dean of S. Paul's, 
 
 Sr. Thomas Meres. Dr. Newton. 
 
 Sr. Charles Hedges. Sr. Chr. Wren. 
 
 Sr. Thomas Pinfold. Dr. Stanley. 
 
202 THE ORGANISTS AND COMPOSERS 
 
 The following Contract was considered approved and confirmed 
 by the Committee abovesaid ; and was Ordered to be entered in 
 the Book of Contracts and signed accordingly. 
 
 Memd. : That in pursuance of the Order first above written it 
 was then agreed by the Dean and Chapter of S. Paul's and ye 
 Surveyor of the Workers of S. Paul's Cathedral for and in the 
 behalfe of the Rt. Honable. ye Lords and others Corns, for 
 rebuilding and adorning ye said Cathedral with Bernard Smith 
 Organ-Maker, to make a large Organ containing 21 stops, part 
 wood and part metall, and 6 halfe stops, according to Two Lists 
 of ye said stops hereunder expressed as foUoweth — 
 
 The First List. 
 
 Stops in the Great Organ. 
 
 Two Open Diapasons, Stop Diapason, Principal Great Twelfth, 
 
 Ffifteenth,' Cornet, Mixtures, Sesquialtera, Trumpet. 
 
 Stops in ye Chayre Organ. 
 
 Principall, Stop Diapason, Hoi fleut, Voice Humane, Crum 
 
 home. 
 
 Echoes or halfe Stops. 
 
 Diapason, Principall, Cornet, Trumpet. 
 
 The Second List. 
 
 Stops in the Great Organ. 
 
 Hoi fleut, Small Twelfths. 
 
 Stops in the Chayre Organ. 
 
 Quinta Dena Diapason, Great Twelfth, Ffifteenth, Cimball. 
 
 Echoes or halfe Stops. 
 
 Ffifteenth, Nason. 
 
 And the said Bernard Smith doth hereby agree to make all ye 
 said stops in Workmanlike manner together with all sound- 
 boards. Conveyances, Movements and Bellowes thereunto apper- 
 taining and to fix ye same and tune them perfectly according to 
 ye best of his skill in ye Case that shall be set up and provided 
 with all Ornaments, Carvings, Gildings, and Outside painting 
 over the Great Entrance of the Choire of S. Paul's at the Charge 
 of ye said Corns. ; the said Bernard Smith being only at ye 
 Expence of all ye inside work, — of ye Pipes, Conveyances and 
 Movements as afforesaid to render it a compleat Instrument 
 from Double F faut to C sol fa in Alt inclusive. 
 
 And the said Bernard Smith doth also Agree to set up and 
 tune fit for use all ye stops expressed in the first of the afforesaid 
 Lists at or before the ffive and Twentieth Day of September 
 which shall be in ye yeare of Our Lord 1695. And the rest of 
 
OF S. PAULS CATHEDRAL. 203 
 
 the said Stops (expressed in ye Second List) at or before our 
 Lady Day ensuing for the intire sume of Two Thousand Pounds, 
 to be paid in manner following (that is to say) ffoure Hundred 
 Pounds in hand (the Receipts whereof he doth hereby acknow- 
 ledge), and when ye Sound-board and first Setts of Pipes (ex- 
 pressed in ye first of the afforesaid Lists) shall be made and 
 provided, the further sume of One Thousand Pounds, and the 
 residue to make up ye intire Sume, when ye said Organ shall 
 with all ye stops be ffixed in the Case provided, and shall be 
 approved by able Organists, and particularly Dr. John Blowe, 
 Organist to their Maties. and such others as the Dean and 
 Chapter of S. Paul's shall nominate. 
 
 In Witness whereof the said Bernard Smith hath hereunto 
 set his hand the Day and yeare first above written. 
 
 BER -. SMITH. 
 Witnesse. 
 
 Jo : Oliver. 
 Law : Spencer. 
 John Widdows. 
 
 " The old ' Smith ' organ has undergone many altera- 
 tions since it left his hands, and his matchless tone- 
 work has, perhaps, met with scant reverence ; still, 
 many of his pipes exist in the present organ. I 
 possess many pipes, portions of two stops — one metal 
 and the other wood — removed, I think, from the 
 ' Chayre organ,' when I was a boy, by the late Mr. 
 Bishop, the organ-builder, who gave them to me at 
 that time in response to an inquiry as to whether he 
 would sell them." 
 
 The above account deals with the original instru- 
 ment pretty exhaustively, and will leave us free to say 
 a few words respecting the various alterations and im- 
 provements it has undergone since it left Schmidt's 
 hands in 1696. 
 
 For nearly a hundred years the instrument remained 
 in the state above described. A swell organ was then 
 added by a builder named Crang, or, as some accounts 
 have it, Cranz. In 1802 during Attwood's organist- 
 ship the organ was taken to pieces and cleaned by 
 
i04 THE ORGANISTS AND COMPOSERS 
 
 Ohrmann, "an ingenious Swedish artist," and his 
 partner and son-in-law, Nutt. Both these personages, 
 we are informed by David Hughson in his History 
 of London, lost their lives through a severe cold con- 
 tracted during the engagement. 
 
 In 1826, while Attwood was still organist, Bishop, 
 a well-known organ-builder, added an octave of pedal- 
 pipes which were, for many years, held in great esti- 
 mation. He also first introduced the Concussion 
 Valves, and thus secured what had never before been 
 achieved — the steadiness of the wind. Previous to 
 1826, in order to preserve the mechanism of the 
 organ from dust, &c., the front pipes of the Great and 
 Choir organ-cases were furnished with huge glass 
 window-sashes which were shut down when the in- 
 strument was not in use. In several old engravings 
 of solemnities at S. Paul's in the possession of the 
 writer, these contrivances figure in a very prominent 
 manner. Doubtless, the idea was borrowed from the 
 design of the organ-case in the old Cathedral, where 
 shutters, like those of a triptich, concealed, at certain 
 times, the pipes from view. Some portions of the 
 mechanism, for raising and letting down these sashes, 
 may be seen attached to the oak-work of the present 
 organ at this day. 
 
 Bishop again improved the organ in 1849, adding a 
 very beautiful swell extending in compass down to 
 gamut G, i.e., the lowest G of the bass stave. A new 
 key-board was at the same time introduced, the 
 colours of the keys having previously been reversed, 
 the long ones being black and the short white. The 
 same builder likewise increased the compass and 
 efficiency of the pedal organ, and placed in the Great 
 Organ, for the first time, the clarabella stop, his own 
 very beautiful invention. 
 
 In 1849 the specification of the S. Paul's organ 
 stood as follows : — 
 
OF S. PAULS CATHEDRAL. 20S 
 
 Great Organ (Compass CCC to F in alt). 
 
 1. Open Diapason. 
 
 2. Open Diapason. 
 
 3. Stopped Diapason (clara- 
 bella treble). 
 
 4. Principal. 
 
 5. Twelfth. 
 
 6. Fifteenth. 
 
 7. Block Flute. 
 
 8. Tierce. 
 
 9. Sesquialtera (2 ranks). 
 
 10. Mixture (2 ranks). 
 
 11. Trumpet. 
 
 12. Trumpet to middle C. 
 
 13. Clarion. 
 
 Swell Organ (Compass Gamut G to F in alt). 
 
 14. Open Diapason. 
 
 15. Stopped Diapason. 
 
 16. Principal. 
 
 17. Sesquialtera (3 ranks). 
 
 18. French Horn. 
 
 19. Hautboy. 
 
 20. Trumpet. 
 
 Choir Organ (Compass FFF to F in alt). 
 
 21. Open Diapason. 
 
 22. Stopped Diapason. 
 
 23. Du ciana. 
 
 24. Viola da Gamba. 
 
 25. Principal. 
 
 26. Twelfth. 
 
 27. Fifteenth. 
 
 28. Cremona (to tenor C). 
 
 Pbdal Organ (Compass CCC to C, two Octaves). 
 29. Open Wood. 
 
 Accessory Stops, etc. 
 
 1. Great to Pedal. I 3. Swell to Great. 
 
 2. Choir to Pedal. | 4. Swell to Choir. 
 
 Four Composition Pedals acting on Great Organ. 
 
 The organ remained in the above state until the year 
 i860, when the screen and return stalls were removed. 
 It was then re-built under the middle arch of the 
 choir on the North side. The manuals were placed 
 in the stalls, but this situation being attended with 
 some inconvenience, they were, in 1863, removed to 
 the side of the organ in the gallery. This portion of 
 the work was entrusted to Mr. Henry Willis. 
 
 The circumstances attending the complete re- 
 building of the organ in 1871-2, by the same eminent 
 artist have already been set forth in the third chapter. 
 
206 
 
 THE ORGANISTS AND COMPOSERS 
 
 It was judiciously determined, however, at this time 
 to retain all the pipes of Father Smith's which were 
 in good condition. Many of these proved to be quite 
 sound ; a fact which may be accounted for in this 
 way : — Smith was so particularly careful in his choice 
 of wood as never to use any that had the least flaw or 
 notch in it ; and so tender was he of his reputation, 
 as never to waste his time in trying to mend a bad 
 pipe, either of wood or rrietal ; if it had any radical 
 defect he instantly threw it aside and made another. 
 
 Part of the organ was ready for use on the Prince 
 of Wales' Thanksgiving Day, February 27, 1872, and 
 the whole was completed shortly afterwards. 
 
 S. Paul's organ in 1872, and as at present : — 
 
 Great Organ. 
 
 IS- 
 
 16. 
 
 17- 
 
 18. 
 10. 
 
 Double Open Dia- 
 pason 16 ft. 
 
 Large Open Dia- 
 pason 8 „ 
 
 Small Open Dia- 
 pason 8 „ 
 
 Claribel Flute 8 „ 
 
 Quint 5i„ 
 
 Octave 4 ,, 
 
 7. FlUte Harmonique 4 
 
 8. Octave Quint 2| 
 
 9. Super Octave ... 2 
 10. Fourniture (3 ranks) 
 n. Mixture (3 ranks) 
 
 12. Trombone 16 
 
 13. Tromba 8 
 
 14. Clarion 4 
 
 Swell Organ. 
 
 Contra Gamba 16 ft. 
 
 Open Diapason ..... 8 „ 
 Lieblich Gedact 8 ft. tone. 
 
 Salcional 8 ft. 
 
 Vox Angelica 8„ 
 
 Octave 4 „ 
 
 21. Super Octave 2 ft. 
 
 22. Echo Cornet (3 ranks). 
 
 23. Contra Posaune 16 ft. 
 
 24. Hautboy 8„) 
 
 25. Cornopean 8„ 
 
 26. Clarion 4,, 
 
 Choir Organ. 
 
 -27. 
 28. 
 29. 
 3°- 
 31- 
 32- 
 
 Bourdon ... 16 ft. tone. 
 Open Diapason ... 8 ft. 
 
 Violoncello 8 ,, 
 
 Claribel Flute 8„ 
 
 Lieblich Gedact, 8 ft. tone 
 Dulciana 8 ft. 
 
 33. Octave 4 ft. 
 
 34. Fliite Harmonique 4 „ 
 
 35. Flageolet 2,, 
 
 36. Como di Bassetto 8 „ 
 
 37. Cor Anglaisp S„ 
 
OF S. PAUL'S CATHEDRAL. 
 
 207 
 
 Solo Obgan. 
 
 38. Fldte Harmonique 8 ft. 
 
 39. Concert Flute 4,, 
 
 40. Corno di Bassetto... 8 „ 
 
 41. Orchestral Oboe . 8 ft. 
 
 42. Tuba Major 8„ 
 
 43. Clarion 4,, 
 
 Pedal Organ. 
 
 44. Double Open Dia- 
 pason (wood) ... 32 ft. 
 45. Open Diapason (wd.) 16 „ 
 
 *46. Violon (metal) 16 „ 
 
 *47. Octave 8 „ 
 
 48. Violoncello (metal) 8 ft. 
 
 *49. Mixture (3 ranks) 
 
 50. Contra Posaune ... 32 ft. 
 
 51. Grand Bombarde... 16 „ 
 
 52. Clarion 8 , 
 
 Couplers. 
 
 58. Solo to Pedals. 
 
 59. Swell to Pedals. 
 6q. Great to Pedals. 
 
 61. Choir to Pedals. 
 
 62. Ventil on Pedal Organ. 
 
 53. Swell to Great (unison). 
 
 54. Swell Super-Octave to 
 
 Great. 
 
 55. Swell Sub-octave to Great. 
 
 56. Solo to Great. 
 
 57. Choir to Great. 
 
 Four Pneumatic Combination Pistons to Great Organ. 
 Four Pneumatic Combination Pistons to Swell Organ. 
 Four Pneumatic Combination Pistons to Solo Organ. 
 Four Pneumatic Combination Pistons to Choir Organ. 
 Four Pneumatic Composition Pedals to Pedal Organ. 
 Double-action Pedal to "Great to Pedals." 
 Double-action Pedal to " Solo to Great." 
 Compass of all the Manuals, CC to A, 58 notes. 
 Compass of Pedals, CCC to F, 30 notes. 
 
 Every register of the organ is complete, having its own pipes 
 throughout. 
 
 The Stops marked * consist entirely of pipes . of Father 
 Smith's organ. The pipes of No. 27 are of oak. 
 
 The Pneumatic Lever is applie I to the Great Manual, Swell 
 Manual, Choir Manual, Pedal Clavier, and likevvise to the draw- 
 stop action of the Swell, Choir, and Pedal Organs. 
 
 To those interested in the minuticB of organ mech- 
 anism, the following table of the various wind-pres- 
 sures, expressed in inches of the wind-guage. may not 
 be unacceptable : — 
 
 On the Great Organ. — (i) Flue work (old open diapason, etc.), 
 3J ; (ii) Flue work (new open diapason, etc. ), 5 ; (iii) Reeds, 6. 
 
208 THE ORGANISTS AND COMPOSERS 
 
 On the Swell Organ. — (i) Flue work, 3J ; (ii) Reeda, 6. 
 
 On the Choir Organ. — (i) Flue work, 2j ; (ii) Reeds, 3J. 
 
 On the Solo Organ. — (i) Flue work, 4 ; (ii) Reeds, 3^ ; (iii) 
 Reeds (tuba and clarion), 14 in bass, 17 J in treble. 
 
 On the Pedal Organ. — (i) Flue work (violon), 2\ ; (ii) Flue 
 work (32 ft. diapason), 3^ ; (iii) Other flue work, 7; (iv) Reeds 
 (32 ft. reed), 3^ ; (v) Reeds (16 ft. and 8 ft.), 18. 
 
 The manuals are placed in the North choir organ 
 case. The Swell and Choir organs are on the South 
 side ; the Great and Solo, on the North. The Pedal 
 organ is under the Westermost arch of the choir on 
 the North side, behind the stalls, with the exception 
 however, of the violon, which constitutes the front 
 gilt pipes on the South side. 
 
 There being but a space of six feet in depth avail- 
 able on either side, the sound boards (the chambers 
 of air below the sliders) are placed over one another, 
 viz., three for the Swell Organ, three for the Great 
 Organ, one for the Choir (in South Choir Organ case) 
 and one for the Solo (over the Great Organ sound- 
 boards). 
 
 " The action which connects the keys of the swell 
 and choir organs with their sound-boards on the oppo- 
 site side consists partly of ordinary trackers, partly of 
 Willis' patent pneumatic tubes. The action is prac- 
 tically instantaneous, and the organs on both sides 
 can be coupled together and used simultaneously 
 without any loss of precision. 
 
 " The organ, from i860 to 1880 was blown by 
 hydraulic power. It is now blown by an ' Otto Silent 
 gas-engine ' by Crossley, which acts upon Willis' patent 
 cylindrical feeders. These are four cyhnders, each 
 provided with a double set of valves ; two cylinders 
 supply the high-pressure reservoir, two the low pres- 
 sure. Two zinc trunks carry the wind from the engine- 
 room, which is in the crypt at the end of the North 
 transept, to the interior of the organ, through an 
 opening in the floor under the pedal-organ sound- 
 
OF s. Paul's cathedral. 209 
 
 boards. The flooring is also here cut away for the 
 purpose of sinking some of the largest pipes of the 
 open diapason, 32 ft. The subordinate changes of 
 pressure before enumerated are contrived by appli- 
 ances inside the instrument. 
 
 "There is electric communication between the 
 organ-loft and the engine-room. The organist has 
 the power of ringing a bell "in the engine-room and 
 directing ' wind off,' or ' wind on ' ; the bellows auto- 
 matically answer the order by wiring the ' on ' as it 
 rises, and 'off' as it falls. There is also electric com- 
 munication and a speaking-tube between the organist 
 and the singers in the stalls below, a simple and useful 
 appendage to the organ-loft which has prevented 
 many a troublesome musical contretemps. On great 
 days, when an orchestra of 50 performers and a 
 special choir numbering more than 300 take part in 
 the service, an electric communication is maintained 
 between the left footoi the conductor and a moveable 
 arm which beats time close to the music-book of the 
 player. When the selection from Mendelssohn's 
 oratorio S. Paul is performed on the Dedication Fes- 
 tival (January 25 th), or the great Passion Music of 
 Bach on Tuesday in Holy Week, precision and unity 
 between organ, band and choir would be absolutely 
 impossible but for this contrivance. These electric 
 communications were carried out by Mr. Henry 
 Abrahams, of Northumberland Alley, Fenchurch 
 Street."* 
 
 As it stands, the S. Paul's organ may be pronounced 
 for purity and grandeur of tone, and perfect mechan- 
 ism, a model of a Cathedral organ, worthy of sus- 
 taining the now magnificently rendered and greatly 
 expanded services. 
 
 * From an account of the S. Paul's organ written by Sir John Statner. and 
 printed in the Hand Book to the Cathedral (Griffith and Farran, 1883). 
 P 
 
210 THE ORGANISTS AND COMPOSERS 
 
 "QUERIES ABOUT S. PAUL'S ORGAN." 
 
 I. — Whether Sir Christopher Wren would not have been 
 well pleas'd to have received such a Proposal from 
 the Organ-builder of S. Paul's, as shou'd have erected 
 an Organ, so as to have seperated (sic) 20 foot in the 
 Middle, as low as the Gallery, and thereby given a 
 full and airy Prospect of the whole length ot the 
 Church, and Six Fronts with Towers as high as 
 requisite ? 
 
 II. — Whether the difficulty this Organ-builder finds in making 
 Pipes to spealt, whose bodies are but l6 Foot long, 
 does not prove how much harder it would have been 
 for him, to have made Pipes of 22 Foot speak as those 
 at Exeter ; or 32 Fool as several organs beyond Sea? 
 And whether he has reason to complain of want of 
 height, or room in the case for higher, and larger 
 Pipes, since those (fa common size have put him to a 
 Non-plus? And whether he has not the greater 
 reason because he gave the Dimensions of the Case 
 himself? 
 
 III. — Whether the double Bases of the Diapasons in S. Paul's 
 Organ speak quick, bold, and strong, with a firm, 
 plump, and spreading Tone, or on the contrary, slow, 
 soft, and only buzzing, when touch'd singly? And 
 whether they may not more propeily be called Mutes, 
 than speaking Pipes ? 
 
 IV. — Whether the Organ be not too .'oft for the Quire now 
 'tis enclosed ? And, if so, what will it be when laid 
 open to the Cupolo (sic), and Body of the Church ? 
 And what further addition of Strength and Lowdness 
 will it require to display iis Harmony quite through 
 the large Concave of the Building, and answer the 
 service of the Quire, which is the noblest for Echo and 
 Sound, aud consequently of the greatest advantage to 
 an Instrument, of any in Europe ? 
 
 V. — Whether the Sound-boards and Foundation of the In- 
 strument, as well as contrivance and Disposition of 
 the whole Work, will adroit ol more Stops to render the 
 Organ in Proportion, five limes as Lowd as now it is ? 
 
 VI. — Whether if 12 S'ops (supposing there were so many in 
 the Great Organ) were plaid in full Chorus, 'twould 
 not make .S. Paul's Organ vibrate and faint? And if 
 so, how can it be rcnder'd lowder by the addition of 
 
OF S. PAULS CATHEDRAL. 211 
 
 Stops, since the wind that does not well supply 12, 
 must of necessity worse supply 13, and so onward? 
 
 VII. — Whether 'tis possible to make an Organ lowder, that 
 has all the strength it can contain already ? 
 
 VIII. — Whether there been't Organs in the City lowder, 
 sweeter, and of more variety than S. Paul's (which 
 cost not one-third of the Price) and particularly, 
 whether Smith at the Temple, has not out-done Smith 
 of S. Paul's? And whether S. Andrew's Under- 
 shaft,* has not out-done them both ? 
 
 IX. — Whether the Open Diapason of Metal that speaks on 
 the lower set of keys at S. Andrew's Undershaft, be 
 not a Stop of extraordinary Use and Variety, and 
 such as neither S. Paul's has, or can have ? 
 
