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Cyril Scott's Pianoforte Sonata number one, composed in 1908; because of the utterly original irregularity of its rhythms throughout, the richness of its pan-tonal harmonies, and the extraordinarily non-Bachian fugue with which it concludes.

Of the third movement, a kind of scherzo, Eaglefield Hull wrote that "It seems to me that there is here achieved in music an adumbration of that phenomenon which Carpenter calls Cosmic Consciousness. It may be traced psychologically I think from the exhilarating effect which Beethoven and Mahler occasionally secured in their codas. But Scott carries it to a higher power. This scherzo is a wild, mad happy dance, but it is a terpsichorean expression on some higher plane than the physical. It has the same molecular atmospheric festive feeling which we feel in Debussy's Fêtes."

I am not entirely certain what Hull meant there by "molecular," but according to the O.E.D. the word can refer to "an elementary unit of behaviour such as a physiological response." And it would have been interesting had Hull indicated which codas. The last movement of Beethoven's seventh is I would say "exhilarating" throughout, so the quality specific in Hull's view to the codas appears to be something rather different.

I first became aware of Bell when reading about the first performance of Holbrooke's Illuminated Symphony "Apollo and the Seaman" at a concert given before Royalty at the Queen's Hall on the twentieth of January 1908. The first item in that concert was Bell's Symphonic Poem "The Shepherd" - like the Symphony, inspired by a work of the Irish poet Herbert Trench.

Wikipedia and Grove each list among Bell's compositions six and a half operas, all of which deserve revival I should think. A certain confusion seems to have arisen about whether some of them are simply incidental music or full-blown operatic works. A good subject for some student's research:

Hippolytus (music drama, 3 acts, after Euripides), c 1914, unperf.
Isabeau (fantasia, 1 act), 1922–4, unperf.
The Mouse Trap (opera, 1 act, after R.L. Stevenson: The Sire de Maletroit's Door), 1928, unperf.
Doctor Love (opera, 1 act, after Molière), 1930
The Wandering Scholar (musical comedy, 1 act, C. Bax), 1933, Cape Town, Little, 28 Oct 1933
The Duenna (musical comedy, 3 acts, after R.B. Sheridan), 1939, unperf.
Romeo and Juliet (op), 1939, incomplete.

["Who's Who in Music"]

Here is the counterpart to the thread "British composers who were who in 1913." Again I hope to go through the book "Who's Who in Music" (1913 edition), and this time pick out the information given there about all the people who are described there as "composers" and do not have a British background. (And as before I think that many of the entries were contributed by the subjects themselves.)

Once more there are many very obscure names, as well as many that remain familiar. I have copied all the information supplied about compositions, as well as any further items which seem to be of interest.

The book itself, which contains much more information about each person, may of course be retrieved HERE. Let us begin, then, with the six composers whose names begin with 'A':

1) Carlo Albanese, pianist and composer.
   b. Naples, 1858.
   Came to London in 1882.
   The list of his compositions comprises besides a great number of piano pieces, a string quartet, a trio for piano and strings, and six piano sonatas, songs and MS. orchestral works.
   [Not in Grove's Dictionary.]

2) Samuel Alman, composer.
   b. in a village near Odessa in 1878.
   Began musical education at the Odessa Conservatoire, and passed into Russian Army in which he served four years; he narrowly escaped the massacre of Kishmeff, and in 1904 fled to England.
   Has recently produced "King Ahaz," the first opera in the Yiddish language, at the New Jewish Theatre in the East End, having written both libretto and music, with great success.
   [Not in Grove's Dictionary.]

3) Karl Joachim Andersen, flautist.
   b. Copenhagen, 1847.
   Proceeding to Berlin, he assisted in founding the Philharmonic Orchestra there; since 1893 has conducted the Palace Orchestra at Copenhagen.
   Has composed a large number of pieces for the flute, including a set of forty-eight studies and a concertstück [sic].
   [Not in Grove's Dictionary.]

