Page:Pratt - The history of music (1907).djvu/497

 The connection of England with the rise of pianism and its literature has already been noted. It also shared promptly in the Bach revival on its organ side. It contributed some excellent instrumentalists and singers. And it stood ready to extend enthusiastic greeting to such geniuses as Weber and Mendelssohn. The first visit of the latter in 1829 marked the beginning of a new era in the growth of musical life in England.

Among the notable institutions founded in this period the following may be mentioned:—

The Birmingham Festivals, after five experimental gatherings (1768-90), from 1796 were held triennially, continuing with but one exception to the present time. With their firm establishment they steadily broadened from their original exclusive devotion to Handel's choral works, becoming one of the factors in the stimulation of general musical taste.

The Concentores Sodales was a society founded by Horsley in 1798 to promote practice and production along lines like those of the earlier Glee and Catch Clubs. It continued until 1847.

The Philharmonic Society began in 1813 and became at once the centre of instrumental music of the highest order for the Kingdom. For a long period its rehearsals and concerts were conducted by the principal members in turn. Occasionally visiting conductors appeared, as Cherubini (1815), Spohr (1820, '43), Weber (1826), Mendelssohn (1829, '42, '44, '47), etc.

The Royal Academy of Music was organized in 1822 through the exertions of Lord Burghersh (later Earl of Westmoreland). This school, after many vicissitudes, has now become a large and highly influential institution. Its principals have been Crotch (from 1822), Potter (from 1832), Charles Lucas (from 1859), W. S. Bennett (from 1866), Macfarren (from 1875) and Mackenzie (from 1888). It is partially supported by a subvention from the government.

Samuel Wesley (d. 1837), born in 1766, the son of Charles Wesley the poet and hymnist, was musically gifted, like all the Wesley family. Before he was 10 he had become an expert organist and violinist, and had written parts of an oratorio; at 11 he published a set of lessons for the harpsichord. At 21 he suffered a serious accident which affected his brain, disabling him for seven years then and twice afterwards for a like period. In the intervals between these attacks he made himself famous as an exceptional organist, as the first Bach enthusiast in England, and as an abundant and strong composer. His works included services, about 10 anthems, 3 masses and many antiphons (indicating his early interest in the Roman Catholic service), innumerable hymn-tunes, many glees and songs, 5 symphonies, 3 overtures, some chamber music, about 10 organ-concertos, many preludes, fugues, etc., and much piano music. In 1808-9 he wrote a series of important letters to his friend Jacob regarding the works of Bach. His brother Charles Wesley (d. 1834) was also a good organist.