 X. — Whether Depth in the Case gives not Liberty for cor- 
 tainining the greater Quantity and Variety of Work ? 
 And if so, why should not S. Paul's have as great 
 variety as other Organs, and the order of the Work be 
 as well contriv'd and disposed for Tuning and other 
 Conveniences, since its case is near double the Depth 
 to any in England ? 
 
 XI. — Whether the great Organ-builder will condescend to 
 submit his Organ to the same Scrutiny, which all 
 Artists of the same Profession do in all Countries ? 
 And if be deny'd whether it will not give the World, 
 and particularly the Dean and Chapter of S. Paul's 
 reason to fear, that this 7V(7/j-»i« te«^cr^ proceeds from 
 some secret Cause ? Ai.d to Quesiion — 
 
 XII.— Whether the Cupolo or the organ at S. Paul's will be 
 first finished ? * 
 
 Apropos of the great rivalry existing between 
 Schmidt and Harris, it was the ambition of the 
 latter "to erect" (wrote Steele in No. 552 of The 
 Spectator) "an organ in S. Paul's Cathedral over the 
 West door, at the entrance into the body of the 
 church, which in art and magnificence shall transcend 
 
 *" Puilt by Harris at a cost of £1,400. and opened May 315:1, 1696. 
 
 t Ihe organ was opened wiih divine s rvice on the Thanksgiving for the 
 Peace of Ryswick, Dec. 2, 1697, but the Cathedral was not entirely finished 
 until 1710. 
 
 P 2 
 
912 
 
 THE ORGANISTS AND COMPOSERS 
 
 any work of that kind ever before invented. The pro- 
 posal in perspicuous language sets forth the honour and 
 advantage such a performance would be to the British 
 name, as well as that it would apply the power of 
 sounds in a manner more amazingly and forcible than 
 perhaps has yet been known, and I am sure to an end 
 much more worthy. Had the vast sums which have 
 been laid out upon operas without skill or conduct, 
 and to no other purpose but to suspend or vitiate our 
 understandings, been disposed this way, we should 
 now perhaps have an engine so formed as to strike 
 the minds of half the people at once in a place of 
 worship with a forgetfulness of present care and 
 calamity, and a hope of endless rapture, joy, and 
 hallelujah hereafter." 
 
 A list of the principal organs erected by Bernard 
 Schmidt and his two nephews, Gerard and Bernard, 
 may not be without interest to some readers : — 
 
 S. Paul's Cathedral. 
 
 Durham Cathedral, 
 
 Winchester Cathedral. 
 
 Bipon Cathedral. 
 
 Southwell Cathedral. 
 
 Oxford Cathedral. 
 
 S. George's Chapel, Windsor. 
 
 The Temple Church. 
 
 Chapel Royal, Whitehall. 
 
 Trinity College Chapel, Cam- 
 bridge. 
 
 S. Mary's (University) Church, 
 Cambridge. 
 
 Eton College Chapel. 
 
 S. Mary's (University) Church, 
 
 Oxford. 
 S. Margaret's, Westminster. 
 S. Clement Danes, Strand. 
 S. Peter's, Cornhill. 
 S. Mary-at-Hill, Eastcheap. 
 S. Mary Woolnorth, Lombard 
 
 Street. 
 S. James's, College Hill. 
 All Saints', Derby. 
 Holy Trinity Church, Hull. 
 Hampton Court Palace Chapel. 
 
 ^ 
 
OF S. PAVLS CATHEDRAL. 213 
 
 APPENDIX B 
 
 The words of the following anthems by Organists 
 and Composers of Old S. Paul's Cathedral, were given 
 in the second edition of Clifford's Divine Services and 
 Anthems, described in full in Chapter II. : — 
 
 By Adrian Batten, Organist (1624 — 1640). 
 
 Almighty God which modest. 
 
 * Almighty God, who in Thy wrath. 
 Almighty God, M^ hose praise. 
 Behold now praise the Lord, 
 
 Bow down Thine ear. 
 *Christ, Our Pascal Lamb. 
 
 * Deliver us, O Lord our God, 
 *Godliness is great riches. 
 God so loved the world. 
 *Have mercy upon me. 
 *Hear my prayer. 
 
 *Hear the prayers, O our God. 
 
 Holy, Holy, Holy. 
 
 I am the resurrection. 
 
 I heard a voice from. Heaven. 
 
 If ye love Me 
 
 In Bethlehem Town (for the Epiphany). 
 
 *Lord, we beseech Thee. 
 
 *Lord, who shall dwell. 
 
 Not unto us, O Lord. 
 
 *0 clap your hands. 
 
 *0 how happy a thing it is. 
 
 O Lord, our Governor. 
 
 O Lord, Thou hast searched me out. 
 
 *0 praise God in His Holiness. 
 
 *0 praise the Lord all ye heathen. 
 
214 THE ORGANISTS AND COMPOSERS 
 
 sin^ unto the Lord. 
 *Out of the deep. 
 Ponder my words. 
 
 * Praise the Lord, O my soul. 
 Save us, O God, while waking. 
 *Sing we merrily. 
 
 The Lord is my Shepherd. 
 '''Turn thou us, O good Lord. 
 We beseech Thee. 
 ■* When the Lord turned again. 
 * These have been printed. 
 
 By Albertus Bryan, Organist (1640— 1666). 
 
 Behold how good and joyful. 
 
 1 heard a voice in Heaven. 
 
 By William Byrde, Chorister (1553 to 1558). 
 
 * Arise, O Lord. 
 
 Alas / when I look back. 
 
 Be unto me, O Lord. 
 
 *Bow down Thine ear. 
 
 *Christ rising from the dead. 
 
 Exalt Thyself God. 
 
 Even from the depth. 
 
 *Hear my prayer. 
 
 How long shall mine enemies. 
 
 Lead me, O Lord. 
 
 Let not wrath. 
 
 Look down, O Lord. 
 
 O God, the proud are risen. 
 
 U God, Whom our offences. 
 
 *0 Lord, make Thy servant Charles. 
 
 *0 Lord, rebuke me not. 
 
 O Lord, turn not away. 
 
 ^Prevent us, O Lord. 
 
 •".Vaz/g me, O God. 
 
 *Sing joyfully. 
 
 Teach me. O Lord. 
 
 *Thou God that guidesi 
 
 * These have been printed. 
 By William Cranford, Vicar-Choral (1620^ 
 O Lord, make thy Servant Charles. 
 
OF S. PAUL'S CATHEDRAL. 21 S 
 
 By. Simon Ive, Vicar-Choral C1633). 
 Almighty and Everlasting God. 
 
 By Randolph Jewett, Almoner (1660 — 1675). 
 Bow down Thine ear. 
 I heard a voice from Heaven. 
 O God the Kin); of Glory, 
 The King shall rejoice. 
 
 By Thomas Morley, Organist (1588). 
 
 How long wilt Thou forget me. 
 O Jesu Meek. 
 *Out of the deep. 
 
 * Printed in Barnard, 1641. 
 
 By William Mundy, Vicar-Choral (1591). 
 *Ah ! helpless wretch. 
 Bow down Thine ear. 
 Increase my joy. 
 Let us now laud and magnify. 
 My song shall be. 
 O give thanks. 
 
 Lord our Governour. 
 
 *0 Lord the Maker of all things. 
 *0 Lord, the World's Saviour. 
 The secret sins. 
 
 * Printed in Barnard, 1641. 
 
 By Martin Pierson (Almoner, 1630). 
 Blow ye the trumpet. 
 
 1 will magnify Thee. 
 
 By John Tomkins, Organist (1621 — 1624). 
 The Lord hear thee. 
 
 The following are the names of the composers of 
 the remaining anthems as given in Clifford ; some of 
 them are well known ; others only to the musical 
 antiquarian : — 
 
 John Am.ner. Sir Wm. Leighton. 
 
 John Bennett. Matthew Locke. 
 
 John Blow. Henry Loosemore. 
 
2l6 
 
 THE ORGANISTS AND COMPOSERS 
 
 Richard Browne. 
 John Bull. 
 George Carre. 
 William Childe. 
 ^apiain Hy. Cooke. 
 Thomas Coste. 
 Thomas Day. 
 Michael Este. 
 Richard Far rant. 
 Alphonso Ferrabosco 
 Laurence Fisher. 
 Richard Gibbs. 
 Orlando Gibbons. 
 Christopher Gibbons. 
 Nathaniel Gyles. 
 John Heath. 
 John Hilton. 
 John Hingston. 
 John Holmes. 
 Edmund Hooper. 
 Pelham Humphreys. 
 John Hutchinson. 
 Robert Hutchinson. 
 Robert Johnson. 
 Robert Jones. 
 Harry Lawes. 
 William Lawes. 
 
 Edward Lowe. 
 George Mason. 
 Henry Molle. 
 'Thomas Mudde. 
 Robert Parsons. 
 William Philips. 
 Richard Portman. 
 Richard Price. 
 Robert Ramsay. 
 Benjamin Rogers. 
 John 6'hepKarde. 
 Edward Stnith. 
 Henry Smith. 
 William Stonard. 
 Peter Stringer. 
 Thomas Tallis. 
 Gyles Tomkins. 
 John Tomkins. 
 Rev. Wm. Tucker. 
 William Tye. 
 John Warde. 
 Peter Warner. 
 Thomas Weelkes. 
 Robert White. 
 Thomas Wilkinson. 
 John Wilson. 
 Leonard Woodson. 
 
 A copy of the 1664 edition of Clifford, in a fair 
 state of preservation, is in the possession of the 
 writer. As the book is excessively rare he would be 
 pleased to shew it to any one interested in such 
 matters. A copy of the first edition is with Dr. A. H. 
 Mann, organist of King's College, Cambridge, the 
 possessor of a very extensive collection of books of 
 words of anthems used in our cathedrals in times past 
 and present. Surely the bibliography of such a col- 
 lection would be of much interest. Let us hope for 
 such a work some day from the pen of so enthusiastic 
 a collector as the amiable and talented organist of 
 King's College. 
 
OF s. Paul's cathedral. 217 
 
 APPENDIX C. 
 
 A Synopsis of Cathedral Music. 
 
 Being Short Biographical Notices of the 
 PRINCIPAL English Church Composers, who have 
 
 BEEN incidentally ALLUDED TO IN THE PRECEED- 
 ING pages, together with a summary of THEIR 
 CHIEF PRINTED SACRED COMPOSITIONS. 
 
 ABBREVIATIONS TO REFERENCES. 
 
 Arnold sigDifies Arnold's Cathtdral Mutie^ Rimbault's (the second) edition 
 3 vols, folio, 1843 — 7. 
 
 B 4RNAKD signifies harnard's Church Mttaic, xo vols, folio, 164T. 
 
 BoYCK signifies Bcyce's Cathedral Miuie, 3 vols, folio, 1760—78. 
 
 Cath. Ch. Bk. signifies Novello's Cathedral Choir Book, 2 vols, folio, 1848. 
 
 Cath. Mag. signifies The Cathedral Magazine, 3 vols, 410, 1760. 
 
 Complete Sbrvicb signifies the Canticles at Matins and Evensong together 
 with the OfBce of Holy Communion with or without &anctut and Gloria 
 in Sxcelsii. 
 
 Cope signifies Anthemt by Eminent Composer* of the Sngliih Church, edited 
 by the Rev, Sir \V. H, Cope, Bart., M.A.f Minor Canon of Wtxtmintter, 
 8vo. 1849. 
 
 Folio (Novello) signifies music published by Novello and Co. in folio size, 
 
 Goss and Tttrle signifies Services and Anthems, Ancient and Modem, edited 
 by John Gobs ami James Turle^ 2 vols, folio, 1848. 
 
 Hawes siRnifies Chants^ Sanctuses and Responses tu used at 3. PauVs and 
 Westminster Abbey edited by W, Hawes, folio, c. 1830. 
 
 MOTETT Soc. signifies A Ooiieciion of Ancient Church^Music originally 
 printed for the Motett Society^ edited by Dr. Rimbault, 2 vols, folio, 184a. 
 
 Face signifies Ha/rmonia Sacra.— A. Collection of Anthems, edited by John 
 Page, 3 vols, folio, 1800 
 
 Octavo (Novello) signifies music published by Novello in octavo size. 
 
 Parish Choir signifies music printed in The PatHsh Choir, a periodical, de- 
 voted to Church music, 3 vols, 8vo, 1846 — 50. 
 
 Rimbault signifies Cathedral Music, consisting of Services and Anthems 
 selected from the books of the different Cathedrals^ etc., edited by Dr. Rim- 
 bault, I volume only published, containing Services, folio, 1847. 
 
2l8 THE ORGANISTS AhD COMPOSERS 
 
 Adcock, James, born at Eton, 1778. Chorister of 
 
 Eton College and S. George's Chapel, Windsor, 1786. 
 
 Lay Clerk of S. George's, 1797, of Eton, 1799. Shortly 
 
 afterwards appointed Lay Clerk of King's, Trinity, and 
 
 S. John's Colleges, Cambridge. Master of the Choristers 
 
 at King's College. Died at Cambridge, April 30, i860. 
 
 Evening Services in B flat and E Jlat (folio, Novello) 
 
 Anthem : " My soul truly ivaiteth " (published by 
 
 Cramer, 1850). 
 
 Alcock, John, Mus.B., Oxon (1755^, Mus.D. (1761). 
 Born near S. Paul's Cathedral, April 11, 1715, or if an 
 advertisement prefixed to his Complete Service (1753) is 
 to be relied upon, in 1 717 or 18. Chorister of S. Paul's 
 under Charles King, Mus.B. Organist of S. Andrew's, 
 Plymouth, 1737 ; of S. Laurence, Reading, 1741. Organist 
 and Vicar Choral of Lichfield Cathedral, 1749 — 60. 
 Organist of Sutton Coldfield, 1761 — 86,and of S. Editha, 
 Tamworth (both near Lichfield), 1766 — 90, retaining his 
 place of Vicar Choral. Private Organist to the Earl of 
 Donegal. Died at Lichfield, February, 1806, and was 
 buried in the Cathedral Close. 
 
 * Divine Harmony, a Collection of Fifty-five Double 
 and Single Chants for four voices, as they are sung 
 at Lichfield Cathedral, 1752. 
 
 A Morning, Communion, and Evening Service in E 
 minor, 4to, 1753. 
 
 A Collection of Anthems in Score for i, 2, 3, 4, 5, 6, 
 arid 8 voices, and part of the i tfith Psalm in Latin for 
 8 voices and instruments in 21 parts, folio, 1771. 
 
 Six New Anthems for 2, 3, and 4 voices with two haut- 
 boys and a bassoon and figured for the organ, com- 
 posed by John Alcock, Doctor in Mustek, and Mr. 
 John Alcock, Bachelor in Musick and Organist of 
 Walsall,-io\\o, c, 1780. 
 
 The Harmony ofSion. A Collection of one Hundred 
 and Six Psalm Tunes, by various composers, 1802. 
 
 * This collection of Chants is now exceedingly scarce. A copy in the posses- 
 sion of the writer contains a portrait of Alcock in his Doctor's rohes. It 
 likewise has, appended, Dr. Alcock's proposals for printing a collectioa 
 of English Cathedral Music, in which, however, he was anticipated by 
 Dr Greene. The circumstance is alluded to in this woik, in connection 
 with the memoir of that composer. 
 
OF s. pavl's cathedral. 219 
 
 Aldrich, Very Rev. Henry, B.A., Oxon (1666): 
 M.A. (1669), B.D. and D.D. by accumulation (1682). 
 Born in Westminster 1647, ^ind educated at Westminster 
 School. Took holy orders 1669. Rector of Wem, Shrop- 
 shire, and Canon of Christ Church, Oxford, 1682 ; Dean 
 of Christchurch, 1689. Died at Oxford, Dec. 14, 1710, 
 and was buried in the Cathedral. The monument to his 
 memory is placed most appropriately on one of the piers 
 supporting the tower-arches, over the Decani choir 
 stalls. 
 
 Services. 
 
 Complete Service in G — Boyce, Vol I. 
 Morning and Evening Service in A — Arnold, Vol I. 
 Evening Service in E minor — Arnold, Vol III. 
 Sanctus and Gloria in Excelsis in G — Ouseley. 
 
 Full Anthems. 
 By the Waters 0/ Babylon ( i 6 v) — Cope. 
 Not unto us {A 4 v) — Arnold, Vol I. 
 O give thanks {a 6 v) — Boyce, Vol II. — Parish Choir. 
 O Lord God of my Salvation {from Palestrina, a ^v) 
 —Page. Vol II.— Cope. 
 
 pi aise the Lord all ye heathen (d 4 v) — A rnold, Vol I. 
 Out of the deep (i 4 v) — Boyce, Vol II. — Parish Choir. 
 We have heard with our ears {from Palesttina, i 4 «/) 
 
 — Arnold, Vol I. 
 
 Full Anthems, with Verses. 
 
 Behold now, praise the Lord (i 5 v) — Cope. 
 God is our hope and strength (i 5 v) — Page Vol II. — 
 Cath. Mag., Vol. II. 
 
 Verse Anthem. 
 
 1 am well pleased {from Carissimi, a 3 v) — Arnold, 
 Vol III 
 
 Amner, John. Lay Clerk of Ely Cathedral, 1604 ; 
 organist, 1610 ; died, 1641. 
 
 Angel, Alfred. Bom 1816. Succeeded S. S. Wesley 
 in 1842 as oreranist of Exeter Cathedral. Died at Exeter 
 
 May 24, 1876. 
 
220 THE ORGANISTS AND COMPOSERS 
 
 Anthems. 
 
 Blessing, Glory, Wisdom {for double choir), adapted 
 from Bach— folio and %vo (Novello). 
 
 Blow ye the trumpet in Zion {Gresham Prize Composi- 
 tion 1842). Verse Anthem— folio {Novella). 
 
 Armes, Phillip, Mus.B., Oxon. (1858), Mus.D. (1864). 
 ad eundem Dunelm (1874). Born at Norwich, iSsd- 
 Chorister in Norwich Cathedral, 1846 — 1848 ; in Roches- 
 ter Cathedral 1848 — 1850. Organist of Holy Trinity 
 Church, Milton, Gravesend, 1855 ; of S. Andrew's, Wells 
 Street, 1857 ; of Chichester Cathedral, i860; of Durham 
 Cathedral, 1862. 
 
 A Morning and Evening Service in G, Communion 
 Services in A and B flat, and six Anthems composed 
 by Dr. Armes, are published by Novello &' Co. 
 
 Arnold, Samuel, Mus.Bac. and Mus.D., Oxon (1773). 
 Bom in London Aug. loth, 1740. Chorister of the Chapel 
 Royal. Organist and composer to the Chapel Royal in 
 succession to Dr. Nares, 1783. Organist of Westminster 
 Abbey in succession to Dr. Cooke, 1 793. Died at Duke 
 St., Westminster, Oct. 22nd, 1802. Buried in the North 
 Aisle of the Abbey. 
 
 In A, Communion and Evening Service {in continua- 
 tion of Boyc^s Morning Service in A, full)— folio 
 and 8vo {JVovello). 
 In B flat, Complete Service — Goss and Turle, Vol I. 
 Verse Anthem {A 3 v) : Who is this that comethfrom 
 
 Edom — Page Vol I. — %vo {Novillo). 
 Cathedral Music. Being a Collection in Score of the 
 most valuable and useful Compositions for that Set vice 
 by the several English Masters of the lyth and i&th 
 Centuries, 4 vols, folio {including an organ part), 
 1790. Second edition by Dr. Rimbault, 3 vols, folio, 
 1843—7- 
 
 Baildon, Joseph. Born 1727, Gentleman of the 
 Chapel Royal, Lay Vicar of Westminster Abbey, and 
 Organist of All Saints' Church, Fulham, and S. Luke's 
 Old Street, Middlesex. Died in London, May 7, 1774. 
 
 Full Anthem (i 4 v), Behold how good and joyful- 
 Page, Vol in. 
 
OF a. Paul's catbedral. 221 
 
 Banks Ralph. Born 1767. Chorister in Durham 
 Cathedral. Pupil of Thomas Ebdon. Organist of Roches- 
 ter Cathedral, 1788. Died at Rochester, Sept. 20, 1841. 
 Buried in the nave of the Cathedral. 
 
 Cathedral Music, folio, published at Chi^ppeWs post- 
 humously, c. 1842, containing : — 
 In G, Morning and Communion Services, 
 In C, Evening Service. 
 In E, Benedicite Omnia Opera. 
 In A, Sanctus and Kyrie. 
 
 Anthems. 
 Creator Spirit, by Whose aid {Full d 4 v). 
 Give ear, O Heavens {Full A8 v, with versi, i 4 v\ 
 Lord, remember David {solo), adapted from Handel. 
 O Lord, grant the King {Full with Verse d 5 v). 
 *0 sing unto the Lord ( Verse d j v). 
 Sing praises to the Lord {Treble solo). 
 ■fTAe souls of the Righteous ( Verse <i 2 v). 
 Six double chants. 
 