4) E. Fernandez Arbos, violinist and conductor.
   b. Madrid, 25th December 1863.
   Both his father and grandfather were military bandmasters.
   Played Bach's Double Concerto with Joachim at the St. James's Hall.
   Has composed a large number of pieces for the violin, and a comic opera, "El Centro de la Tierra," first performed at Madrid in 1895.
   [Grove's Dictionary gives his name as "Enrique Fernández Arbós," and - curiously - states that he was born on the twenty-fourth of December. In 1932 Arbós conducted the first performance in Spain of the Rite of Spring, and he was president of the Spanish section of the ISCM; through his influence the 1936 festival was held in Barcelona.]

5) Antony Stepanovich Arensky, composer.
   b. Novgorod, 1861.
   His father and mother were both excellent musicians.
   His compositions include the opera, "A Dream on the Volga," first performed in Moscow in 1890, opera in one act, "Raphael," composed for the Russian Artists' Club at St. Petersburg, in 1894, and a grand opera, "Nala and Damayanti," 1899; he has also composed a large number of songs, piano pieces and other music.

6) Tor Aulin, violinist.
   b. Stockholm, 1856.
   Leader of opera orchestra in that city since 1889, and of the Aulin Quartette [sic], founded in 1887; he is also conductor of the Stockholm Philharmonic Society.
   [This entry, which I reproduce in full, is noteworthy for the absence therein of the word "composer." Grove's Dictionary gives his year of birth as 1866, which is more likely to be correct, and mentions a number of his compositions, including a String Quartet. opus 1, and three Violin Concertos.]

Moderator's note:
1866 is not 'more likely to be correct' - it is correct!
Alan Howe

[combined lists]

. . . of course, I will be signing up for Sidney Grew's forum as well, and I suggest close contact and cooperation between the two.

Agreed; and I think it will be important to construct and maintain combined lists, both of downloads and of composer references - so as to avoid duplication and too much hopping back and forth when searching.

. . . I can only hope that someone somewhere will be able to set up a complementary site devoted to later unsung music. . . .

Done! (Please refer to separate thread.)

. . . However, there are plenty of unsung romantics I am fond of, so I shall certainly continue to enjoy what is offered here.

Likewise.

. . . The ABC broadcast a movement from Hamilton Harty's Piano Quintet this morning . . .

They caught the snippet disease many years ago; which is when I stopped listening. It's a pity.

Thanks mrjansons for your latest link! It is an Aladdin's cave for me. So far I have particularly appreciated the video of Mendelssohn-Bartholdy's Elijah, and the youngish group struggling with Schönberg's First Chamber Symphony. And I believe there are there a considerable number of other Spanish unknowns, beyond Torres, to be discovered and investigated.

[230) Ernest Walker]

Eighteen composers beginning with "W", two beginning with "Y", and, finally, four with "Z":

230) Ernest Walker, composer, pianist, and author.
   e. privately.
   Director of Music, Balliol College, Oxford.
   Is the composer of a number of orchestral and choral works, including "Hymn to Dionysus," "Ode to a Nightingale," etc., also other vocal and instrumental music.
   His literary publications include a "History of Music in England," a monograph on "Beethoven," and numerous articles.
   [Grove's Dictionary gives a detailed list of many works, and tells us that "his Cello Sonata (1914) combines passion and harmonic adventure."]

231) William Wallace.
   b. Greenock, Scotland.
   Father: the late James Wallace, M.D., J.P.
   e. at Fettes College, Edinburgh.
   Was at the R.A.M. for about a year, at the end of which his scena, "Lord of Darkness," was performed at a Students' Concert; subsequently had five first performances at the Crystal Palace, including "The Passing of Beatrice", "In Praise of Scottish Poesie," and "Sister Helen"; conducted at Queen's Hall his "Rhapsody of Mary Magdalene," and later, at New Brighton, a special concert of his own compositions, including the "Creation" symphony and "Freebooter Songs"; was commissioned by the Philharmonic Society to write a work - "Greeting to the New Century"; productions at Queen's Hall Promenade Concerts include first performance of "Pelléas and Mélisande" Suite and Symphonic Poem No. 5 - "Wallace, A.D. 1305-1905"; conducted first performance of "Villon" at a New Symphony Orchestra Concert.
   Literary works: "The Divine Surrender - a Mystery Play" (Stock), "The Threshold of Music" (Macmillan); contributor to reviews and magazines on musical and dramatic subjects.
   [In his book "The Threshold of Music - an Inquiry into the Development of the Musical Sense" (London, 1908 - available for down-load HERE), Wallace states that "his aim is to interest the musician in the mental forces to which he owes his own accomplishment and his perception of the art."]

