Organist. He became a chorister at Norwich Cathedral where Zechariah Buck was so impressed by his talents (e.g. an anthem for eight voices composed when he was aged 11) that he took him as an articled pupil at the age of 14. He became a proficient organist, playing Bach's fugues at 17 years of age. In 1845 he was appointed organist of St. Botolph's, Boston and in 1848 became organist at St. Helen's, Bishopsgate in London. He took the Oxford BMus in 1846 and the Cambridge MusD in 1849. He played some of his concert fugues for organ at the Crystal Palace during the Great Exhibition of 1851 creating a sensation, particularly with an improvisation he called Representation of a Storm. His oratorio Israel Restored was performed by the Norwich Choral Society in October 1851 and on 22nd September 1852 at the Norwich Music Festival. It had been given great advance publicity and attracted much attention because it seemed to be placed in rivalry with Pierson's Jerusalem. He was conservative, containing fugal choruses along Handelian lines and even a fully-fledged French Overture. It was by no means a worthless composition and was well received when revived at the Royal Albert Hall in London in 1880.
Organist. He became a chorister at Norwich Cathedral where Zechariah Buck was so impressed by his talents (e.g. an anthem for eight voices composed when he was aged 11) that he took him as an articled pupil at the age of 14. He became a proficient organist, playing Bach's fugues at 17 years of age. In 1845 he was appointed organist of St. Botolph's, Boston and in 1848 became organist at St. Helen's, Bishopsgate in London. He took the Oxford BMus in 1846 and the Cambridge MusD in 1849. He played some of his concert fugues for organ at the Crystal Palace during the Great Exhibition of 1851 creating a sensation, particularly with an improvisation he called Representation of a Storm. His oratorio Israel Restored was performed by the Norwich Choral Society in October 1851 and on 22nd September 1852 at the Norwich Music Festival. It had been given great advance publicity and attracted much attention because it seemed to be placed in rivalry with Pierson's Jerusalem. He was conservative, containing fugal choruses along Handelian lines and even a fully-fledged French Overture. It was by no means a worthless composition and was well received when revived at the Royal Albert Hall in London in 1880.
Advertisement
Advertisement