 * Composed for the re.openiiig of the organ at Rochester Cathedral, Nov. 
 
 22nd. (S. Cecilia's Day) 1840. 
 t Composed for the Funeral of the Ven. Archdeacon Law, D.D., Feb. is, 
 
 iSss- 
 
 Barnby, Joseph. Bom at York, August i2th, 1838. 
 Chorister in York Minster, 1846 — 1852. Organist of 
 S. Andrew's, Wells Street, 1863— 1871; of S. Anne's, 
 Soho, 1 87 1. Organist and Precentor of Eton College, 1875. 
 
 Five Services and over thirty Anthems by Mr. Joseph 
 Barnby, are published by Novella &• Co. 
 
 Barrow, Thomas. One of the Children and subse- 
 quently one of the Gentlemen, and Music Copyist of the 
 Chapel Royal. Lay Vicar and Music-Copyist of S. 
 Peter's, Westminster. Diedl789. 
 
 Morning and Evening Service in F. — Rimbault{printed 
 
 from the original MS. in the possession of Mr. W. 
 
 Hawes). — Goss and Turle. 
 Single chant in F. 
 Double chant in G {both printed in Dr. Rimbaulfs 
 
 Cathedral Chants of the XVI., XVII. and XVIII. 
 
 Centuries. i,to, 1844). 
 
222 THE ORGANISTS AND COMPOSERS 
 
 Battishill, Jonathan. Born in London, May, 1738. 
 Chorister of S. Haul's Cathedral, 1748 ; Organist of S. 
 Clement, Eastcheap, and afterwards (1767) of Christ 
 Church, Newgate Street. Died at Islington, Dec. 10, 
 1801. 
 
 Six Anthems and Ten Chants, edited by John Page,, 
 Vicar Choral of S. Pauls, folio, 1804, containing : — 
 
 Verse Anthem :— 
 The Heavens declare (i 3 v) — composed June, 1759). 
 
 Full Anthems with Verses : — 
 Behold, how good and joyful. 
 I waited patiently {composed Dec, 1758). 
 Unto thee lift I up mine eyes {composed Dec^ 10, 1761). 
 
 Full Anthems :— 
 O Lord, look down from Heaven (^ 7 v), composed 
 
 June 5, 1765. 
 Save me O God {a 5 v), composed Dec, 1761. 
 Two Double Chants. 
 Eight Single Chants. 
 
 Call to remembrance {Full ^ 7 v, with Verse a 3 v) — 
 
 Page Vol I., 8vo (Novello). 
 Deliver us O Lord {Full d. 4 v) — Page Vol III. 
 How long wilt Thou forget me {treble solo) — Pcige 
 
 Vol II. 
 Iwillmagnify Thee {Full h/^v, with Versedjv) — Page 
 
 Vol in. 
 
 Beale, William, commonly known among musicians 
 as " Madrigal Beale." Born at Landrake, with S. Erney 
 Cornwall, Jan. x, 1784. Chorister of Westminster Abbey ; 
 Gentleman of the Chapel Royal, 1816 — 20; Organist of 
 Trinity and S. John's Colleges, Cambridge, in succession 
 to Dr. Clarke- Whitfeld, 1820—21 ; Organist of Wands- 
 worth Parish Church and S. John's, Clapham Rise, 182 1. 
 Died in London May 3rd, 1854. One of our most 
 esteemed composers in the madrigalian style. 
 
 Double Chant in A (major and minor) — prinied in 
 Gos^ Chants, 1841. 
 
OF S. PAUL'S CATHEDRAL. 223 
 
 Beckwith, John Christmas, Mus.B. and Mus.D., 
 Oxon(i8o3). Born Dec. 25, 1750. Assistant organist to 
 Dr. Philip Hayes at Magdalene College, Oxford; organist 
 of S. Peter Mancroft, Norwich, 1794 ; of Norwich Cathe- 
 dral in succession to John Garland, 1808. Died at Nor- 
 wich, June 3rd, 1809, and was buried in the church of 
 S. Peter, Mancroft. 
 
 Stx Anthems in Score, dedicated with the utmost respect 
 and gratitude to the Dean a7id Chapter 0/ Norwich, 
 folio, c, 1790, containing : — 
 
 Ponder my words {duet, two trebles or tenors). 
 
 Blessed is the man that hath not walked {full with 
 verse). 
 
 Sing unto the Lord a new song {bass solo). 
 
 I bow my knee {full cL 5 v). 
 
 I will sing unto the Lord {treble or tenor solo). 
 
 The Lord is very ^reat and terrible {Verse <J 3 w) 
 
 My soul is weary, 8vo {Novella) edited by Dr. G. C. 
 
 Martin. 
 The First Verse of every Psalm of David with an 
 
 Antient or Modern Chant in Score, adapted as much 
 
 as bossible to the sentiment of each psalm, folio, 
 
 1808. 
 
 \* One of the earliest instances of a pointed psalter. 
 
 John Christmas Beckwith and the Rev. Edward James 
 Beckwith (Minor Canon of S. Paul's, etc.), were the sons 
 of Edward Beckwith, Lay Clerk (Oct. i6th, 1751) and 
 Master of the Choristers (Nov. i8th, 1759) of Norwich 
 Cathedral, and organist of S. Peter, Mancroft (Dec. 4th, 
 1780). He was bom June 2nd, 1734 and died Dec. 30th, 
 1793. His brother John Beckwith (born 1728, died May 
 i8th, 1800), was also a lay clerk of Norwich Cathedral. 
 The ddtes are taken from their gravestones in the North 
 cloister walk of Norwich. John Beckwith was a volu- 
 minous composer of services and anthems, but none of 
 them have been primed. Ur. John Christmas Beckwith 
 is usually described in books of words of anthems as 
 " Beckwith Junior." 
 
224 rfl^S ORGAmSTS AlTD COMPOSERS 
 
 Bennett, Alfred ^^'illiam, Mus.B., Oxon, (1825.) 
 Son of Thomas Bennett,* organist of Chichester Cathe- 
 dral, 1803— 1848. Organist of New College, Oxford, and 
 St. Mary's University Church, in succession to William 
 Woodcock, Mus.B., 1825. Killed by a fall from a coach 
 while proceeding to the Festival of the three choirs at 
 Worcester, Sept. 12, 1830. The Rev. Thomas Mozley 
 alluded, in terms of approbation, to Bennetts musician- 
 ship in his " Reminiscences," Second Series. 
 
 Cathedral Music, i vol, folio, edited posthumously hy 
 Thomas and Henry Bennett; containing: — 
 
 Services .• — 
 In E, Te Deum and Jubilate. 
 In F, Magnificat and Nunc Dimittis {arranged from 
 
 Mozart, Novella, Webbe, etc.) 
 In G, Evening Set vice. 
 
 Anthems. 
 / waited patiently {verse, two trebles'). 
 O praise the Lord of Heaven {verse d, 5 v"). 
 O Zion that bringest {d. 7 v). 
 
 Cathedral Chants, edited in conjunction with William 
 Marshall, Mus.B., ^to, 1829. 
 
 Bevin, Elwav. Born about 1570, pupil of Tallis. 
 Organist of Bristol Cathedral, and Gentleman Extraordi- 
 nary of the Chapel Royal, 1589 — 1637. The exact date 
 of his death has never been ascertained. 
 
 Complete Service in the Dorian Mode — Barnard. 
 Boyce, Vol. I. 
 
 Bishop, John. Bom 1665. Organist of King's Col- 
 lege, Cambridge, between Michaelmas and Christmas, 
 1687. Organist of Winchester College, 1695 Succeeded 
 
 * Thomas Bennett published " Cathedral Selections," a small collection 
 of standard Anthems, responses, chants, Ac. Also Sacred MeloHies, a 
 collection of Psalmody, in six parts, i8i+— 1838, On his death, March 
 31st, 1848, he was buried in the Cathedral yard. His son, Henry 
 Bennett, succeeded him as organist of Chichester until i860. 
 
OF S. PAUL'S OATHBDRAL. 225 
 
 Vaughan Richardson, as organist of Winchester Cathe- 
 dral, 1729. Died Dec. 19, 1737. Buried in the cloisters 
 of Winchester College. 
 
 Full Anthems. 
 Bow down Thine ear (d 4 v) — CoUeeiate Series ( Weekes 
 
 &'Co.) 
 Call to remembrance (d 4 v) — TAe Choir, No. 67. 
 Holy, Holy, Holy (i 4 v) — Parish Choir. 
 O be joyful in God {& 4 v) — The Choir, No. 65. 
 
 Bishop, Sir Henry Rowley, Knt., B.Mus., Oxon. 
 (1839), Mus.D. (1853). Born Nov. 18, 1782. Professor 
 Music in the University of Edinburgh, 1841, and in 
 that of Oxford in succession to Dr. Crotch, 1848. Re- 
 ceived knighthood 1842. Died April 30, 1855. Buried 
 in Finchley Cemetery. 
 
 Collection of Cathedral Chants, folio {Manchester) 
 
 Blake, Rev. Edward, D.D. Born at Salisbury, 
 1708. Fellow of Oriel Coll., Oxford. Perpetual Curate 
 of S. Thomas', Salisbury, 1740. Vicar of S. Mary the 
 Virgin, Oxford, 1754. Prebendary of Salisbury and 
 Rector of Tortworth, Gloucestershire, 1757. Died June 
 II, 1765. 
 
 Verse anthem; I have set God alway before me — Page, 
 Vol. //., %vo, Novella. 
 
 Blow, John, Mus.D., Cantuar. Born (as usually 
 stated) at North Collingham, Notts, 1648 ; * one of the 
 first set of children of the Chapel Royal after the Resto- 
 ration, 1660. Organist of S. Peter's, Westminster, 1669 
 to 1680, and again from 1695 to 1708. Gentleman and 
 Master of the Children of the Chapel Royal, 1674; organist 
 1676. Almoner and Master of the Boys at S. Paul's, 
 1687 to 1693. First Composer to the Chapel Royal, 1699. 
 Died in London, Oct. i, 1708. Buried in the North choir 
 aisle of S. Peter's, Westminster. 
 
 * There is a strong probability that Blow was bom in London. A MS. 
 note of Antony k Wood's in his Athens. Oxon., shows that Dr. Rogers told 
 Wood that this was the ease. The Registers of North Collingham Church 
 do not confirm the statement that Blow was bom there. 
 
 Q 
 
226 THE ORGANISTS AND COMPOSERS 
 
 In A, Complete Service — Boyce, Vol I. 
 
 In G, Complete Service — Boyce, Vol I. 
 
 In E minor, Complete Service — Boyce, Vol III. 
 
 In G, Kyrie and Credo {triple measure) — Boyce, Vol I. 
 
 In D, Sanctus and Gloria in Excelsis — Motett Soc. 
 
 Verse Anthems. 
 I beheld, and lo {d, 4 v) — Boyce, Vol III., 8vo, Novello. 
 I was in the spirit (d 4 v) — Boyce, Vol II., Svo, Novello. 
 Lord, how are they increased (d 2 v) — Cath. Mag. 
 O Lord, I have sinned {d 4 v) — Boyce, Vol III. 
 O Lord, Thou hast searched me out id 2 v) — Boyce, 
 
 Vol in. 
 
 O sing unto God (d 3 v)— Boyce, Vol III. 
 *Praise thou the Lord (d 6 w). 
 *Save Lord, and hear us {d 4 v). 
 *Shew us Thy mercy {d 4 v). 
 *The voice of the Lord {d 4 v). 
 
 Full Anthems with verses). 
 God is our hope and strength (d 8 v) — Boyce, Vol II. 
 *Look upon my adversity {d i,v). 
 O God, wherefore art Thou absent {d 5 v) — Boyce, Vol 
 
 Save me, O God [d 4 v) — Boyce, Vol II. 
 Sing we merrily \d 6 v) — Page, Vol II. 
 
 Full Anthems. 
 * Consider mine enemies (d \v). 
 My God, look upon me {d 4 v)^Boyce, Vol II. 
 Praise the Lord, O my soul (i 8 v) — Cepe. 
 *Up, Lord and help me {d 4 v), 
 
 * These were, for the first time published by Vincent Novello in 1846, 
 under the title of Seven Short AnUnmg, 
 
 Boyce, William, Mus.B. and Mus.D,, Cantab. (1749). 
 Bom 17 10. Chorister in S. Paul's under Charles King, 
 afterwards studied under Greene and Pepusch. Organist 
 of S. Peter's, Vere Street, 1734; of S. Michael's, Comhill, 
 1736— 1768; of Allhallow's, Thames Street, 1749—1769 ; 
 Composer to the Chapel Royal, 1736 ; Organist of the 
 same, 1758 ; Master of the King's Band, 1755. Died at 
 Kensington, Fe-b. 7, 1779. Buried in the crypt of S. Paul'§ 
 Cathedral, 
 
Of a. FAVl's CATSMDJUi,. 22^ 
 
 Cathedral Music, bein^ a Collection in score qfthe most 
 valuable and useful compositions for that service by 
 the several English Masters of the last two hundred 
 years, 3 vols, folio {large and small paper) 1760— 
 1778. Second edition with prefatory metnoir by Sir 
 John Hawkins, 1788. Modem editions by Vincent 
 Novello and Joseph Warren, 1849. 
 
 Nine copies of the original issue were subscribed for by the Dean and 
 Chapter of S. Paul's. 
 
 Original Cathedral Music, Vol. I., containing fifteen 
 Anthems and a Te Deum and Jubilate in score in 
 A {verse) for i, 2, 3, 4, and 5 voices, edited by Dr. 
 Philip Hayes, folio, 1780. 
 
 Vol. II. A collection of twelve Anthems and a short 
 Morning Service in C in score for i, 2, 3, 4, 5, and 6 
 voices, folio, 1790. 
 
 Vol. III., containing two Morning Services in A and 
 G, a Burial Service in E minor, and thirteen an- 
 thems. 
 
 Vol. IV., containing seven Anthems, a Pastoral Hymn, 
 a Sacred Round, and two Double Chants in F and 
 D.* 
 
 * The authenticity of the Double Chant in D is questioned. 
 
 The two last-named volumes were edited by Vincent Novello in 1846, several 
 of the compositions contained in them having been hitherto unpublished. 
 Novello likewise re-edited Vols. I. and II. uniform with Vols. 111. and IV. 
 These comprised nearly the whole of the known sacrvd works of this eminent 
 composer. 
 
 Bridge, John Frederick, Mus.B., Oxon. (1868), 
 Mus.D. (1874). Born at Oldbury, Worcestershire, Dec. 
 5, 1844. Chorister in Rochester Cathedral, 1850 — 1859. 
 Studied under John Hopkins and Sir John Goss. 
 Organist of Trinity Church, Windsor, 1865-9. Suc- 
 ceeded J. J. Harris, as organist of Manchester Cathedral, 
 1869. Professor of Music at Owen's College, Manches- 
 ter, 1872. Permanent Deputy-Orgaaist of Westminster 
 Abbey, 1875. Full Organist and Master of the Choristers 
 on the death of James Turle, 1882. Professor of Har- 
 mony at the Royal College of Music, and of Music at 
 Gresham College (1890). Conductor of the Western 
 Madrigal Society, etc., etc. 
 
 A complele Set.vice in G, Commitnien and Evening 
 Services in D, the Offertory Sentences, a Service for 
 
^28 TEM ORGAlTISTS AND CoMPOSERll 
 
 the Solemnization of Matrimony, and eleven an- 
 thems by Dr. Bridge are published by Novello Ssf Co. 
 In the Westminster Abbey Chant Book edited by him, 
 there is i Single Chant and 3 Double Chants. 
 
 Dr. Bridge has published several other anthems elsewhere. His contri- 
 butions to the repertory of Christmas Carol Music are among the most beau- 
 tiful specimens of the kind we possess. 
 
 Buck, Zechariah, Mus.D., Cantuar. (1853). Born 
 at Norwich, Sept. 9, 1798. Chorister in Norwich Cathe- 
 dral under Garland and J. Beckwith. Organist of Nor- 
 wich Cathedral, 1828 ; resigned, 1877. Died at Newport, 
 Essex, Aug S, 1879. 
 
 Anthems. 
 
 Come hither, Angel tongues invite (composed for the 
 enthronement of Dr. Hinds, Bishop of Norwich, by 
 whom the words were written, 1849). 
 
 / heard a voice from Heaven (for the funeral of Bishop 
 Stanley, 1849). 
 
 O Lord, give Thy Holy Spirit. 
 
 All these were published in Dr. Bunnett's Saered Harmony, folio, 1865, 
 together (with several Chants, Santt'Uies, Kyries, and Hymn Tunes, by Dr. 
 Buck. 
 
 Eight Chants, published in E. L. Farr's Collection 
 folio. 
 
 Bull, John, Mus.B., Oxon (1586), Mus.D., Oxon, 
 (1592). Borne. 1563. Organist of Hereford Cathedral, 
 1582. Gentleman of the Chapel Royal, 1585. First Pro- 
 fessor of Music atGresham College, London, 1596 — 1607. 
 Organist of Antwerp Cathedral, 1617 — 1628. Died at 
 Antwerp, March 13, 1628. 
 
 Full Anthem', Deliver me, O Lord — Barnard. 
 Verse Anthem; Lord, my God^Boyce, Vol II. 
 
 Byrde (Byrd or Bird) William. Bom about 1538. 
 Chorister in S. Paul's Cathedral. Organist of Lincoln 
 Cathedral, 1563 — 69. Gentleman of the Chapel Royal, 
 1569. Died, July 4, 1623. 
 
 Complete Service in D minor — Barnard— Boyce, Vol 
 
OF s. paVl's cathedral. i2§ 
 
 Anthems. 
 
 Arise, O Lord {ci 4 v) — Cath. Mag., Vol. I. 
 
 Bless the Lord, ye angels (d. 5 v) — Motett Soc. 
 
 Bow Thine ear \d, 5 v) — Barnard— Boyce, Vol. II — Zvo, 
 
 {Novello). 
 I will not leave you (cL J v) — Cope. 
 O Lord, turn Thy wrath (d, 5 v) — Boyce, Vol II. 
 Prevent us, O Lord {d, 5 v) — Barnard — Motett Soc. 
 Save me, O God (^ 4 v}— Motett Soc. 
 Sing joy fully {p. 6 v) — Barnard — Boyce, Vol II—%vo, 
 
 {Novello). 
 
 For other works see list of Barnard's Church Music. 
 
 Callcott, William Hutchins (Son of Dr. John 
 Wall Callcott, the eminent glee composer). Born at 
 Kensington, 1807. Died there Aug. 5, 1882. For some 
 time organist of S. Barnabas, Kensington. 
 
 Anthems. 
 
 From whence come wars (i 4 v) — %vo {Novello'). 
 Give peace in our time {treble sold) — Zvo {Novello). 
 He maketh wars to cease [d. 4 v)— folio {Addison &= Co.). 
 In my Father's House are many mansions. 
 O Lord revive Thy work {cL 4 v)— folio {Addison 6^ Co.). 
 Thou visitestthe earth {d. 4 v) — ^va {Novello). 
 
 Camidge, John. Born 1734. Chorister in York Min- 
 ster. Afterwards studied under Greene and Handel. 
 Organist of York Minster in succession to Dr. Nares, 
 1756. Died 1803. Buried in S. Olave's Churchyard, 
 York. 
 
 Camidge, Matthew. Born 1764. Chorister in the 
 
 Chapel Royal. Succeeded his father as organist of York 
 
 Minster, 1803. Resigned Oct. 8, 1842. Died Oct. 23, 
 
 1844, Buried in S. Olave's Churchyard, York. 
 
 Cathedral Music, folio, c, 1790, containing Morning 
 
 and Evening Service in F, six Anthems, 24 Single 
 
 and 6 Double Chants. 
 
 Camidge, John, Mus.B., Oxon (1812), Mus.D. (1819), 
 Mus.D., Cantuar (1855). Born 1790. Succeeded his 
 
230 THB ORGANISTS AND COMPOSERS 
 
 father as organist of York Minster, 1842. Died Septem- 
 ber 21, 1859. Buried in the York Cemetery. 
 
 Cathedral Music, folio, 1828. Containing Morning 
 and Evening Service in A, Evening Service in Eflat, 
 six settings of the Sanctus and Kyrie, four Anthems, 
 49 Double Chants and one Quadruple Chant. 
 
 Chard, George William, Mus.D., Cantab (1812). 
 Born 1765. Chorister in S. Paul's Cathedral under R. 
 Hudson. Lay Clerk of Winchester Cathedral, 1788. 
 Organist of the same in succession to Peter Fussell, 1802. 
 Organist of Winchester College, 1832. Died at Winches- 
 ter, May, 23, 1849. Buried in the College cloisters. 
 Anthems. 
 Have 7nercy Lord on me {adapted from Paisello) — folio, 
 
 {Novella.) 
 Kappy the man {full cl 4 v), 1836. 
 Is there not an appointedtime {bass solo), folio, {Novella). 
 O Lord, we beseech Thee {full d, 4 i/.) 
 To celebrate Thy praise {full d, 4 v) — printed in Dr. 
 W. H. Longhursfs Short Anthems. 
 