232) Richard Henry Walthew, composer, pianist, and teacher.
   b. London, 1872
   Father: Richard Frederick Walthew, merchant.
   e. at Islington Proprietary School.
   The first public performance of his works was of "The Pied Piper," by the Highbury Philharmonic, in 1892; since then he has composed several works, including a setting of Keats' "Ode to the Nightingale," chamber music and songs.
   [Not in Grove's Dictionary.]

233) John Warriner, composer, organist, teacher, and lecturer.
   b. Bourton, Shropshire, 1860.
   e. privately and at Trinity College, Dublin.
   Editor of "The National Portrait Gallery of British Musicians" (Sampson Low, 1896); author of "Primer on Transposition" (Novello), "The Art of Teaching Music" (Hammond), etc.; was editor for two years of The Minim.
   [No specific information provided about his compositions, and he is not in Grove's Dictionary.]

234) James Haydn Waud, contra bassist.
   b. London.
   e. at St. Mary's School, Wolverhampton.
   He is the composer of numerous double bass solos, and of three orchestral overtures, one of which was heard at the Queen's Hall Promenade Concerts.
   [Not in Grove's Dictionary.]

235) Fred Whishaw, novelist and composer.
   Father: Bernard Whishaw.
   e. at Leamington College and Uppingham.
   First appeared in London as a vocalist in 1886; he is also the composer of several songs, but is, perhaps, better known to the musical world for his excellent adaptations in English of Russian and other songs, notably in the Royal Edition of Tschaikovsky Songs.
   [Not in Grove's Dictionary. Nor does his name appear in John Sutherland's "Longman Companion to Victorian Fiction." But the Internet Text Archive has available a number of his books: "The Romance of the Woods (1895)," "A Boyar of the Terrible (1896)," "Mazeppa (1902)," "Moscow - a Story of the French Invasion (1905)," "The Degenerate" (1909), "Out of Doors in Tsarland - a Record of the Seeings and Doings of a Wanderer in Russia (1893)," as well as several translations of Dostoyevsky. - And indeed I have just now discovered a Wikipedia entry which gives much information, and lists around fifty books! His full name was Frederick James Whishaw, and he was born in St. Petersburg in 1854.]

236) Maude Valerie White, composer.
   b. Normandy.
   e. in Heidelberg and Paris; studied for four years at the R.A.M.
   Principal songs: "Lead Kindly Light," "Absent yet Present," "The Devout Lover," "How do I Love Thee," "Three Little Songs," "The Spring has Come," Four Albums of German Songs, "Es muss doch Frühling Werden," "Isdotta Blanzesmano," "So we'll go no more A-roving," "The Throstle," Four Songs from "In Memoriam," "The Bonny Curl," "It is na Jean," "A Song of the Sahara," "Among the Roses," "Prière," "John Anderson, My Jo," etc.; she has also composed a ballet called "The Captured Butterfly," and an unpublished opera, "Smaranda."
   Has travelled a great deal in almost every country in Europe, also in South America (where she rode across the Andes), in Algeria, Asia Minor, the Caucasus, etc.; has for some time past lived chiefly in England and Sicily, where she happened to be at the time of the great Messina earthquake.
   [According to Grove's Dictionary, the influence of her songs may be heard in the songs of Vaughan Williams and Quilter. She published two volumes of memoirs: "Friends and Memories" (London, 1914) and "My Indian Summer" (London, 1932).]

237) Charles Francis Abdy Williams, organist and composer.
   e. privately.
   Author of several works dealing with History and Theory of Music.
   [No specific information provided about his compositions. Eight of his books - a selection - are listed in Grove's Dictionary. While at Bradfield College he taught the boys to play auloi and lyres constructed on ancient models, and in 1904 he trained the priests of Capri in the Solesmes system of chant.]

238) Charles Lee Williams, organist and composer.
   Has composed a large number of works, principally Church music.
   [Not in Grove's Dictionary.]

Unnumbered) Greta Williams, contralto.
   b. London.
   Originally a juvenile pianist.
   It is of interest to recall that it was Miss Greta Williams who behaved so courageously at the wreck of the Stella, when during the fourteen dreadful hours she and the few other survivors passed in an open boat, she calmed the fears of the crew and fellow-passengers by singing "O Rest in the Lord."
   [Not in Grove's Dictionary.]

239) Philip Hamilton Williams, amateur composer.
   b. Highbury, 1873.
   Father: Thornton Arthur Williams, tea broker.
   Mother an authoress.
   A nephew of Miss Anna Williams, Madame Marian MacKenzie (by marriage), and Henry Baumer, composer and pianist.
   e. Hastings and University College, London.
   Is a chartered accountant by profession; composer of "The Mad Dog," with orchestral accompaniment; "Day and Night," sung by Miss Muriel Foster; piano quartets, violin sonatas, and about forty songs; set "The Jackdaw of Rheims," with full orchestral accompaniment, for Mr. Kennerley Rumford.
   [Not in Grove's Dictionary.]

240) F. Delmar Williamson, baritone, vocal coach, and composer.
   b. Liverpool, 1861.
   e. Rossall School.
   Has composed several popular songs, including "Venite, Jovial Sons of Hesper," "Six Serenades," "The Clink of the Canakin," "Life's Garden," and a series of "Village Ballads."
   [Not in Grove's Dictionary.]

241) Archibald Wayet Wilson, organist and composer.
   e. at R.C.M.
   Composer of "Before the Beginning of Years" (for chorus and orchestra), also part-songs and Church music, etc.
   [Not in Grove's Dictionary.]

242) Christopher Wilson, composer and conductor.
   b. Melbourne, Derbyshire.
   Comes of a musical family, his mother and grandmother having been accomplished pianists, and his uncle (Mr. F. W. Davenport) a professor at the R.A.M.
   Among his many compositions are the incidental music to "Kismet," "The Virgin Goddess," "The Pied Piper," and to many of Shakespeare's plays as produced by F. R. Benson, Miss Ellen Terry, and Mr. Oscar Asche.
   [Not in Grove's Dictionary.]

243) Hilda Wilson, contralto and teacher of singing.
   b. Monmouth.
   Father: James Wilson.
   Madame Hilda Wilson is the composer of several successful songs, amongst others "From Oversea" (under the nom-de-plume of Douglas Hope) and "When Birds Do Sing" (Hilda Wilson), both published by Boosey, and "My Roses" (Cramer).
   Her favourite works are Dvôrak's [sic] "Stabat Mater" and Bach's St. Matthew Passion Music.
   [Not in Grove's Dictionary.]

244) William Wolstenholme, organist and composer.
   Trained at the College for the Blind, Worcester, and privately.
   Published compositions: Intermezzo for orchestra, quartet for strings, sonata for violin and pianoforte, pieces for violin, viola, violoncello, organ, and pianoforte; songs, madrigal, part-songs, anthems.
   [Not in Grove's Dictionary.]

245) Haydn Wood, violinist and composer.
   b. Slaithwaite, near Huddersfield, Yorkshire, 1882.
   Conducted his "Orchestral Suite" at one of the Patrons' Concerts at the Queen's Hall; gained second prize in the Cobbett Musical Competition for his "String Fantasia"; he has also written for the orchestra a "Set of Variations" and a "Suite de Ballet," and has composed a "Piano Concerto," besides numerous songs and violin solos.
   [Neither the "Orchestral Suite," nor the "String Fantasia," nor the "Suite de Ballet," nor even the Piano Concerto is mentioned in Grove's Dictionary. But a "Phantasie" for string quartet. (1906) and a - presumably different, and much later - Piano Concerto in D minor (1947) are there.]

246) Amy Woodforde-Finden, composer.
   b. Valparaiso, Chili.
   Father: Alfred Ward, Consul in Valparaiso.
   m. Colonel Woodforde-Finden (retired), Indian Army.
   Mrs. Woodforde-Finden is the composer of a large number of delightful and successful songs, the best known among them being "Four Indian Love Lyrics," "Lover in Damascus," "On Jhelum River," "O Flower of all the World," "The Pagoda of Flowers," "A Dream of Egypt," and "Golden Hours"; her latest compositions are "Stars of the Desert" (four more Indian love lyrics) and "Three Little Mexican Songs."
   [Grove's: "She was one of nine children of an American serving as British Consul in Valparaiso. For some years she lived in India."]