 'Very few of the Church compositions of this respectable musician^ have 
 been printed. The MSS. of three Services and five Anthems are in the 
 possesion of the writer. Five of Chard's Chants were printed in Bennett 
 - and Marshall's Collection (1829). 
 
 Childe William, Mus.B., Oxon (1631), Mus.D., 1663. 
 Born at Bristol, 1606. Chorister in Bristol Cathedral, 
 Pupil of Elway Bavin. Organist of S. George's Chapel. 
 Windsor, 1631, and one of the organists of the Chapel 
 Royal, Whitehall. Composer to the King, 1661. Died 
 at Windsor, March 23, 1697. Buried in the North choir 
 aisle of St. George's Chapel.* 
 
 Sekvices. 
 
 In A minor. Complete Service— Ouseley. 
 
 In D major. Complete Service — Boyce, Vol III. {the 
 favourite Service of King Charles I). 
 
 In E fiat, Complete Service — Arnold, Vol I. 
 
 In E minor. Complete Service — Boyce, V0I I. 
 
 * The stone, which is well preserved, is quite close to the iron Kate leading 
 into the North choir aisle. 
 
OF S. PAULS CATHEDRAL. 23 1 
 
 In F, Complete Service — Goss and Turle, Vol I. 
 In G, Complete Service — Goss and Turle, Vol I. 
 
 Anthems. 
 
 If the Lord Himself (& 5 v) — Arnold, Vol I. 
 
 O clap your hands {d 4 vy—Cope. 
 
 O Lord, irrant the King {d 4 v) — Boyce, Vol II. 
 
 O praise the Lord, laud ye (d 4 v) — Cope. 
 
 O pray for the peace {d 5 v) — Arnold, Vol I. 
 
 Praise the Lord, O my soul (4 4 ») — Boyce, Vol II. 
 
 Sing we merrily (d 7 v) — Boyce, Vol II. 
 
 Chipp, Edmund Thomas, Mus. B., Cantab. (1859) 
 Mus.D. (1861). Son of T. P. Chipp, the player on the 
 Tower Drums. Bom Dec. 25, 1823. Chorister in the 
 Chapel Royal. Organist of Christ Church, Albany St., 
 1843 ; of S. John's, Downshire Hill, Hampstead, 1846. 
 Member of the Queen's Private Band, 1843 — 5- Organist 
 of S. Olave's Southwark, 1847. Subsequently of S. Mary 
 at Hill J the Panopticon, Leicester Square (1855) ; Holy 
 Trinity Church, Paddington {1856) ; the Ulster Hall, 
 Belfast ; the Kinnaird Hall, Dundee ; and S. Paul's 
 Church, Edinburgh. Succeeded R. Janes in 1866 as 
 organist of Ely Cathedral. Died at Nice, Dec. 17, 
 1886. 
 
 Nine Services and three Anthems by Dr. Chipp are 
 printed by Novello &" Co. 
 
 Church, John. Born at Windsor, 1675. Chorister 
 of S. John's College, Oxford. Gentleman of the Chapel 
 Royal, 1697. Lay Vicar and Master of the Choristers 
 of S. Peter's Westminster, 1704. Died Jan. 6, 1741. 
 
 Complete Service in F—Ouseley. 
 Four Single Chants, printed in Vandernan's Divine 
 Harmony, 1770 
 
 Clarke (afterwards, 1814, Clarke-Whitfeld or 
 Clarke- Whitfield) John, Mus.B., Oxon (1793), Mus. 
 D., Dublin (1795), Cantab, ad eundem {ij<)q), Oxon., ad 
 eundem (1810). Born at Gloucester, Dec. 13. 1770. Organ- 
 ist of S. Laurence, Ludlow, 1789— 1794; of Armagh 
 
232 THE ORGANISTS AND COMPOSERS 
 
 Cathedral, 1794 — 1797. Master of the Choristers* at 
 Christ Church and S. Patrick's Cathedrals, Dublin, 1798 ; 
 organist of Trinity and S. John's Colleges, Cambridge, 
 in succession to Dr. Randall, 1799. Organist of Here- 
 ford Cathedral in succession to Aaron W. Hayter, 1820. 
 Resigned 1833. Professor of Music at Cambridge, 1821. 
 Died at Holmer near Hereford Feb. 22, 1836. Buried in 
 the East Walk of the Bishop's Cloister of Hereford 
 Cathedral. 
 
 Cathedtal Music, 4 vols, folio (1805 — 1822) : — 
 
 Vol I., containing two Services ana, seven Anthems. 
 
 Vol II., containini; eight Services and twenty-four 
 Chants. 
 
 Vol III., containing twelve Anthems. 
 
 Vol IV., containing Service in. E, six Anthems and 
 twenty four Chants. 
 
 Thirty Favourite Anthems, selected from various Eng- 
 lish composers, 2 vols, folio. 
 
 Selection of Single and Double Chants, Responses, etc., 2 
 vols, oblong, i^o. 
 
 Cooke, Benjamin, Mus.D., Cantab. (1775), Oxon, ad 
 eundem (1782). Born 1734. Deputy organist of S. Peter's, 
 Westminster, 1746 ; succeeded Bernard Gates as master 
 of the choristers, 1757 ; Lay Vicar, 1758 ; full organist in 
 succession to John Robinson, 1762. Organist of S. Martin 
 in the Fields in succession to Joseph Kelway, 1782. Died 
 at Dorset Court, Cannon .Row, Westminster, Sept. 14, 
 1793. Buried in the West cloister of the Abbey. 
 
 Morning and Evening Service in G — Goss and Turle 
 
 — Cath. Ch.Bk. 
 Ditto, with Sanctus, Kyrie, and Credo, edited by Dr. G. 
 
 C. Martin, &vo (Novello). 
 
 Cooke, Robert, Son of the above. Bom 1768. Organ- 
 ist of S. Martin in the Fields, 1793, and of S. Peter's, 
 Westminster, in succession to Dr. Arnold, 1802. Drowned 
 in the Thames, Aug 13, 1814. Buried in the West clois- 
 ter at Westminster. 
 
 Not organist as usually stated in ertpr. 
 
OF S. PAUL'S CATHEDRAL. 233 
 
 Evening Service in C {composed 1806) — Rimbault — 
 
 Goss and Turle — Cath. Ch. Bk.* 
 Five Double Chants {printed in The Westminster 
 
 A bbey Collection. Edition <?/ 1 8 ; 5 ). 
 
 '*' It should be stated that the first printed copy of R. Cooke's Service in 
 C was published at Birchall's for Henry Cooke, the composer's brother 
 (died Sept. 30th, 1840, aged 74), several years before the appearance of 
 Rimbault's and the other editions mentioned above. 
 
 Cooke, Captain Henry. Born c, 1610. Appointed 
 Master of the Children of the Chapel Royal, 1660. Com- 
 poser of " The King's Private Musick for Voyces," 1664. 
 Died July 13, 1672. Buried in the East cloister of Wes- 
 minster Abbey. 
 
 The Words of eighteen of Captain Cooke's Anthems 
 were printed in Cliffords Divine Services and An- 
 thems \imo (1664). 
 
 CoRFE, Arthur Thomas (son of Joseph Corfe, organ- 
 ist of Salisbury Cathedral, died 1820). Born at Salisbury, 
 April 9, 1773. Chorister in Westminster Abbey, 1782. 
 Organist and Master of the Choristers of Salisbury Cathe- 
 dral on resignation of his father, 1804. Died, while 
 kneeling at prayer, Jan. 28, 1863. Buried in the South 
 cloister of Salisbury Cathedral. 
 
 The adapter of some anthems from the works of Mozart 
 and others. 
 
 Creyghton, Rev. Robert, D.D. Bom 1640. Son 
 of the Rt. Rev. Robert Creyghton, Bishop of Bath and 
 Wells. Professor of Greek in the University of Cam- 
 bridge, 1662. Canon Residentiary and Precentor of 
 Wells Cathedral, 1674. Died at Wells, Feb. 17, i733.t 
 
 Services. 
 In Bflat, Morning and Evening Service — Ouseley. 
 In Eflat, Complete Service — Rimbault— Cath. Ch. Bk. 
 
 Anthems. 
 Behold now, praise the Lord {full d 4 v.) — Far. Ch. 
 I will arise (full d. 4 v)—Boyce, Vol Il.—ivo [Novella). 
 
 t This, and several other dates in the course of these biographical notices, 
 will be found to vary from those generally received ; but such changes have 
 not been made without consulting the best and latest authorities. 
 R 
 
234 y-?-?^ ORGANISTS AND COMPOSERS 
 
 Praise the Lord^ O my soul (full with verse, d, 5 v), %vo, 
 {Novella).* 
 
 * Many of Creyghton's compositions for the Church are still in MS. Dr. 
 Rimbault possessed scores of complete services in B flat, C, D, E flat, 
 and F minor, and several anthems. The preservation of these composi- 
 tions was entirely owing to Henry Cooke, a former Vicar Choral of 
 Wells, who transcribed the whole in score from the original part-books 
 now destroyed. 
 
 Croft, William, Mus.D., Oxon. (1713). Born at 
 Nether Eatington, Warwickshire, 1678 (baptized Dec. 
 30). Chorister in the Chapel Royal. Organist of S. 
 Anne's, Soho, 1700 — 11. Gentleman of the Chapel 
 Royal, 1700. Joint organist of the same with Jeremiah 
 Clark, 1704 ; sole organist, 1707. Master of the Chil- 
 dren and Composer to the Chapel Royal and organist of 
 S, Peter's Westminster, in succession to Dr. Blow, 1708. 
 Died at Bath, Aug. 14, 1727. Buried in the Norih choir 
 aisle of Westminster Abbey. 
 
 Services. 
 In A, Morning and Communion Service — Rimbault — 
 
 "^Hawes (1840} — Zvo, Novella {edited by Dr Martin). 
 In B minor, Morning Service — Arnold, Vol I. 
 In B minor, Sanctus and Gloria in Excelsis — Arnold 
 
 Vol I 
 In Eflat, Morning and Evening {Cantate) Service — 
 
 Rimbault- Mlawes (1840). 
 
 Anthems. 
 Cathedral Music, or Thirty Select Anthems in Score, 
 consisting of i, 2, 3, 4, 5, 6, 7 and 8 Parts, to which 
 is added the Burial Sei vice as it is now occasionally 
 performed in Westminster Abbey, 2 vols, folio, \T2/^. 
 (^Another edition was issued some forty years later in 
 4/0 size). 
 
 t These, the first printed copies of Croft's ' Services in A and E flat, were 
 published by Wm.Hawes, of S. Paul's and the Chapel Royal, by subscrip- 
 tion, commencing in July, 1840. They appeared in large square folio size 
 with a dedication to the Rev. Edmund Goodenough, D.D., Dean of Wells 
 
 Miscellaneous Verse Anthems. 
 Blessed is the piople {& 3 v) — Page, Vol I. 
 Be merciful unto me [d. 4 v) — Arnold, Vol II. 
 Deliver us, O Lord {d. 3 v) — Page, Vol I. 
 Give the King thy judgments {a 5 v)—Boyce, Vol II, 
 
OP s. Paul's catbedral. 235 
 
 God is gone up (d 4 v)—Boyce, Vol Il.-^ivo {Novello). 
 
 Hear my crying {d, 2>v) ■ published by Birchall c 1780. 
 
 / will qive thanks (^ 5 vy—Artwld, Vol I. 
 
 My soul, be thou joyful (i 3 v) — Cath. Mag. 
 
 O clap your hands {d, 3 v)^-Cath. Mag. 
 
 O praise the Lord all ye heathen (i 3 ij)-^Boy(e,, Vol II. 
 
 Put me not to rebuke (d, 3 v)-^Boyce, Vol II. 
 
 The Lord hath appeared for us (4 3 v)^published by 
 
 Birchall, c. 1780. 
 The Lord is my light {d 3 v) — Page, Vol III. 
 The Lord of Hosts (d, 8 v) — Cath. Mag. 
 
 Cross, William. Organist of Christ Church Cathe- 
 dral, S. John's College, and the University Church, 
 Oxford, 1807. Died 1826. 
 
 Collection of Chants, Kyries, and Sanctuses, oblong 6,to. 
 Collection of Psalm. Tunes, oblong ^to, 18 18. 
 
 Crotch, William, Mus.B., Oxon. (1794), Mus.D. 
 (1799). Born at Norwich, July 5, 1775. Pupil of Dr. 
 Randall at Cambridge. Organist of Christ Church Cathe- 
 dral, Oxford, 1790—1807 ; of S. John's College, 1797— 
 1806. Professor of Music in the University, 1797. 
 First Principal of the Royal Academy of Music, 1822. 
 Lecturer at the Royal Institution, Died at Taunton, 
 Dec. 29, 1847. Buried in the church of Bishop's Hull. 
 
 Ten Anthems dedicated to the Dean and Chapter of 
 Christ Church, folio, c. 1798. 
 
 Miscellaneous Anthems, etc. 
 O Lord, from W hom all good things {printed in Petti fs 
 
 Sacred Music, folio, 1825) full A 4 v. 
 O come hither and hearken {solo) I Edited by Dr. W. 
 In God's Word {solo) ) H. Monk. 
 
 The Lord is King {Festival Anthem) folio, 1843. 
 Funeral Anthem for the Duke of York, folio, 1827. 
 *Holy, Holy, Holy {Heber's Hymn on the Trinity), 
 
 folio and 8vo {Novello). 
 Weep not for m£ {words by Milman) Motett, d, ^ v 
 
 {Pettifs Sacred Music). 
 
 ' Composed for Trinity Sunday, 1827, and first sung at service at New 
 College Cliapel on that day, when the sermon was preacjied by the Rev. W. 
 R. Crotch. 
 
236 THE ORGANISTS AAD COMPOSERS 
 
 Methinks I hear the full celestial choir {words by Thom- 
 son) Motett, cL ^v, %vo {Novella). 
 
 Sanctus and Kyrie in F, published in " Lyra Ecclesias- 
 tica," 1844. 
 
 Collection of Seventy-two Original Single and Double 
 Chants, oblong ^to, 1842. 
 
 Tunes adapted to the Old and New Versions ef the 
 Psalms, etc., together with Talus' Litany adapted to 
 the Latin Words, with additions by Dean Aldrich. 
 Zvo, 1807. 
 
 Davy, John. Bom at Upton-Helions, near Exeter, 
 Dec. 23, 1763. Pupil of W. Jackson. Organist of 
 Bedford (Episcopal) Chapel, Exeter. Subsequently 
 settled in London as composer to the Theatres. Died in 
 May's Buildings, S. Martin's Lane, Feb. 22, 1824. Buried 
 in S. Martin's burying ground, Pratt St., Camden 
 Town. 
 
 Anthem {Op. 9), " Lord who shall dwell " {verse d 3 v), 
 
 folio. 
 Sanctus and Kyrie Eleison in F — Hawes. 
 Four Single and two Double Chants, in Rimbault's 
 
 Cathedral Chants of the XVL, XVIL, and XVIIL 
 
 Centuries, ^to, 1844. 
 Double Chant in E — Hawes. 
 Double Chant in C — Bennett and Marshall. 
 
 Dearle Edward, Mus.B., Cantab. (1836), Mus.D. 
 (1842). Born at Cambridge, 1806. Chorister in King's 
 College Chapel. Organist of S. Paul's, Deptford, 1827 ; 
 of Blackheath Park Church, 1830 ; of Wisbeach Parish 
 Church, 1832 ; of S. Mary's, Warwick, 1833 ; of Newark 
 Parish Church, 1835 — 1864.N0W resident m London. 
 
 Morning and Evening Service in F (1832). 
 
 Morning and Evening Service in C, four Anthems and 
 
 thirty-six Chants, dedicated to Prince Albert, folio, c, 
 
 1843. 
 Evening Service in A,foho {Novello). 
 Evening Service in Bflat, ?>vo {Novello). 
 Anthem, '■^ Turn Thee again" {Gresham. Ptize, 1837). 
 Anthem, "With Angels and Archangels" Svo {Novello). 
 
OF s. Paul's cateedral. 237 
 
 DowLAND, John, Mus.B., Oxon, (1588), ad eundem 
 Cantab. (1592). Born in Westminster, 1562. Died 1626. 
 Anthem, " Bow Thine ear " {^printed in Hawes' Collec- 
 tion of Anthems, folio, 1830). 
 
 Dupuis, Thomas Sanders, Mus.B. and Mus.D., 
 Oxon. (1790). Born in London, Nov. 5, 1730. Chorister 
 in the Chapel Royal under Gates and Travers. Succeeded 
 Dr. Boyce as organist and composer to the Chapel 
 Royal, 1779. Died at his residence, Park Lane, July 17, 
 1796. 
 
 Cathedral Music in Score, composed for the use of His 
 Majesty's Royal Chapels. Edited by his Son-in-law, 
 John Spencer, 3 vols, folio, 1798/ — 
 Vol I., containing Complete Service in E Aatj Com- 
 plete Service in F j Morning and Evening Service 
 in Dj Morning Service in C. 
 Vol II., containing five Solo Anthems j five Verse 
 
 Anthems ; four Full Anthems. 
 Vol III., containing an Organ Part to the above, and 
 Six Organ Voluntaries. 
 
 Full Anthem with verse, ^^ I cried unto the Lord" — 
 
 Page, Vol I. 
 Solo Anthem, " The Lord, even the most mit^hty God' 
 
 —Pa^e, Vol I. 
 
 Sixteen Single and Double Chants as performed at the 
 Chapel Royal, etc., etc., oblong i,to, c. 1780. 
 
 A second Set of Chants, composed for the Chapel Royal, 
 oblong J^o, c. 1784. 
 
 Twenty-four Double and Single Chants as performed 
 at the Chapel Royal, S. PauPs, etc., oblong i^o, c. 1791. 
 
 Ebdon, Thomas. Bom 1738. Chorister in Durham 
 Cathedral. Organist of Durham Cathedral, 1763. Died 
 Sept. 23, 181 1. Buried in S. Oswald's Churchyard, 
 Durham. 
 Sacred Music composed for the use of the Choir of 
 Durham Cathedral, folio, 1790, containing a Com- 
 plete Service in Cj six Anthems; Preces and Re- 
 sponses; five Chants. 
 
2,38 THE ORGANISTS AND COMPOSERS 
 
 A Second Volume of Sacred Music in Score, folio, 18 10, 
 containing sixteen Anthems j two Settings of the 
 Kyrie Eleison; six Double Chants. 
 
 Elvey, Sir George Job, Mus.B. Oxon. (1838), Mus.U 
 (1840). Son of Mr. John Elvey. Born at Canterbury, 
 March 27, 1 8 16. Chorister in Canterbury Cathedral. 
 Lay Clerk in Christ Church Cathedral, Oxford, 1833 — 
 1834. Organist of S. George's Chapel, Windsor, in suc- 
 cession to Highmore Skeats junior, 1835 — 1882. Re- 
 ceived knighthood, 1871. 
 
 A Morning and Evenint; Service in F, a Morning 
 Service in B flat, a Communion Service in E, and 
 Evening Services in D and E, together with twenty 
 Anthems and forty-five Chants by Sir George Elvey, 
 are published by Novella &" Co. 
 
 Elvey, Stephen, Mus.B. Oxon. (1831), Mus.D. (1838). 
 Born at Canterbury, June 27,1805. Son of Mr. John 
 Elvey. Chorister and afterwards Lay Clerk in Canter- 
 bury Cathedral. Organist of New College, Oxford, and 
 of S. Mary's (University) Church, 1830. Cboragus of 
 the University, 1840. Died Oct. 6, i86o. 
 
 Evening Service in A {composed in continuation of 
 Croft's Morning and Communion Services') folio, 
 1828 — ?>vo {Novello), edited by Dr. G. C. Martin. 
 
 ESTE Michael, Mus.B. Oxon. Born early in the 17th 
 century. Master of the Choristers at Lichfield Cathe- 
 dral. Died 1638. 
 
 Some of his Anthems were printed in Dr. Rimbault's 
 Collection of Anthems by Composers of the Madriga- 
 lian Era, edited for the Musical Antiquarian Society, 
 folio, 1845. 
 
 Evans, Charles Smart. Born 1770. Gentleman of 
 the Chapel Royal and Organist of S. Paul's, Covent 
 Garden. Died Jan. 4, 1849. 
 
 Two Anthems, being the Collects for the first Sunday 
 after Easter, and the first Sunday after Trinity. . . 
 Inscribed to the Hon. and Rt. Rev. Father in God, 
 Shute Barrington, £j)rd Bishop of Durham, for four 
 and five voices, folio, c. 1830. 
 
OF S. PAULS CATHEDRAL. 239 
 
 Verse Anthem, " T will love Thee" (& 3 v)—Pettifs 
 Sacred Music, folio, 1823. 
 
 Farrant, Richard. Born c. 1530. Gentleman of 
 the Chapel Royal, 1564 — 1580. Master of the Choristers 
 of S. George's Chapel, Windsor, 1564 — 1569. Died Nov. 
 30, 1580. 
 
 *Complete Service in G minor — Boyce, Vol I. 
 
 Full Anthem., " Call to remembrance" (cL 4 v) — Boyce, 
 
 Vol II.—%vo {Novello). 
 Ditto, " Hide not Thou Thy face " (<J 4 v)— Boyce, Vol 
 
 II.—%vo {Novello). 
 ■f Ditto, " Lord, for Thy tender mercies' sake " {& 4 v) — 
 
 Cath. Mag.— Page, Vol I. — %vo {Novello). 
 
 * A Morning and Evening Service in D minor assigned by Sir Frederick 
 Ouseley in liis Collection of Caihedral Services {folio. 1853), to Richard Far- 
 rant, is more probably the composition of John Farrant, organist of Salis- 
 bury Cathedral, at the close of the sixteenth century. 
 
 t The authenticity of this anthem is much questioned. By many it is as- 
 signed to John Hilton. 
 
 Flintoft, Rev. Luke, B.A., Cantab (1700). Priest 
 Vicar of Lincoln Cathedral, 1703 ; Sacrist, 171 1 ; Gen- 
 tleman of the Chapel Royal, 17 15. Reader in the Chapel 
 Royal, Whitehall; Minor Canon of Westminster, 1719. 
 Died Nov. 3, 1727. Buried in the South Cloister ot West- 
 minster Abbey. 
 
 A Double Chant in G minor by Flintoft, one of the 
 earliest instances of that species of composition, is 
 well known. It was first printed in a collection 
 by C. and S. Thompson, S. Paul's Church Yard, 
 Svo, c. 1769. 
 
 Gadsby, Henry Robert. Born at Hackney, Dec. 
 15, 1842. Chorister in S. Paul's Cathedral under W. 
 Bayley. Professor of Harmony at the Guildhall School 
 of Music, and Queen's College. 
 
 A Complete Service in C, a Festival {Cantate) Service 
 in D, and nine Anthems by Mr. Gadsby are published 
 by Novello, and an Evening Service in G by 
 Metzler. 
 
 Garrett, George Mursell, Mus.B., Cantab (1857), 
 IMus.D. (1867), M.A., propter meritis, 1878. Born at 
 
240 TBE ORGANISTS AND COMPOSERS 
 
 Winchester, June 8, 1834. Chorister in New College, 
 Oxford, 1844 — 1848. Assistant to Dr. S. S. Wesley at 
 Winchester Cathedral, 1850. Organist of Madras Cathe- 
 dral, 1856; of S. John's College, Cambridge, 1857 ; and 
 of S. Mary's, University Church, Cambridge, 1873. 
 
 Five Complete Services in D, E, Eflat, and F, {Nos. 
 I and 2), a Communion Service in A, an Evening 
 Service for men's voices, and twelve Anthems by 
 Dr. Garrett are published by Novella and Co. 
 
 Gates, Bernard. Bom 1685. One of the children 
 of the Chapel Royal, 1708. Master of the Choristers of 
 the Chapel Royal and of S. Peter's, Westminster, 1740 — 
 I7;;8. Died at North Aston, Oxon, Nov. 15, 1773. 
 Buried in the North Cloister of Westminster Abbey. 
 
 An excellent Service in F, by Bernard Gates, is in use 
 at Canterbury, Durham, Lichfield, S. George's, 
 Windsor, and several other places. It is to be re- 
 gretted that it has never found an editor. 
 
 Gibbons, Orlando, Mus.B,, Cantab. (1606) Mus.D., 
 Oxon (1622J. Born at Cambridge, 1583. Gentleman of 
 the Chapel Royal, 1605. Organist of Westminster Abbey, 
 1622. Died at Canterbury, Whitsun-Day, June 5, 1625. 
 Buried in the North nave aisle of Canterbury Cathedral. 
 Com,plete Service in F — Barnard — Boyce, Vol I. 
 Ditto {transposed to G), edited by Dr. G. C. Martin, 
 Svo {Novelld). 
 
 Anthems. 
 
 Almighty and Everlasting God {d. 4 v) — Barnard, 
 
 —Boyce, Vol Il.—ivo (Novello). 
 God is gone up {A 8 v) — Boyce, Vol II. 
 O clap your hands {& 8 v) — Boyce, Vol II. 
 Hosanna to the Son of David {& 6 v) — Barnard, — Boyce, 
 
 Vol II.—Zvo {Novello). 
 Lift up your heads {d, 6 v) — Barnard, — Boyce, Vol II. 
 
 A Collection oj the Sacred Compositions of Orlando 
 Gibbons {of which the Scores are not contained in 
 Boyces Collection) frotn the original MSS. and 
 Part Books, together with a transposed organ-iart 
 
OF S. PAULS CATHEDRAL. 24 1 
 
 to some of his published works, edited by the Rev. Sir 
 F. A. Gore Ouseley, folio, 1873. Containing: — 
 
 Two Sets of Preces. 
 
 Two Services. 
 
 Seventeen Anthems. 
 
 Six Hytnn Tunes. 
 
 Gibbons, Christopher, Mus.D., Oxon (1664). Bom 
 1615 (Baptised Aug. 22), Son of Orlando Gibbons. 
 Chorister in Exeter Cathedral. Organist of Winchester 
 Cathedral, 1640 — 1644; ofWestminster Abbey, 1660 — 
 1665, and of the Chapels Royal, 1660 — 1676. Bied Oct. 
 20, 1676. Buried in the cloisters at Westminster. 
 
 Giles, Nathaniel, Mus.B., Oxon (1585), Mus.D. 
 {1622). Born near Worcester, 1548. Organist of S. 
 George's Chapel, Windsor, 1595. Gentleman Extraordi- 
 nary and Master of the Children of the Chapel Royal^ 
 1597. Organist of the Chapel Royal, 1623. Died Jan. 
 24, 1633. Buried in S. George's Chapel, Windsor. 
 Complete Service in C — Barnard. 
 
 GOLDWIN (or Golding) JOHN. Born 1670. Suc- 
 ceeded Dr. Childe as organist of S. George's Chapel, 
 Windsor, 1697. Master of the Children, 1703. Died at 
 Windsor, Nov. 7, 1719. 
 
 Complete Service in F — Arnold, Vol I. 
 Anthems. 
 Behold my Servant {verse d. 4 v) — Arnold, Vol I. 
 I have set God {verse A 3 v)—Boyce, Vol H.-ivo, 
 
 {Novello.) 
 I will sing unto the Lord {verse d. 4 v)—Page, Vol I. 
 O love the Lord {full d, 4 v)—Cope. 
 O praise God in His holiness {verse d, 2 v) — Page, 
 
 VolIL. 
 O praise the Lord {full d 4 v)—Cope. 
 
 Guise, Richard, Mus.B. Cantab. (1758). Born 1735. 
 Lay Clerk of S. George's Chapel, Windsor, and Eton 
 College, c. 1760— 1773. Gentleman of the Chapel 
 Royal, 1779. Lay Vicar and Master of the Choristers 
 at S. Peter's, Westminster, 1793. Died March 10, i8o8. 
 Buried in the North Cloister of S. Peter's, Westminster. 
 S 
 
242 THE ORGANISTS AND COMPOSERS 
 
 Three Single Chants by Guise were printed in Vander- 
 nan's Divine Harmony, 1770. 
 
 Hall, Henry. Bom at New Windsor, c. 1655. 
 Chorister in the Chapel Royal. Organist of Exeter 
 Cathedral, 1674. Organist and Vicar Choral of Here- 
 ford Cathedral, 1688. Took holy orders, 1696. Died 
 March 30, 1707. Buried in the Cloisters of Hereford 
 Cathedral. 
 
 Te Deum in E flat, to which the Jubilate was subse- 
 quently added by Wm. Hine of Gloucester— ^Arnold. 
 Vol III. 
 
 Hart, Charles. Bom May 19, 1797. Pupil of Dr. 
 Crotch. Organist of S. Dunstan's, Stepney, 1829 — 
 1833, afterwards, of Beckenham Church. Died March 
 29, 1859. 
 
 Te Demn and Jubilate in C {Gresham Prize Com- 
 position, 1831. ) 
 
 Three Anthems dedicated to Dr. Crotch {folio, 
 Novella). 
 
 Full Anthem, "Almighty and Everlasting God" {in 
 Lyra Ecclesiastica, 1844). 
 
 Havergal, Rey. William Henry, B.A., Oxon 
 (1815;, M.A. (1819). Born at High Wycombe, Jan. 18, 
 1793. Educated at Merchant Taylors School and S. 
 Edmund Hall, Oxford. Rector of Astley, Worcester- 
 shire, 1829— 1842. Rector of S. Nicholas, Worcester, 
 and Honorary Canon of the Cathedral, 1845. Rector 
 of Sharesihill, i860. Died at Leamington, April 19, 
 1870. ^ 
 
 Morning and Evening Service in E flat and a Hun- 
 dred Antiphonal Chants {folio. Novella). 
 
 Evening Service in A (Gresham Prize, 1836). 
 
 Anthem, " Give thanks to the Lord" (Gresham Prise, 
 1841). 
 
 Full Anthem {d. 4 v), " O Saviour of the world" {pub- 
 lished in Hacketfs National Psalmist, 1842). 
 
 Ditto, " God so loved the world" (d, 4 v) ^fiub. in Lyra 
 
 Ditto, " Arise, O Lord God" (a 4 f ) [ Ecclesias- 
 
 Ditto, " Praise ye the Lord" {d. \v) ) tica, 1844. 
 
OF S. PAXIL* S CATBEDRAL. 243 
 
 Old Church Psalmody and a Century of Chants, ^0, 
 1871. 
 
 Hayes, William, Mus.B., Oxon (1735), Mus.D. 
 (1749). Born at Gloucester, 1707. Chorister in Glou- 
 cester Cathedral. Organist of S. Mary's, Shrewsbury, 
 1729 — 1731 ; of Worcester Cathedral, 1731 — 1734; of 
 Magdalen College, Oxford, 1734, Professor of Music 
 in the University of Oxford, 1741. Died at Oxford, 
 July 27, 1777. Buried in the Churchyard of S. Peter in 
 the East. 
 
 Cathedral Music, in score, edited by his son, Philip 
 Hayes, folio, i"]^^, containing : — 
 
 Te Deum and Benedictus in D.* 
 
 Communion Service in Eflat. 
 
 Evening (Cantate) Service in Eflat. 
 
 Eight Solo Anthems. 
 
 Twelve Verse Anthems. 
 
 One Full Anthem, and 
 
 An arrans;ement of the looth Psalm. 
 
 Ten copies of this collection were subscribed for by 
 the Dean and Chapter of S. Paul's. 
 
 * The Benedictus is by Philip Hayes. 
 
 HAYES, Philip, Mus.B., Oxon (1763), Mus.D. (i777). 
 Second son of Wm. Hayes. Born April, 1738. Chorister, 
 and afterwards (1767) Gentleman of the Chapel Royal. 
 Organist of New College, Oxford, 1776 ; of Magdalen 
 College, 1777 ; of S. John's College, 1790. Professor of 
 Music in the University, 1777. Died in London, March 
 19. 1797- Buried in the crypt of S. Paul's Cathedral. 
 
 Eight Anthems, ^0, Oxford, c. 1780. 
 
 Henley, Rev. Phocion, B.A., Oxon (1749), M.A. 
 (Cantab), 1753. Born at Wootton Abbots, Wilts, 1728. 
 Rector of S. Andrew Wardrobe, with S. Anne, Black- 
 friars, 1759. Died in London, Aug. 29, 1764. 
 
 Solo Anthem, "■Hear my prayer"— Page, Vol HI. 
 
 Hilton, John, Mus.B., Cantab (1626). Born c. 1575. 
 Organist of S. Margaret's, Westminster. Died March, 
 1657. 
 
 Complete Service in G minor — Rimbault. 
 
^44 ™-® ORGANISTS AAD COMPOSERS 
 
 HiNE, William. Born at Brightwell, 1687. Chorister 
 
 in Magdalen College, Oxford, 1694 ; Lay Clerk of the 
 
 same, 1705. Articled pupil to Jeremiah Clark at S. 
 
 Paul's. Organist of Gloucester Cathedral, 17 11. Died 
 
 Aug. 28, 1730. Buried in the Cloisters of Gloucester 
 
 Cathedral. 
 
 Harmonia Sacra Glocestriensis, or Select Anthems in 
 
 Score for i, 2 and 3 voices, and a Te Deum and 
 
 Jubilate (in E flat), together with a Voluntary for 
 
 the Organ, folio, c. 1731. 
 
 * This Collection was published posthumously by Hine's widow, Alicia. 
 Her initials, "A. H.," appear on the dedication page. She was the 
 daughter of Rudhall, a famous bell-founder of Gloucester. 
 
 HiNDLE, John. Mus.B., Oxon (1790). Bom in West- 
 minster, 1760. Lay Vicar of Westmmster Abbey, 1785. 
 Died 1796. 
 
 HoBBS, John William. Bom at Henley-on-Thames, 
 Aug. I, 1799. Chorister in Canterbury Cathedral under 
 Highmore Skeats, Sen. Member of the choirs of King's, 
 Trinity, and S. John's Colleges, Cambridge, and subse- 
 quently of S. George's Chapel, Windsor. Gentleman 
 of the Chapel Royal, 1827. Lay Vicar of S. Peter's, 
 Westminster, 1836. Died at Croydon, Jan. 12, 1877. 
 
 Holland, Rev. William Woollams, B.A., Oxon. 
 (1806), M.A. (1807). Born April 15, 1785. Lay Clerk of 
 Magdalen College, Oxford, 1801. Minor Canon of Chi- 
 chester Cathedral, 1809 — 1855. Rector of S. Martin's, 
 Chichester, 1817. Vicar of Burpham, Sussex, 1809, and 
 of Bapchild, Kent, 1825. Died Jan. 17, 1855. Buried in 
 S. Paul's Churchyard, Chichester. 
 
 Holmes, George. Born about 1660. Organist of 
 Lincoln Cathedral, 1704. Died 1720, 
 
 Verse Anthem, '''■Arise and Shine, O Daughter of 
 Zion."—Page, Vol. III. 
 
 Hooper, Edmund. Born at North Halberton, Devon, 
 c. 1553. Master of the Choristers of S. Peter's, West- 
 minster, 1588. Gentleman of the Chapel Royal, 1604. 
 Organist ol Westminster, 1606. Died July 19, 162 1. 
 
 Full Anthem, "Behold, it is Christ^' — Barnard. 
 
 Hopkins, Edward John, Mus.D., Cantuar (1882). 
 
OF S. PAULS CATHEDRAL. 24$ 
 
 Born in Westminster, June 30, 1818. Chorister in the 
 Chapel Royal, 1826— 1833. Pupil of Hawes and T. 
 Forbes Walmisley. Organist of Mitcham Church, 1834 ; 
 of S. Peter's, Islington, 1838 ; of S. Luke's, Berwick 
 Street, 184.1 ; of the Temple Church. 1843. 
 
 Morning and Evening Services in A and F, and ten 
 anthems by Dr. Hopkins are published by Novella 
 (Sr» Co. Several other Services by Metsler. 
 
 Hopkins, John Larkin, Mus.B., Cantab, (1842) 
 Mus.D., (1867.) Born 1820. Chorister in Westminster 
 Abbey. Pupil of James Turle. Succeeded Ralph Banks 
 as organist of Rochester Cathedral, 1841, and Professor 
 T. A. Walmisley as organist of Trinity College, Cam- 
 bridge, 1856. Died at Ventnor, April 25, 1873. Buried 
 in S. Catherine's Churchyard, Ventnor. 
 
 Morning and Evening Service in E flat 1 folio, 
 
 Morning and Evening Service in C I {Novella!) 
 
 Twelve Anthems, dedicated to the Dean and Chapter 
 of Rochester, published by Surman of Exeter Hall, 
 folio, c. 1850. 
 
 Hopkins, John, cousin of the above. Born 1822. 
 Chorister in S. Paul's Cathedral, 1831—38. Organist of 
 Mitcham Church, 1838 ; of S. Stephen's, Islington, 1839 ; 
 of Trinity Church, Islington, 1843; of S. Mark's, Jersey, 
 1845 ; of Rochester Cathedral, 1856. 
 
 A Morning Service in G, and a Morning and Evening 
 Service in D, by Mr. John Hopkins are published 
 by Novella &= Co. 
 
 Humphreys, Pelham. Bom 1647. One of the first 
 set of children of the Chapel Royal alter the Restoration. 
 Gentleman of the Chapel Royal, 1667. Master of the 
 Children, 1672. Died at Windsor, July 14, 1674. 
 Verse Anthems. 
 
 Haste Thee, God(d4 v)—Boyce, Vol HI. 
 
 Have mercy upon me [a 3 v) — Boyce, Vol //. 
 
 Hear, O Heavens ifl 3 v)— Boyce, Vol HI. 
 
 Like as the hart (i 4 v)— Boyce, Vol HI. 
 
 O Lord my God {d. 3 v)— Boyce, Vol H. 
 
 Rejoice in the Lord {d. 4 v)— Boyce, Vol HI. 
 
 Thou art my King O God {d, 4 v)— Boyce, Vol. HL 
 
 Lord, teach us to number {verse i 3 v)—Cath. Mag. 
 
246 
 
 THE OUGANtSTS AND GOMPO&ERS 
 
 ISHAM, John, Mus.B., Oxon (1713). Born 1685 
 Organist ot S. Anne's, Soho, 171 1 ; ot S. Andrew's 
 Holborn, 1718 ; of S. Margaret's, Westminster. Died 
 June, 1726. 
 
 Kelway, Thomas. Borne. 1695. Organist of Chi- 
 chester Cathedral, 1720. Died May 21, 1749. Buried 
 in the South aisle of Chichester Cathedral.* 
 
 Evening Service in A minor — Marshall {of Oxford) 
 
 folio {Novello). 
 Evening Service in B minor — Rimbault 
 t Evening Service in G minor — Ouseley* 
 Full Anthem {d 4 v) ^' Not unto us ^^ — Cope. 
 Ditto {d 4 v) " Unto Thee, Lords'—Cope, 
 
 Kelway, Joseph. Born c. 1702. Pupil of Gemini- 
 ani. Succeeded John Weldon as organist of S. Martin- 
 in-the-Fields, 1736. Died 1782. 
 
 * Kelway 's gravestone, having been lost sight of for many years, was 
 found and replaced and the inscription recut, about 1846. This circum- 
 stance gave rise to the following pleasing sonnet by Mr. Charles Crocker, a 
 former well known Verger of Chichester Cathedral : — 
 
 Kelway ! thy memory, fresh as vernal day. 
 
 In many a heart's mobt secret holiest cell, 
 
 Where love of sacred song delights to dwell, 
 
 Lives — and shall live while music holds her sway 
 
 Within these hallowed walls, where day by day, 
 
 Year after year, he plied the wondrous art 
 
 Which bids the spirit from its prison start, 
 
 And soar awhile to happier realms away. 
 
 His strains full oft' still fall upon the ear 
 
 Of those who tread yon aisle, while at their feet 
 
 His name and record of his hope appear. 
 
 Peace to his ashes — be his slumbers sweet, 
 
 Tdl that glad morn when he shall wake to hear 
 
 The angel choir in nightless Heaven's bright sphere. 
 
 Mr. Crocker was altogether a remarkable person. Self-educated, he came 
 before the public in a volume of poems, wonderful for one whose training 
 was all his own. He was also the author of a little book entitled " A 
 Visit to Chichester Cathedral" (1847). This gives a succinct account of 
 the erection of the building, of its then state, of the principal monuments, 
 of the restorations ; and, avoiding every attempt at fine writing, breathes, 
 on the whole, so reverent a spirit, that one is almost carried back to the 
 ostwjrius of former days. 
 
 t In the organ-loft of Chichester Cathedral there is a small folio volume, 
 most probably in Kelway's hand-writing. It contains these three Services, 
 together with a Morning and Evening Service in A major, a Morning 
 Service in C» a Morning and Evening (Cantate) Service in F, and eleven 
 Anthems. 
 
OF S. PAULS CATHEDRAL. 247 
 
 Kempton, Thomas. Born at Ely, 1690. Chorister in 
 Ely Cathedral under James Hawkins, whom he suc- 
 ceeded, in 1729, as organist. Died 1762. Buried in S. 
 Mary's Churchyard, Ely. 
 
 Morning and Evening Service in Bflat — Ouseley. 
 
 Kent, James. Bom at Winchester, March 13, 1700. 
 Chorister in Winchester Cathedral, 1711 — 1714, and 
 afterwards in the Chapel Royal under Croft. Organist 
 of Finedon Church,* Northants, 1717 ; of Trinity College, 
 Cambridge, 1727; of Winchester Cathedral in succession 
 to John Bishop, Jan. 13, 1737. Resigned, 1774. Died 
 May 6, 1776. Buried in the North transept of Win- 
 chester Cathedral. 
 
 Twelve Anthems, in score, folio, 1773. 
 
 A Morning and Evening Service in C and Eight 
 
 Anthems, edited by Joseph Corfe, folio, 1796. New 
 
 edition by A. T. Corfe, folio, c. 1850. 
 Morning and Evening Set vice in D, folio {Novello). 
 Anthem {a 5 v) " Hearken unto my voice '"—Arnold, 
 
 Vol I. 
 
 King, William, Mus.B., B.A., Oxon. ("1649), son of 
 George King, organist of Winchester Cathedral. Lay 
 Clerk of Magdalen College, Oxford, 1648 ; Chaplain, 
 1652 — 1654 ; Probationer Fellow of All Souls College, 
 1654 ; Organist of New College, 1664. Died Nov. 17, 
 1680. Buried in the Cloisters of New College. 
 
 Complete Service in B flat {with Litany) *^edited by 
 
 John Bishop of Cheltenham, c. 1850. 
 Full Anthem {d. 4 v) " The Lord is Kin^ " — Cope. 
 
 * One of the cycle of five as used at Lichfield Cathedral. 
 
 * An organ-stool is still preserved at Finedon, on which Kent carved the 
 initials and datCj "J. K., 1717" — probably a record of a visit anticipatory of 
 his becoming organist there on leaving the Chapel Royal. For this inter- 
 esting fact I am indebted to Mr C. E. Stephens' admirable Biographical 
 Index to Bemrose's Choir Chant Book /'1882). — J. S. _B, 
 
 t For this collection of Kent's [Church compositions a short account of 
 his career from the pen of Dr. Huntingford, Bishop of Hereford and War- 
 den of Winchester College, was prefixed. The original manuscript is in my 
 possession. It is in " the Warden's own peculiar great square characters, 
 each letter standing by itself " as Mr. Thomas Anthony Trollope, an old 
 Wintonian, describes Huntingford's handwriting, in his book, " What 1 
 pemtmber," published a few years since.— J. S. B. 
 
248 TSM ORGANISTS AND COMPOSERS 
 
 Langdon, Richard, Mus.B., Oxon. (1761). Born at 
 Exeter. Son of Rev. Tobias Langdon, Priest Vicar of the 
 Cathedral. Organist and Sub-Chanter of Exeter Cathe- 
 dral, 1753 ; OrgiUiist of Ely Cathedral, 1777 ; of Bristol 
 Cathedra), 1777 ; of Armagh Cathedral, 1782 — 1794. 
 Died at Exeter, Sept. 8, 1803. Buried in S. Paul's 
 Church. 
 
 Divine Harmony — A Collection, in Score, of Anthems, 
 
 Chants, and Psalms, folio, 1774. 
 Verse Anthem, " O pray for the peace of Jerusalem " 
 
 (folio, c. 1800). 
 Anthem," Lord,Thou hast been our ^ ,,,.,,. ^, 
 
 refuse." vublished m The 
 
 Ditto, "'O Lord our Governor." 'f Collegiate Series 
 Ditto, " Turn Thee unto me." \ y°'^°' ^eekes &= 
 
 Service in A. > '-"v 
 
 Lawes, William. Bom at Salisbury, 1582. Vicar 
 Choral of Chichester Cathedral and afterwards (1602), 
 a Gentleman of the Chapel Royal. Musciain in Ordi- 
 nary to Charles I. Killed at the Siege of Chester, 1645. 
 
 Verse Anthem, " The Lord is tny Light" — Boyce 
 
 Vol in. 
 
 Lawes, Henry. Born at Dinton, near Salisbury, Dec. 
 1595. (Baptised Jan. I, 1596). Epistolar and Gentle- 
 man of the Chapel Royal, 1625. Member of the Private 
 Band of Charles L Died in London, Oct. 21, 1662. 
 
 LiNLEY, Thomas. Bom at Wells, 1725. Died in 
 London, Nov. 19, 1795- Buried in the cloisters of Wells 
 Cathedral. 
 
 Verse Anthem, " Bow down Thine ear.^' — Page, Vol 
 
 in. 
 
 Locke, Matthew. Bom at Exeter, 1630. Com- 
 poser in Ordinary to the King. Died in London, Aug. 
 1677. 
 
 Kyrie {set in ten different ways)and Credo, (5666).* 
 
 * a similar setting of the Kyri&, in the Keys of G and G minor, was com- 
 posed by Thomas Attwood for use at S. Paul's Cathedral and the Chapel 
 
OF S. PAUL'S CATHEDRAL. 249 
 
 Full Anthems (for Men's Voices only). 
 In ike beginning, O Lord {ct 3 v) — Coie. 
 Lei God arise (S 3 v) — Cope. 
 Sing unto the Lord (i 3 v) — Cope. 
 
 Verse Anthems. 
 Lord, let me know mine end {d 5 v) — Boyce, Vol II. 
 When the Son of Man {ct, 7 w) — Cope. 
 
 LoNGHURST, William Henry, Mus.D., Cantuar 
 (1875). Born at Lambeth, Oct. 6, 1819. Chorister in 
 Canterbury Cathedral under Highmore Skeats, Sen., 
 1828; Assistant Organist, Master of the Choristers and 
 Lay Clerk, 1836; Organist and Master of the Choristers, 
 1873 '•* succession to T. Evance Jones. Musical Lecturer 
 at S. Augustine's College, Canterbury, &c., &c. 
 
 A Morning and Evening Service in E, and nine 
 Anthems, composed by Dr. Longhursi, are published by 
 Novella. He has also edited a very useful collection of 
 Short Anthems by various composers, 3 vols, folio 
 {Novello). 
 
 LoosEMORE, Henry, Mus.B., Cantab. (1640). Cho- 
 rister and afterwards Lay Clerk in one of the Cambridge 
 Colleges, and organist of King's College. Organist of 
 Exeter Cathedral, 1660. Died 1667. 
 
 Royal. It appeared in 1831 and was dedicated to Mrs. Hughes, wife of one 
 of the Canons Residentiary of S. Paul's. 
 
 The opportunity must here be taken of correcting an error in the bio- 
 graphy of Attwood, forming part of Chapter IV. of this work. It was there 
 stated that Attwood became organist of S. George the Martyr, Queen 
 Square in 1787. Recent research, however, has proved that Attwood never 
 hdd this position. Charles Frederick Reinhold was organist of B. George's 
 from 1772, until his death in 1815, but it is not at all unlikely that Attwood 
 may have officiated for some time as his assistant, as we know another emi- 
 nent musician, J. W. Callcott, did. In this way the error, made by all Att- 
 wood's biographers in styling him organist instead of assistant organist has, 
 no doubt, arisen. 
 
 Reinhold was brought up as a boy in the choir of S. Paul's under the 
 Almoner, Charles King, and his successor, William Savage, He afterwards 
 achieved great fame as a bass vocalist. He bequeathed £$ to Sir William 
 Blizard on the express condition that he divided the windpipe of Reinhold's 
 throat before his interment ; so great was his fear of being buried alive. 
 This operation was duly performed. For further particulars of Reinhold see 
 an account of him contributed by Dr. Rimbault to The MvMcal Times, 
 June, 1877; also Parke's Musical Memoi/rs, Vol I., p. 24^. 
 
 T 
 
2 so TEE ORGANISTS AND COMPOSERS 
 
 Gloria in Excelsis — Par Ch. 
 
 Litany in D minor (published in Jebb's Choral 
 
 Responses and Litanies^ One of the cycle of five in 
 
 ■use at Lichfield. 
 
 Henry Loosemore's son John built the organ of Exeter Cathedral in 
 1665. 
 
 Lowe, Edward. Born at Salisbury, c. 1615. Suc- 
 ceeded Stonard as organist of Christ Church, Oxford, 
 and as Professor of Music in the University, 1630 ; 
 organist of the Chapel Royal, 1660. Died July n, 1682. 
 Buried in the Divinity Chapel, Oxford Cathedral, 
 
 A Short Direction fof the Performance of Cathedral 
 Service, oblong iimo, Oxford, 1661. {Second Edition, 
 1664). 
 
 This curious and interesting manual has recently been reprinted in fac- 
 simile by the photo-lithographic process, from a copy in the Bodleian 
 Library. 
 
 Lucas, Charles. Born at Salisbury, July 28, 1808. 
 Pupil of A. T. Corfe. Succeeded Cipriani Potter in 1859 
 as Principal of the Royal Academy of Music. Died 
 March 30, 1869. 
 
 Magnificat in F {Gresham Ptize, 1835), folio 
 {Novello). 
 
 Full Anthem {d 4 v) Blessed is He ) published by 
 Ditto (d, 4 v) Hosanna \ Addison S-» 
 
 Ditto {d 4 v) Sing; Heavens ) Co. 
 
 Mann, Arthur Henry, Mus.B., Oxon. (1874), Mus.D., 
 1880. Born at Norwich, May i6, 1850. Chorister in 
 Norwich Cathedral under Dr. Z. Buck. Organist of S. 
 Peter's, Wolverhampton, 1870; of Tettenhall Church, 
 1875 ; of Beverley Minster, 1876 ; of King's College, 
 Cambridge, 1876. 
 
 Four Evening Services and four Anthems by Dr. 
 Mann are published by Novello and Co. 
 
 Marsh, John. Born at Dorking, 1752. Died at 
 Chichester, 1828. An able and enthusiastic amateur, 
 resident successively at Salisbury (1776), Canterbury 
 (1785), and Chichester (1787), where he directed the 
 Subscription Concerts, and occasionally officiated for the 
 cathedral organists. 
 
OF &. PAUL'S CATHEDRAL. 2$ I 
 
 Six Anthems in Four Parts, with a Verse Sanctus and 
 
 Kyrie Eleison, folio, c. 1789. 
 The Cathedral Chant Book — being a Collection of nearly 
 
 200 of the most approved Ancient and Modem Chants 
 
 in Score, oblong ^to. 
 Twenty-four New Chants, dedicated to the Rev. Weldon 
 
 Champneys, Subdean and Succentor of S. PauTs, 
 
 Precentor of Westminster Abbey, etc., etc., oblong 
 
 /\,to. 
 
 A long account of the career of William Marsh will be found in the Rev. 
 W, Bingley's Dictionary/ of Musicians, 2 vols, 8vo, 1827. 
 
 Marshall, William, Mus.B., Oxon (1826), Mus.D. 
 (1840). Born 1806. Chorister in the Chapel Royal 
 under Stafford Smith and Hawes. Organist of Christ 
 Church Cathedral and S. John's College, Oxford, 1826, 
 in succession to W. Cross. Organist of S. Mary's, Kid- 
 derminster, 1846. Died at Handsworth, Aug. 17, 1875. 
 
 Cathedral Chants, edited in conjunction with Alfred 
 
 Bennett, ^0, 1829. 
 Collection of Cathedral Services by various Composers, 
 
 folio, 12 parts, 1846. 
 The Art ef Reading Church Music, Zvo, 1843. 
 Collection of Words of Anthems, i2mo, 1840— 1874. 
 
 Mason, Rev. William, M.A., Cantab (1749). Bom 
 at Hull, 1725. Rector of Aston, Yorks ; Canon Resi- 
 dentiary (1756) and Precentor (1763) of York Minster. 
 Died at Aston, April 7, 1794. 
 
 Anthem, " Lord of all power and might " — Page, 
 Vol I. 
 
 MORNINGTON, GARRET WESLEY (or WELLESLEY), 
 first Earl of, B.A., Dublin (l754), M.A. (l7S7), Mus.D. 
 (1764). Son of Richard Colley (afterwards Wesley), first 
 Baron Mornington. Born July 19, 1735. Professor of 
 Music in the University of Dublin, 1764— 1774. Father 
 of the Duke of Wellington. Died at Kensington, May 
 22, 1781. 
 
 Nalson, Rev. Valentine. One of the Priest Vicars- 
 Choral of York Minster. Died 1722. 
 
2^2 THE ORGANISTS AJSD COMPOSMrS 
 
 Nares, James, Mus.D., Cantab. (1757). Bom at 
 Stainwell, 1715 (baptized April 19). Chorister in the 
 Chapel Royal under Bernard Gates. Organist of York 
 Minster, 1734. Organist of the Chapel Royal, 1756. 
 Master of the Children, 1757 — 1780. Died Feb. 10, 
 1783. Buried in S. Margaret's, Westminster. 
 
 Twenty Anthems in Score for i, 2, 3, 4, and 5 Voices. 
 Composed for the Use of His Majesty's Chapel Royal, 
 foho, 1778. New edition, by Vincent Novella, folio. 
 
 Ten copies of this collection were subscribed for by tbe Dean and Chapter 
 of S. Paul's, 
 
 A Morning and Evening Service in C , together with 
 
 Six Anthems in Score for 2, 3, 4, and 5 Voices, edited 
 
 by Dr. Edmund Ayrton,Jolio, 1788. New edition, by 
 
 Dr. J. L. Hopkins, folio (Novello). 
 
 Complete Service in F — Arnold, Vol III. — Cath. Ch. 
 
 Bk.—ivo {Novella). 
 Morning Service in D — Rimbault. 
 Verse Anthem (i 5 v) " Blessed is he" — Arnold, Vol 
 ni.—ivo {Novella). 
 Ditto (cL sv)"0 Lard, grant the King" — Arnold, 
 
 Vol HI. 
 Ditto (i 5 v) " Try me, O God''— Arnold, Vol 
 
 III. 
 Ditto {d, 5 v) "Blessed be the Lord"— Page, Vol 
 III.—Zvo {Novello). 
 
 Novello, Vincent. Bom at 240, Oxford Street 
 Sept. 6, 1781. Chorister in the Sardinian Embassy's 
 Chapel, Lmcoln's Inn Fields. Deputy organist there 
 for Samuel Webbe, and for John Danby at the Spanish 
 Embassy's Chapel, Manchester Square. Organist of the 
 Portuguese Embassy's Chapel, South Street, Grosvenor 
 Square, 1797 — 1822. Organist of S. Mary's R. C. 
 Church, Mooriields, 1840— 1843. Founded the firm of 
 Novello and Co., 1811. Retired to Nice, 1848. Died 
 there Aug. 9, 1861. 
 
 Works edited by Vincent Novello for Church Use : — 
 
 Boyc^s Cathedral Music, 3 vols, folio, 1845. 
 
 Ditto ditto organ part, i vol, folio, 1845. 
 
 Boyc^s Own Services and Anthems, 4 vols, folio, 1846 
 
 —9- 
 
OP S. PAUL*S CATBEDRAL. 253 
 
 Clarke-Whitfeld s Services and Anthems, 4 vols, 
 
 folio, 1845. 
 Croffs Thirty Select Anthems and Burial Service, 
 
 2 vols, felio, 1846. 
 Greene's Forty Select Anthems, 2 vols, folio, 1846. 
 Kenfs Service in C and Twenty Anthems, 2 vols, folio 
 
 and 8vo. 
 Nares" Twenty Anthems, folio. 
 Novello's Cathedral Choir Book, 2 vols, folio and Svo, 
 
 1848. 
 PurcelPs Sacred Music, 4 vols, folio, 1829 — 32. 
 
 Oakeley, Sir Herbert Stanley, Knt., B.A., Oxon. 
 (1853), M.A. (1856), Mus.D., Cantuar (1871), Oxon. 
 (1879), Aberdeen (1879), LL.D., Aberdeen (1881). Born 
 at Ealing, July 22, 1830. Second Son of the Rev. Sir 
 Herbert Oakeley, Bart., Dean and Rector of Booking, 
 Essex, and Prebendary of S. Paul's (died 1845). Edu- 
 cated at Rugby and Christ Church College, Oxford. 
 Professor of Music in the University of Edinburgh, 1865 
 — 1890. Received Knighthood, 1865. 
 
 A Morning, Communion and Evening Service in E 
 fiat, and ten Anthems, by Sir Herbert Oakeley, are 
 published by Novello. 
 
 OusELEY, Rev. Sir Frederick Arthur Gore, 
 Bart. Born in Grosvenor Square, Aug.. 12, 1825. Son 
 of Sir William Ouseley, whom he succeeded in the 
 baronetcy, 1844. B.A., Oxon. (1846), M.A. (1849). Mus.B., 
 Oxon. (1850). Mus.D. (1854), adeundem Dunelm (1856), 
 adeundem, Cantab. (1862). Hon. LL.D., Cantab. (1883) ; 
 Hon. LL.D., Edinburgh (1885). Educated at Christ 
 Chnrch, Oxford. Took holy orders, 1849. Curate of 
 S. Paul'Sj Knightbridge and S. Barnabas, Pimlico, 1849 
 — 51. Resident at Lovehill House, Langley Marish, 
 Bucks, 1852 — 1856. Warden and first vicar of ' S. 
 Michael's College, Tenbury, 1856. Professor of Music 
 in the University of Oxford, 1855. Prascentor of Here- 
 ford Cathedral, 1855. Canon Residentiary, 1886. Died 
 at Hereford, April 6, 1889. Buried at S. Michael's 
 College, Tenbury. 
 
 Eleven Services and Sixty-seven Anthems by Sir 
 Frederick Ouseley are published by Novello &» Co. 
 
254 THE ORGANISTS AND COMPOSERS 
 
 Parsons, Robert. Born c. 1570. Organist of West- 
 minster Abbey, 1621. Died 1623. 
 
 Complete Service in F — Barnard. 
 
 Patrick, Richard. One of the Lay Vicars of West- 
 minster Abbey between 1616 and 1624. 
 
 Complete Service in G tnindr — Arnold, Vol I. 
 
 Pepusch, John Christopher, Mus.D., Oxon. (1713). 
 F.R.S. (1746). Born at Berlin, 1667. Organist and 
 Chapel Master to the Duke of Chandos, 1712 ; of the 
 Charterhouse, 1737. Died July 20, 1752. 
 
 Porter, Samuel. Born at Norwich, 1733. Choris- 
 ter in S. Paul's Cathedral under Charles King. Suc- 
 ceeded William Raylton, as organist of Canterbury 
 Cathedral, 1759; resigned 1803. Died Dec. 11, 1810. 
 Buried in the West cloister of Canterbury Cathedral. 
 
 Cathedral Music in score, edited by W .J. Porter, A.M., 
 Head Master of the King's School, Worcester, 
 Rector of Himbleton, and Chaplain to Viscount 
 Fitzwilliam, folio, 181 3, containing : — 
 
 t Complete Service in D. 
 
 Morning and Evening Service in B flat. 
 
 Five Anthems. 
 
 Sanctus as used with King's Service in C. 
 
 The Suffrages as used with Tallin Responses on the 
 King's Accession Day. 
 
 Kyrie Eleison in D, and Nine Chants. 
 
 t This pleasing Service has been reprinted by Novello in 8vo size, under 
 the editorship of Mr. Joseph Barnby. 
 
 Pring, Isaac, Mus.B., Oxon. (1799)- Bom at Ken- 
 sington, 1777. Chorister in S. Paul's under R Hudson. 
 Succeeded Dr. Philip Hayes in 1797, as organist of 
 New College, Oxford. Died, Sept. 18, 1799. 
 
 PeinG, Jacob Cubitt, Mus.B., Oxon. (1797). Brother 
 of the above. Born at Lewisham, Kent, 1771. Cho- 
 rister in S. Paul's. Organist of S. Botolph, Botolph, 
 Aldersgate Street. Died 1799. 
 
 Eight Anthems as performed at S. Paul's Cathedral, 
 
OF s. Paul's cathedral. 255 
 
 composed and humbly dedicated {by permission) to the 
 Dean and Chapter, large \to, c. 1790. 
 
 Ten copies subscribed for by the Dean and Chapter of S. Paul's. 
 The choristers of S. Paul's subscribed for a copy. 
 
 Pring, Joseph, Mus.B. and Mus.D., Oxon. (1808). 
 Born at Kensington, Jan. 15, 1776. Brother of the pre- 
 ceding. Chorister in S. Paul's. Organist of Bangor 
 Cathedral, 1793. Died at Bangor, Feb. 13, 1842. Buried 
 in the Cathedral graveyard. 
 
 Twenty Anthems in score for i, 2, 3, 4, and 5 voices, 
 folio, 1805. 
 
 PURCELL, Henry. Born in Westminster, 1658. 
 Chorister in the Chapel Royal. 1664. Organist of West- 
 minster Abbey, 1680 ; of the Chapel Royal, 1682. Died 
 in Westminster, Nov, 21, 1695. 
 
 PurcelPs Sacred Music, edited by Vincent Novello, 4 
 
 vols, folio, 1829 — 1832 : — 
 Vol I., containing Verse Anthems in major keys. 
 Vol II., containing Verse Anthems in minor keys. 
 Vol III., containing Full Anthems, Hymns, Sacred 
 
 Songs and Latin Pieces. 
 Vol IV., containing Services and Chants. 
 
 PURCELL, Daniel. Born in London, 1660. Youngest 
 brother of the above. Organist of Magdalen College, 
 Oxford, 1688 — 1695 ; of S. Andrew's Holborn, 1713. 
 Died 1717. 
 
 Pye, Kellow John, Mus.B. Oxon. (1842). Born at 
 Exeter, Feb. 9, 1812. The first pupil of the Royal 
 Academy of Music. Studied under Dr. Crotch and 
 Cipriani Potter, 1823 — 1829. Chairman of the Committee 
 of Management of the R.A.M., 1864 — 7. 
 
 Anthein (d. 5 v) " Turn Thee again " (Gresham Prize, 
 
 1834)- 
 Anthem {d, 5 v) '^ Rend your hearts" {published m 
 
 Fawcetfs Lyra Ecclesiastica, 1844). 
 Three short full Anthems, %vo {Novello). 
 
 Pyne, James Kendrick. Born in London, August 
 
256 TEE ORGANISTS AND COMPOSERS 
 
 21,1810. Pupil of the Royal Academy of Music. Organ- 
 ist of S. Marks, Pentonville, 1829; of Bath Abbey, 1839. 
 
 Anthem, " Proclaim ye this^^ {Gresham Prize, 1839). 
 Jubilate and Nunc Dimittis, folio, 1835 
 
 Randall, John, Mus.B. Cantab. (1744), Regal Mus.D. 
 (1756). Born c. 1718. Chorister in the Chapel Royal, 
 1730—1735. Organist of King's College, Cambridge, 
 1743 ; of Trinity College, 1777; also of S. Mary's 
 (University) Church, and Pembroke Hall. Succeeded 
 Dr. Greene as Professor of Music, 1755. Died March 
 18, 1799. Buried in All Saints Church, Cambridge. 
 
 Reading, John. Bom 1677. Chorister in the Chapel 
 Royal under Blow. Organist of Uulwich College, 1700 — 2. 
 Lay Vicar, and Master of the boys at Lincoln Cathedral, 
 1703. Organist successively of S. John at Hackney, S. 
 Dunstan in the West, and S. Mary Woolnoth, London. 
 Died 1764. 
 
 By subscription : A Book of {five) new Anthems, con- 
 taining a hundred plates, fairly engraven, with a 
 thorough bass figured for the organ or harpsichord, 
 with proper Retornels, small folio, 1 741. 
 
 Reynolds, John. One of the Gentlemen of the 
 Chapel Royal, 1765 — 1770. Died at Lambeth, Nov. 1778. 
 Verse Anthem, ^' My God, My God, look upon me" 
 — Page, Vol I.—Zvo {Novello). 
 
 Richakdson, Vaughan. Born c. 1670. Chorister in 
 the Chapel Royal. Organist of ^Winchester Cathedral 
 and College, 1693. Died 1729. 
 
 Full Anthem (i 4 ?/) " how amiable " — Page, Vol L, 
 8vo {Novello). 
 
 RiMBAUT.T, Edward Francis, F.S.A. (1842), LL.D. 
 Gottingen (1848). Son of S. F. Rimbault^ Organist of S. 
 Giles-in-the-Fields. Born in London, June 16, 1816. 
 Died there Sept. 26, 1875. Pupil of Samuel Wesley and 
 Dr. Crotch. For some time organist of Curzon (Episco- 
 pal) Chapel, Mayfair, and afterwards (1866-71) of S, 
 Peter's, Vere Street. 
 
OF S. PAUL'S CATHEDRAL. 257 
 
 Works edited by Dr. Rimbault for Church use : — 
 
 Arfwld's Cathedral Music, 3 vols, folio, 1843 — 7. 
 
 The Order of Daily Service, as used in the Abbey Church 
 of S. Peter, Westminster, small ^to, 1844. 
 
 Tallis Service, with an Historical Introduction, Zvo, 
 1846. {This contains the Preces, Responses, and 
 Litany, only). 
 
 Tains' Complete Service, folio, 1845. 
 
 Cathedral Chants of the XVI., XVII. and XVIII. Cen- 
 turies, 6,t0, 1844. 
 
 The Order of Morning and Evening Prayer, with the 
 Plain Song in the tenor, folio and 8vo (Novello). 
 
 The Handbook for the Parish Choir — a Collection of 
 Chants, Services, Psalm Tunes and Chants, %vo, c. 
 
 1847. 
 
 A Collection of Anthems for Voices and Instruments, 
 by Composers of the Madris^alian Era, folio. 
 
 Cathedral Services by Tye, Peter Rogers, Creighton, 
 Clark, Hilton, Wise, Kelway, Barrow, Coolie, Lroft, 
 Dean, Nares, and B. Rogers, folio, 1847. 
 
 The Order of Chanting the Cathedral Service as pub- 
 lished by Edward Lowe, A.D., 1664, small 4to, 
 
 1843. 
 The Booke of Common Prayer with Musical Notes as 
 used in the Chapel Royal of Edward VI., 1550, Com- 
 piled by John Mar beck, reprinted in facsimile. 
 
 ■ Robinson, John. Bom 1682. Chorister in the Chapel 
 Royal. Organist of S. Lawrence Jewry, 1710, ^nd of S. 
 .Magnus, London Bridge, 1713. Organist of Westminster 
 Abbey, 1727, retaining his previous appointments. Died 
 April 30, 1762. Buried in the North aisle of Westminster 
 Abbey, and in the same grave as Dr. Croft. 
 
 Rogers, Benjamin, Mus.B. Cantab. (1658), Mus.D. 
 Oxon. (1669). Born at Windsor, 1614 (baptized June 2). 
 Chorister and afterwards Lay Clerk ot S. George's Chapel. 
 Succeeded Randolph Jewett as organist of Christ Church 
 Cathedral, Dublin, 1639—41. Again Lay Clerk of S. 
 George's, 1641—44. Organist of Eton College, 1660; 
 of Magdalen College, Oxford, 1664—1685. Died in New- 
 Inn-Hall Lane, Oxford, June, 1698. Buried on June 21st 
 in the Churchyard of S. Peter-le-Bailey. 
 U 
 
258 THE ORGAytSTS AND COMPOSERS 
 
 Services. 
 Complete Se7-vice in D major — Boyce, Vol I.—Zvo 
 
 {Novello). 
 Complete Service in E ininor—Ouseley. 
 * Morni7io^ and Evening Service in F — Ouseley. 
 
 Evening Service in A minor — Rimbault — Goss and 
 
 furle. — Cath. Ch. Bh. 
 
 Anthems. 
 Behold how good and joyjul {d, 4 v) — Cope. 
 Behold now praise the Lord, (d, 4 v) — Boyce, Vol II., 
 
 i,vo {Novello). 
 How long wilt Thou forget me ? (d, 4 v") — Cope. 
 Lord, who shall dwell? {d. /^v)~Page, VolIII.—%vo 
 
 {Novello). 
 O give thanks {full with verse d, 4 v) — Cope. 
 O pray for the peace {full with verse ct, ^ v) — Cope — 
 
 %vo {Novello). 
 O that the salvation (k 4 v) — Cope. 
 Praise the Lord, O my soul (^ 4 •Z') — Cope. 
 Save me, O God {A 4 v) — Cope. 
 Teach me, O Lord {ci 4 v)— Boyce, Vol IL — Zvo 
 
 {Novello). 
 
 Rogers, Peter. Father of the above. Lay Clerk of 
 S. Geoige's, Windsor, 1610 to 1640. 
 
 Morning and Evening Verse Service in G — Rimbault. 
 
 Rogers, Sir John Leman, B^rt. Bom April 18, 
 1780. Eldest son of Sir Frederick Leman Rogers, Bart., 
 M.P., Recorder of Plymouth. An eminent amateur 
 musician and patron of musical merit. President of the 
 Madrigal Sociey, 1820— 1841. Died at Blachford, Ivy 
 Bridge, Devon, Dec. 10, 1847. 
 
 Complete Service in F, folio, 1839. 
 
 One Single Chant and six Double Chajits published in 
 
 Goss' Collection, 1841. 
 Three Psalm Tunes — " Blachford" " Canterbury," and 
 
 ^ The Sanctus, Kyric, and Credo beloneing to this Service, which 
 were not given by Sir F. Ouseley, are in an old MS. Organ Book in my 
 possession. — J, S. B. 
 
OF S. PAULS CATHJiDRAL. 259 
 
 " Maidstone ■' — printed in Hacketts National Psalm- 
 ist (1842). 
 
 Shepharde, John. Organist of Magdalene College. 
 Oxford, 1542 10 1547. Died about 1597. 
 
 Full Anthem (d. 4 v\ " I give you a new command- 
 ment" — Par. Ch. 
 
 Full Anthem {d. 4 v) "Haste Thee, O God"—Motett 
 Soc. 
 
 Shield William. Born at Swallwell, Durham, 1748. 
 Succeeded Sir William Parsons as Mas er of the King's 
 Band, 1817. Died Jin. 25, 1829. Buried in the South 
 cloister of Westminster Abbey. 
 
 Anthem, " Behold how good and ■pleasant." 
 Anthem, " When I was a child." {Both printed in 
 Pettefs Sacred Music, 1825). 
 
 Skeats, Highmore (Senior). Succeeded Richard 
 Langdon as organist ot Ely Cathedral, 1778. Succeeded 
 Samuel Porter as organist of Canterbury Cathedral, 
 1804. Died 1831. 
 Metrical Anthem, " Thou Lord, by strictest search " 
 {published in Bunnell's " Sacred Harmony " {folio, 
 1865). 
 Ditto, '' The righteous souls that take their flight {pub- 
 lished in Dr. Longhurst's Short Anthems). 
 Metrical Anthem, " O render thanks to God" {a 4 v). 
 Ditto " O praise ye the LoTd" {d. 4 v). 
 
 Ditto " Praise the Lord enthroned on high " 
 
 (i 4 ■v). 
 Ditto " Ve Saints and Servants of the 
 
 Lord " {a 4 ») 
 Ditto " My soul inspired" {a 4 z/). 
 
 Ditto " How just and merciful" {a d^xi). 
 
 All published in Rev. J. Powell Metcall's Metrical 
 Anthems {?tV0, Novella). 
 
 There is a complete service by Highmore Slteats, senior, in the key of C 
 (triple time) in the MS. rhoir b oks of S. George's Chapel, Windsor, and of 
 Canterbu y Cathedral. At the latier place tnere is aJso an Eveninj; S;i- 
 vice in ihe key * f A. 
 
 Cathedral Music, composed by the late John Stephens, 
 Doctor in Music, organist* of the Cathedral at Salis- 
 
 * From i;46 to 1781.— J. S. g. 
 
26o THE ORGANISTS AND COMPOSERS 
 
 bury, carefully corrected and 7tow first published by 
 Hi^hmore Skeats, organist of the Metropolitical 
 Church of Canterbury, folio, 1805. 
 
 Skeats, Highmore (Jun.) Born 1787. Succeeded 
 his father as organist of Ely Cathedral, 1804. Succeeded 
 C. F. Horn as organist of S. George's Chapel, Windsor, 
 1830. Died Feb. 24, 1835. Buritd in ihe Cloisters at 
 Windsor. 
 
 Slatter, Rev. George Maximilian, B.D. Cantab. 
 (1827), D.D. (1850). Born 1790. Chorister in Magdalen 
 College, Oxford. Priest Vicar and Sub-Treasurer of 
 Exeter Cathedral, 1817. Rector of West Anstey, Devon, 
 1819. Died 1868. 
 
 Ten Collects {as Anthems), a Collection of Chants, and a 
 
 Sanctus andKyrie Eleison for 4 voices, folio, c. 1825. 
 Cathedral Music, folio, 1855, containing : — ' 
 
 Morning and Evening Service in F. 
 
 Morning and Evening Service in G. 
 
 Three Anthems. 
 
 Three Psalm Tunes. 
 
 Eight Single andDouble Chants. 
 
 Smart, Sir George Thomas, Knt. Born in 
 London, May 10, 1776. Chorister in the Chapel Royal, 
 1786. Received Knighthood from the Duke of Rich- 
 mond when Lord Lieutenant of IrcUnd, 1811. Organi'it 
 of the Chaptl Royal, 1822. Composer to the same 1838. 
 Dii-'d in Bedford Square, Feb. 23, 1867. Buried in llie 
 Catacombs at Kensal Green. There is a tablet to his 
 memory in the church of S. Giles-in-the-Fields. 
 
 A Collection of Sacred Music, respectfully dedicated by 
 express permission to He? Most Gracious Mafesiy 
 Queen Victoria, I vol, folio, i860, containing: — 
 Morning and Evening Service in A. 
 Morning and Evening Service in D. 
 Sanctus and Kyrie in D {for the Queen's Corona- 
 tion, 1838). 
 Kyrie (adapted from Beethoven). 
 Five Anthems. 
 Five Single, and fifteen Double Chants. 
 
OF S. PAUL'S CATHEDRAL. 26 1 
 
 Smart, Henry. Born in London, Oct. 26, 1813. 
 Pupil of W. H. Kearns. Organist of Blackburn Parish 
 Church, 1831— 1838 ; of S. Philip's, Regent S'reet, 1839; 
 of S. Luke's, Old Street, 1844; of S. Pancras, Eusion 
 Road, 1865. Died at King Henry's Road, N.W., July 
 6, 1879. 
 
 Services. 
 In B flat. Evening Service {composed for the Festival 
 of the Sons of the Clergy at S. Pauts, May, 1870), 
 Zvo, and folio {Novell^. 
 In F. Complete Service {dedicated to Sir John Goss, 
 
 1&68), /olio and Svo {Novella). 
 In G. Evening Service {composed, 1850), folio, 
 
 {Addison fir» Co). 
 In G. Complete Service {composed, 1871), %vo 
 {Metzler). 
 
 Anthems. 
 
 Be glad, O ye righteous. \pniblished in No- 
 
 O God the King 0/ Glory. { vello's Series of 
 
 The Lord hath done great things. \ Octavo Anthems. 
 The Angel Gabriel. ) published in The Musical 
 
 The Lord is 7ny strength. \ Times {Noyello). 
 
 i>ing to the Lord {Anthem for the Festival of the 
 
 London Church Choir Association at S. Paul's, Oct. 
 
 26, 1876)— 8z/o {Novella). 
 Lord, Thou hast been our Refuge {composed iot the 
 
 same Festival Nov. 24, 1878), ivo {Metzler). 
 Grant, we beseech Thee. | published in " The Choralist " 
 
 bejoyful in God. \ {Boosey S-" Co). 
 
 The Lord is my Shepherd. %vo {Nisbet, Berners 
 Street). 
 
 1 saw an Angel fly {Anthem for the Tercentenary Com- 
 7nemoration of the Refonnatioii), folio {Chappell 
 1835). Dedicated to Archbishop Howley. 
 
 Smith, John Stafford. Son of Martin Smith, 
 organist of Gloucester Cathedral. Born at Gloucester, 
 1750. Gentleman of the Chapel Royal, 1784 ; Lay Vicar 
 of S. Peter's, Westminster, 1794 ; Organist of the Chapel 
 Royal, 1802 ; Master of the Children and Lutenist, 1805 
 — 1817. Died Sept. 21, 1836. Buried in the churchyartj 
 pf S. L ikc'r, Chelsea, 
 
262 THE ORGANISTS AXD COMPOSERS 
 
 Twenty-one Anthems, composed for the Choir Service 
 of the Church of England, folio, :793. Dedicated to 
 Archbp. Moore. 
 
 Twelve Chants, composed for the Use of the Choirs of 
 the Church of England, oblong i,to. Dedicated to the 
 Rev. W. Holmes, Sub-dean of the Chapel Royal, 
 Minor Canon of S. Paul's and Rector of Cripplegate. 
 
 Smith, John, Mus.D. (?) Dublin (1827J. Born at 
 Cambridge, 1795. Stipendiary choirman in Christ 
 Church Cathedral, Dublin, 1815. Vicar Choral of S. 
 Patrick's Cathedral, 1816. Organist of the Chapel of 
 Dublin Castle, 1833 — 35. Professor of Music in the 
 University of Dublin, 1847. Composer of the State 
 Music for Ireland. Died at Black Rock, near Dublin, 
 Nov. 12, 1861. 
 
 Cathedral Music, dedicated to King William IV. and 
 Queen Adelaide, folio, 1837, containing : — 
 Morning and Evening Services in Bfiat. 
 Communion Service in C. 
 Veni Creator Spiritus. 
 Twelve Double Chants. 
 
 Stanford, Charles Villiers, Mus.D., M.A., 
 Cantab. Born in Dublin, Sept. 30, 1852. Pupil of 
 Arthur O'Leary .ind Sir Robert .Stewart ; also of Reinecke 
 at Leipsic and Kiel at Berlin. Succeeded J. L. Hopkins 
 as organist of Trinity College, Cambridge, 1873, and Sir 
 G. A. Macfarren as Professor of Music in the University, 
 1887. 
 
 An Evening Service in A, two Complete Services in F 
 and B flat, and six Anthems byProfessor Stanford, 
 are published by Novella S-" Co. 
 
 Stanley, John, Mus.B., Oxon. (July 19, 1729). Born 
 Jan. 17, 1713. Pupil of John Reading and Dr. Greene. 
 Organist of AUhaliows, Bread Street, 1724 ; of S. 
 Andrew's, Holborn, 1726; of the Temple Church, 1734. 
 Master of the King's Band, 1779. Died May 19, 1786. 
 Buried in the new graveyard of S. Andrew's, Holborn, 
 Gray's Inn Road. 
 
 ^JEGGALL, Charles, Mus.B. and Mus.D. by accumij- 
 
OP s. Paul's catbedral. 263 
 
 lation, Cantab. (1852). Born in Londor, June 3, 1826. 
 Pupil of ihe K.A.M. Studied under Sterndale bennett. 
 Organist of Christ Church, IVIaida Hill, 1847. Pio'essor 
 at the R.A.M., 1851. Organist of Christ Church, Lan- 
 caster Gate, 1855 ; of Lincohi's Inn Chapel, 1864. 
 
 Two Complete Services in F and G, two Evening Ser- 
 vices in C, and Eleven Anthems by Dr. Steggall are 
 published by Novella &" Co. 
 
 Stevens, Richard John Samuel. Bom in London, 
 1753. Chorister in S. Paul's Cathedral. Organist of the 
 Charterhouse and the Temple Church in succession to 
 John Jones, 1796. Succeeded Dr. Aylward as Professor 
 of Music flt Gresham College, i8oi. Died at Peckham, 
 Sept. 23, 1837. 
 
 Stevenson, Sir John Andrew, Knt., Mus.D., 
 Dublin (1791). Born in Dublin, 1762. Chcrister in 
 Christ Church Cathedral, 1771 — 1775, in S. Patrick's, 
 1775— 1780 ; Stipendiary in Christ Church, 1781. Vicar 
 Choral of S. Patrick's, 1783 ; of Christ Church, 1800. 
 Received knighthood, ,1803. Died at Headfort, Co. 
 Meatb, Sept. 14, 1833. Buried in the Lambart Vault, 
 Painstown Church. 
 
 Cathedral Music, 2 vols, folio, 1825. Dedicated to 
 King George IV., containins; : — 
 Complete Service in C {The " Short Service "). 
 Morning and Communion Service in F. 
 Communion Service in Eflat. 
 Two Evening Services in Eflat. 
 Morning Service in C {The "■ Royal Service'"). 
 Twelve Double Chants. 
 Twelve Verse Anthe7ns. 
 
 Stewart, Sir Robert Prescott, Knt., Mus.D. Dublin 
 (1851). Son of Mr. Charles Frederick Stewart, Librarian 
 of the King's Inns, Dublin. Born in Dublin, Dec. 16, 
 1825. Chorister in Christ Church Cathedral, 1833— 1840; 
 organist of Christ Church, 1844 ; of the Chapel of Trinity 
 College, 1844; organist of S. Patrick's Cathedral, 1852; 
 Vicar Choral of S. Patrick's 1861 ; Professor of Music in 
 the University, 1861. Received knighthood, 1872. 
 
264 THIS ORGANISTS AND COMPOSERS 
 
 A Morning and Evening Service in E flat {for a 
 double choir), a complete Service in G, and four An- 
 thems by Sir R. P. Stewart are published by Novella. 
 
 Stonard, William, Mus.D., Oxon. (1608). Organist 
 of Christ Church Cathedral, Oxford. Died 1630. 
 
 Evening Service in C — Motett Soc, Vol U. 
 
 Stroud, Charles. Born 1705. One of the Children 
 of the Chapel Royal, pupil ot Dr. Croft, and deputy 
 organ'St of the Chapel Royal, Whitehall. Died April 
 26, 1726. 
 
 Anthem {& 4 ■z/) " Hear my prayer " — Page, Vol I — 
 %vo {ISiovello). 
 
 Sullivan, Sir Arthur Seymour. Knt., Mus.D., 
 Cantab, honoris causA (1876), ad eundem, Oxon. 1879, 
 Born in London, May 12, 1842. Chorister in the Chapel 
 Royal under Rev. Thomas Helmore, 1854 — 1857. Pupil 
 of Sir John Goss and Sir W. Sterndale Benne't ; also of 
 Hauptmann and Moscheies at Leipsic, 1858 — 1861. 
 Organist of S. Michael's, Chester Square, and subse- 
 quently, till 1871, of S. Peter's, Cranley Gardens. Prin- 
 cipal of the Natiocial Training School of Music, 1876 — -. 
 i88i. Received Knighthood, May 15, 1883. 
 
 A Morning Set vice in D, and twelve Anthems by Sir 
 Arthur Sullivan are published by Novello &" Co. 
 
 Talus, Thomas. Bom c. 1520. Chorister of S. 
 Paul's and the Chapel Royal. Gentleman of the Chapels 
 Royal. Sometime organist of Waltham Abbey till 1540. 
 Died at Greenwich, Nov. 23, 1585. 
 
 Complete Service in the Dorian Mode, with Preces, 
 Responses, and Litany. Barnard — Boyce, Vol I. — 
 Oliphant — Bishop -Rimbault. 
 
 Three Sets of Preces with Psalms — Barnard. 
 
 Anthems. 
 All people that on earth do dwell {d, 4 v) — Arnold, 
 
 Vol I.—Zvo {Novello). 
 Blessed are those {d. 5 v) — Motett Soc. 
 
OF &. PAXIL'S CATHEDRAL. 26$ 
 
 Blessed 6e Thy Name (d. 5 v) — Barnard. 
 
 Come, Holy Ghost (i 4 v) — Par. Ch. — ivo {Novella). 
 
 Great and marvellous (i S ^) — Motett Soc. 
 
 Hear the voice and prayer {d 4 v) — Arnold, Vol HI. 
 
 I call and cry {d, 5 ») — Barnard — Boyce, Vol II. 
 
 If ye love Me \h, 4 v) — Motett Soc. — Zvo {Novello). 
 
 O Lord, give Jhy Holy Spirit (i 4 v) — Barnard, 
 
 Travers, John. Born 1706. Chorister in S. George's 
 Chapel, Windsor. Pupil of Greene and Pepusch, 
 Organist of S. Paul's, Covent Garden, 1725, and of 
 Fulham Parish Church. Organist of the Chapel Royal, 
 1737. Died 1758. 
 
 Complete Service in F — Arnold, Vol II. — Cath. Ch. 
 Bk.—%vo {Novello). 
 
 Verse Anthem, " Ascribe unto the Lord" — Arnold, 
 Vol III.—Zvo {Novello). 
 
 Full Anthem, "Ponder my words" — Arnold, Vol 
 
 in. 
 
 Full Anthem {a 4 v) " Keep, we beseech Thee " — Page, 
 
 VolIL 
 Te Deum Laudamus in D — Arnold, Vol II. 
 
 Tucker, Rev. William. Gentleman of the Chapel 
 Royal, and Junior Priest at the Coronation of King 
 Charles II. ; Minor Canon and Precentor of Westminster 
 Abbey. Died Feb. 28, 1678. 
 
 Full Anthem {d, 5 v), " give thanks "—Cath. Mag. 
 Zvo {Novello). 
 
 TURPIN, Edmund Hart, Mus.D. Cantuar., F.C.O» 
 Born at Nottingham, May 4, 1835. Pupil of C. Noble, 
 HuUah, and Pauer. Organist of S. Barnabas (R. C.) 
 Cathedral, Nottingham, 1850; of S. George's, Blooms- 
 bury, 1869; of S. Bride's, Fleet Street. 1887. Secretary 
 of the College of Organists. Musical Examiner for the 
 College of Preceptors. Professor at Trinity College, 
 London, &c., &c. 
 
 TURLE, James. Bom at Somerton, March 5, 1802. 
 Chorister in Wells Cathedral, 1810— 1813. Organist of 
 Christ Church, Blackfriars, 1819— 1829 ; of S. James', 
 Bermondsey, 1829— 1831. Deputy Organist of West. 
 
266 TBE ORGANISTS AND COMPOSERS 
 
 minster Abbey, 1819— 1831. Full organist, 1831 — 1875. 
 Died at Westminster, June 28, 1882. Buried in Norwood 
 Cemetery. 
 
 Complete Service in D, folio and %vo {Novella). Dedi- 
 cated to Dr. Turton, Dean of Westminster (1842) and 
 afterwards (1845 — 1864) Bishop of Ely. 
 
 Morning and Eveniitg Chant Service in E flat, Svo 
 {Novella). 
 
 Anthems. 
 
 Almighty and Most Merciful God {full d, i,v') dedicated 
 to Sir J. L. Rogers, folio {Novelto). 
 ' Hear my crying {Verse iJ 3 7/), folio {Novello). 
 
 The Lord that made Heaven \ j- ,, •- . /nr 77 \ 
 This is the day. V"" ^ ^^ {Novello). 
 
 Father of Life (i 4 v). Marriage Chorale, Svo {No- 
 vello). 
 
 Seven Single, and Twenty-four Double Chants, Com- 
 posed for the Use of the Choral Set vice of Westmin- 
 ster Abbey, Svo, 1855. 
 
 The Westminster Abbey Chant Book, i2mo, 1855. 
 
 Services, Ancient and Modern, edited in conjunction 
 with John Goss, 2 vols, folio, 1848. 
 
 Tye, Christopher, Mus.B., Cantab. (1536), Mus.D,., 
 Cantab. (1545), ad eundem, Oxon. (1548). Born in West- 
 minster, c. 1508. Chorister in the Chapel Royal. Organ- 
 
 ■ist of Ely Cathedral, 1541 — 1562. Was in holy orders, 
 holding in succession the rectories of Little Wilbraham, 
 
 , Newton and Doddington-cum-March in the diocese of 
 Ely. Died c. 1580. 
 
 Evening Service in G minor — Rimbault. 
 
 Anthems. 
 
 God be merciful {d. 4 v) — Barnard. 
 
 I lift my heart {d, 5 v) — Barnard. 
 
 T will exalt Thee {d. 4 v) — Barnard.— ^ Boy ce, Vol II. 
 
 O come ye seivants (d, 4 v) — Svo {Novello). 
 
 Walmisley, Thomas Attwood, Mcs.B., Cantab. 
 J833), B.A. (1838), M,A. (1841), Mus.D. (1846), Son of 
 
OP S. PAUL'S CATHEDRAL. 26f 
 
 Thomas Forbes Walmisley and godson and pupil of 
 Thomas Attwood. Born Jan. 21, 1814. Organist of 
 Croydon Parish Church, 1830 ; of Trinity and S. John's 
 Colleges, Cambridge, in succession to Samuel Matthews, 
 1833. Professor of Music in the University, 1836. Died 
 at Caroline Place, Hastings, Jan. 17, 1856. Buried in 
 Fairlight Churchyard.H- 
 
 Cathedral Music, dedicated to the Prince Consort, 
 edited by his affectionate father, Thomas Forbes 
 Walmisley, folio, 1857, containing : — 
 
 Complete Service in D (1843). 
 
 Complete Service in F (1839). 
 
 Morning and Evening Service in C. 
 
 Morning Service in Bflat (1834). 
 
 Evening Service in D minor (1855). 
 
 Two Settings of the Sanctus. 
 
 Ten Anthems. 
 
 Miscellaneous Church Compositions. 
 
 * Evening Service in B flat for Double Choir (1845), 
 folio (Novello). 
 
 Full Anthem (i 4 v), " From all that dwelV {pub- 
 lished in Racket fs Nat. Psalmist, 1842). 
 
 *" Remember, Lord" (Dublin Prize Anthem, 1836), 
 folio {Novello). 
 
 "Hail! Gladdening Lighf^i^d, 5 v), published in Hul- 
 lah's Vocal Scores, 1846. 
 
 "Praise the Lord" {Canon 4 in 2), ditto. 
 
 Sixteen original Double Chants, published in the Cam- 
 bridge Collection of Chants {edited by T. A. Walmis- 
 ley), 8vo, 1847. 
 
 Four Single Chants, published in Monk and Ouseley's 
 Anglican Psalter Chants. 
 
 Sanctus in D, published in Lyra Ecclesiastica, {i%i^. 
 
 * These compositions have been included in the later editions of Walmisley 's 
 CaXheAral Mmic. 
 
 t It is gratifying to observe that a mural brass to the memory of Pro- 
 fessor Walmisley has, in the most api>ropriate manner, been placed in the 
 ante-chapel of Trinity College, Cambridge, Engraved thereon are the last 
 four bars of the expressive quartet to the words, "The snare is broken, and 
 we are delivered," from the composer's truly grand anthem, " If the Lord 
 Himself." 
 
268 THE OR&ANIStS AAD COMPOSERS 
 
 Walmisley, Thomas Forbes. Son of William Wal- 
 misley, Clerk of the Papers to the House of Lords. 
 Father of T. A. Walmisley. Born in London, 1783. 
 Chorister in Westminster Abbey. Pupil of Attwood. 
 Succeeded Robert Cooke in 1814 as organist of S. 
 Martin-in-the-Fields. Died July 23, 1866. 
 
 Six Anthems and a Short Morning and Evening Ser- 
 vice in C, folio, c. 1848. 
 
 Three Canons forming an Anthem, folio, {Cramer), 
 1851. 
 
 Full Anthem («J 4 v), " O God the Protector" published 
 in Pettet's Sacred Music, folio, 1825. 
 
 Wanless, Thomas, Mus.B., Cantab. (1690). Organist 
 of York Minster in 1700. 
 
 Composer of the Litany in C Minor, used in the cycle of 
 five, at Lichfield Cathedral. 
 
 Warde, John. Bom c. ijSo. Died c. 1640. 
 Evening Service in G minor — Barnard. 
 
 Weelkes, Thomas, Mus.B., Oxon. (1602). Born 
 1578. Organist of Chichester Cathedral, 1608. Died c. 
 1640. 
 
 Anthem, " Lord, grant the King," — Barnard. 
 
 Wesley, Samuel. Son of the Rev. Charles Wesley, 
 and nephew of the Rev. John Wesley. Born at Bristol, 
 Feb. 24, 1766. Eminent as an organist and composer. 
 For some time organist of Camden Town Parish Church, 
 the organ of which was built by Gray under his direction 
 in 1824. Died in London, Oct. 11, 1837. Buried in the 
 graveyard of S. Mary-le-bone. 
 
 Morning and Evening Service in F, respectfully dedi- 
 cated to all choirs, folio, 1824. Cath. Ch. Book, 
 %vo {Novello), edited by Dr. G. C. Martin. 
 
 A nthem, " / said I will take heed " — Page, Vol II. 
 
 Ditto, '■'■Thou, O God art praised" {published in Pettefs 
 Sacred Music, folio, 1825)— 8»^ {Novello). 
 
 Wesley, Charles. Brother of the above. Born 
 1757. Died 1834. 
 
OF S. PAUL'S CATHEDRAL. 269 
 
 Anihem, " My soul hath patiently " — Page, Vol II. 
 Ditto, "O worship the Lord" (Weekes' Collegiate 
 Set ies). 
 
 Wesley, Samuel Sebastian. (Son of Samuel Wes- 
 ley), Mus.B. and D., Oxon. 1839. Born in London, Aug. 
 14, 1810. Chorister in the Chapel Royal. Organist of 
 S. James', Hampstead Road, 1819; soon after of S. Giles, 
 Camberwell ; of S. John's, Waterloo Road, 1828 ; of 
 Hampton Parish Church, 1831. Succeeded Dr. Clarke- 
 Whitfeld as organist of Hereford Cathedral, 1833, and 
 James Paddon as organist of Exeter Cathedral, 1835. 
 Organist of the Parish Church, Leeds, 1842 ; of Winches- 
 ter Cathedral and College in succession to Dr. Chard, 
 1849 ; of Gloucester Cathedral in succession to John 
 Amott, 1865. Died at Gloucester, April 19, 1876. 
 Buried in the Old Cemetery at Exeter. 
 
 Complete Service in E, folio {Novello), 1845. 
 
 Complete Service in F, folio and %vo {Novello), 1869. 
 
 Chant Services in F and G. 
 
 Gloria in Excelsis in C. 
 
 Twelve Anthems, folio, 1853. Dedicated to Dr. 
 
 Gamier, Dean of Winchester. 
 Nine Anthems {published separately by Novello). 
 Four Anthems (published separately by Weekes). 
 The Psalter Pointed, with Chants, 8vo (1843). 
 The European Psalmist {edited) oblong 4to. 
 
 Weldon, John. Born at Chichester c. 1680. Organist 
 of New College, Oxford. Gentleman of the Chapel 
 Royal, 1701. Organist of the same, 1708. Composer, 
 171 5. Organist of S. Bride's, Fleet Street, and S. Martin- 
 in-the-Fields, 1726. Died May 7, 1736. Buried in S. 
 Paul's churchyard, Covent Garden. 
 Sanctus arid Gloria in Excelsis in E flat {published in 
 The Choir, 12,64). 
 
 ' Anthems. 
 
 Hear my crying {verse i 6 v) — Boyce, Vol II. 
 In Thee, O Lord {verse d, 2 v)— Boyce, Vol II. 
 I will lift up mine eyes {solo) — Page, Vol I. 
 O praise God in His holiness {full i 4 v)—Par. Ch. 
 
275 THE ORGANIST^ AND COMPO&MRS 
 
 O praise the Lord {full ci 4 v) — Par. Ch. 
 
 O God, Thou hast cast us out {solo) — Arnold, Vol I. 
 
 Who can tell how oft {d, 7 v) — Arnold, Vol II. 
 
 Divine Harmony, or Six Select Anthems for a Voice 
 alone .... composed on several occasions by Mr. 
 John Weldon, organist of his Majesty's Chapell 
 Royal and there performed by the late famous Mr. 
 Richard Elford. Small folio {Walsh) c. 1720. 
 
 Westmoreland, Earl of (John Fane, D.C.L.) and 
 Baron Burghursh. Born Feb. 3, 1784. Succeeded his 
 father as eleventh Earl, 1841. Married, June 26, 181 1, 
 Priscilla Anne, daughter of the Rt. Hon. Wm. Wellesley- 
 Pole, third Earl of Mornington. Died at Apethorpe 
 House, Northants, Oct, 16, 1859. 
 
 Morning, Cathedral Service in F, folio {Lonsdale), 1841. 
 
 Anthem '•' On the third Day in the Morning" folio, 
 1 84 1. Both these were composed when Lord Burg- 
 hursh. 
 
 Williams, George Ebenezer. Born at Clerkenwell, 
 Aug. 30, 1783. Chorister of S. Paul's Cathedral under 
 R. Hudson and R. Bellamy. Organist of the Chapel of 
 the Philanthropic Society, S. George's Road, 1805. 
 Succeeded Robert Cooke as Organist and Master of the 
 Choristers of Westminster Abbey, 1814. Died April 17, 
 18191 Buried in the South Cloister of Westminster 
 Abbey. * 
 
 Wise, Michael. Bom at Salisbury, 1638. Chorister 
 in the Chapel Royal. Organist of Salisbury Cathedral, 
 1668. Gentleman of the Chapel Royal, 1675. Almoner 
 and Master of the Boys at S. Paul's, Jan. 27, 1686. f 
 
 * A curious and very scarce little book is in my possession entitled Sixty 
 Charnis, Single and Double, also Twelve Sanciuses in Score, composed by the 
 Chmrsters oj S. PauVs Cathedral Published at Messrs. Thompson's S. Paul's 
 Church Yard, t&c. Oblong ^to. 179s, Pri^e 5s. The collection contains com- 
 positions by G. E. Williams, T. Stikeman, W. Stikeman, W. Heather, 
 J. C. Clifton, W. Wilson, C. Stokes and J. Suett. These eight boys were 
 all pupils of Richard Bellamy, the then Almoner. — J. S. B. 
 
 t Michael Wise's connexion with S. Paul's as Almoner was of but short 
 duration. He was not an unpleasant man by all accounts, but unfortunately 
 given to ungovernable fits of passion from his childhood. He was much 
 ^voured by Charles 11., and one of his privileges was that of playing upon 
 
OF S, PAUL'S CATHEDRAL, 27 1 
 
 Died at Salisbury, Aug. 1687. Buried in the Cathedral, 
 near the great West door. 
 
 Evening Service in Eflat — Rimbault, 
 
 Anthems. 
 
 Awake, put on thy strength {Verse d 3 v) — Boyce 
 
 VolII.—Zvo {Noveilo). 
 Awake, up, my glory {Verse d 3 v) — Boyce, Vol III., 
 
 Svo {Noveilo)* 
 Blessed is he that consider eth ( Verse d 3 v) — Boyce, 
 
 VolIIL 
 I will sing a new song ( Verse d 3 v), published in 
 
 La7igydon^s Divine Harmony, 1774. 
 Prepare ye the way of the Lord [Verse d 4 v) — Boyce, 
 ■ Vol IL~^vo {Noveilo). 
 The ways of Sion do mourn ( Verse d 2 v) — Boyce, 
 
 Vol III. 
 * Thy beauty y O Israel ( Verse d 3 z/) — Boyce, Vol III, 
 
 the organ of an^ church the king attended. It appears that upon one oc- 
 casion Wise, thinking the Sermon somewhat long and dry, struck up a 
 voluntary of his own in the middle of it, thereby incurring his Majesty's dis- 
 pleasure. This story may or may not be true, but it is certain that upon the 
 death of Charles II. he was under a suspension from his duties at the Chapel 
 Royal, and, at the Coronation of James II., one Edward Morton officiated 
 in his place (See The Cheque Book of the Chapel Royal, pp. 129, 218). Wise's 
 unhappy temper^ cost him his Ufe. Being at Salisbury in August 1687, he 
 had a quarrel with t is wife one night upoa some trifling matter, and, in a 
 paroxysm of rage, rushed from his house. The waichmaa met him while 
 he was yet boiling with passion, and commanded him to stand, and ^ive an 
 account of himself. Instead of this he struck the guardian of the night to 
 the ground, who, in return aimed a blow at his assailant with his bill, which 
 broke his skull, " ol the consequence whereof he died." 
 
 It is to be lamented that the published works of this pathetic and ex- 
 pressive Church composer are so few. There is a Morning and Evening 
 Service iu D minor, contained in the large collection of Church music 
 transcribed in score by Dr. Tudway lor the Earl of Harley, and now in the 
 British Museum. At Christ Church Cathedral, Dublin, there is a complete 
 Morning, Communion and Evening Service in E flat, while in the large and 
 valuable Manuscript music library at Ely Cathedral there are preserved a 
 Gloria in £zcelsis, and sixteen Anthems, including the six published by 
 Boyce. (See Catalogue of Ancient Choral Services and ATitTiems preserved 
 amoTug the MS. scores and part-books in the Cathedral Church of Ely by Rev. 
 W. B. Dickson, M.A. Precentor^ Svo, Cambridge 1861). In the choir-books of 
 Salisbury Cathedral there is a setting of the Easter Anthem " Christ being 
 raised from the dead." This was at one time always^ performed instead of 
 Fenite at Salisbury Cathedral on Easter Day, for which occasion Wise ex' 
 pressly composed it. 
 
 * The second part of this anihem (pp. 905 — 907 in Boyce's score) is said to 
 have been composed by Dean Aldrich on hearing of the untimely death of 
 fiis friend, Michael Wise.- 
 
272 THE ORGANISTS OF S. PAUL'S CATHEDRAL. 
 
 Wood, David. Organist of Ely Cathedral, 177 1. 
 Afterwards a Gentleman of the Chapel Royal, and one of 
 the deputies at S. Paul's. 
 
 Anthem, "Lord of all power and mi^ht." — Page, 
 Vol II. 
 
 Woodward, Richard, Mus.B., Dublin (1768), 
 Mus.D. (1771). Born in Dublin, c. 1744. Succeeded 
 George Walsh as organist of Christ Church Cathedral, 
 1765 ; Vicar Choral of S. Patrick's, 1772, and Master of 
 the Choristers of both Cathedrals. Died in Dublin, 
 Nov. 22, 1777. Buried in Christ Church Cathedral. 
 
 Cathedral Music, consisting of one Compleat Service 
 (in Bflat), Seveti Anthems, several Chants, and Vent 
 Creator Spiritusj in Score j for i, 2, 3, 4, 5i '^^'■d 6 
 voices [Opera Terza), folio, lyyi. 
 
 •^ 
 
 LONDON : 
 
 BOWDEN, HITDSON & CO., PRINTERS, 
 
 33, RED LION STREET, W,C,