247) Francis Cunningham Woods, composer, teacher and organist.
   b. London, 1862.
   e. at the City of London School and Neuwied-on-the-Rhine.
   Published compositions: Anthems, songs, incidental music for the "Tempest" (O.U.D.S., 1894); cantatas, "King Harold," "A Greyport Legend," "Old May Day"; Suite in F for small orchestra; Ode, "The Lords of Labour."
   [Not in Grove's Dictionary.]

248) Dalhousie Young, pianist and composer.
   b. India, 1866.
   Father: Gen. Ralph Young, R.E.
   e. at Clifton and Balliol College, Oxford.
   His compositions include "The Blessed Damozel," performed by the London Choral Society, also in the provinces and at Graz (Styria), and a large number of songs of which "Bredon Hill" is perhaps the most popular.
   [Not in Grove's Dictionary.]

249) Constance Younger (Mrs. H. F. Delevigne), teacher of singing and pianoforte, accompanist, and coach.
   b. 4 Castle Baynard, in the City of London.
   Father: Mr. Edward Younger, a partner in the firm of Vivian, Younger & Bond.
   e. privately, and in Stuttgart and Paris.
   Has published numerous songs.
   [Not in Grove's Dictionary.]

250) Michael Zacharewitsch, solo violinist.
   b. Ostrow, Russia, 1878.
   e. at St. Petersburg and Moscow.
   Made his musical début at the age of twelve, when he played Tschaikovsky's Concerto in Odessa, the master himself conducting, and afterwards presenting the youthful artiste with a massive silver wreath with the following words inscribed: "Your talent is colossal, and your magic bow reminds me of Wieniawski."
   He introduced Sir Edward Elgar's new Concerto to Scotland in 1911, when touring with the Scottish Orchestra, and in the same year interpreted that great work at Sheffield and Nottingham with the Halle Orchestra (under Herr Balling), and also at Liverpool, Birmingham, and in Italy.
   Is the composer of many violin solos, and has now (January, 1913) completed a new work for solo violin, accompanied by string quartette and recitation, based on a poem on "Life and Love," by the Queen of Roumania.
   [Not in Grove's Dictionary!]

251) Napoleone Zardo, baritone and teacher of singing.
   b. Crespano, Veneto, in 1858.
   Came to London in 1895, giving up the operatic stage for concert work and composition; a number of successful songs from his pen have since been published; his opera, "La Vedova Scaltra," was produced in Italy in 1909.
   [Not in Grove's Dictionary.]

252) Agnes Marie Zimmermann, pianist and composer.
   b. Cologne, but came to England at a very early age.
   She has edited Schumann's pianoforte works, and Beethoven's and Mozart's sonatas, besides composing a number of important pieces for the piano and violin, songs, part-songs, etc.
   [She was born in 1847, and died in 1925.]

253) Louis Zimmermann, violinist.
   b. Groningen, Holland, in 1873.
   In 1902 was engaged by Sir Henry Wood to play solo in Strauss' "Ein Heldenleben" when performed at Queen's Hall under the composer's direction; in 1904 appointed Professor at the R.A.M.; has composed some songs and pieces for violin and piano, and two works for violin and orchestra.
   [Not in Grove's Dictionary.]

It is my hope that the appearance here of these unfamiliar British names might lead to the discovery of some long-neglected works.

There are in the book also quite a number of foreign composers of an equal obscurity; in a few weeks' time I will extract those and list them in a separate thread.

It should perhaps not be forgotten that Siegfried was not only Wagner's son, but Liszt's grandson. (Some pedigree!) And it is often observed that talent skips a generation. So I wonder whether there are any Lisztian characteristics in his music?

In regard to the Harris thing and matters related, there was quite a hoo-hah in Germany in the early thirties about Siegfried and the tenor Max Lorenz. I remember seeing a good German television programme about the life of Lorenz, and how he got his start.

[225) E. van der Straeten]

  !

Oddly enough, there are no composers with names beginning with "U," so here are the five "Vs":

225) E. van der Straeten, composer, bass viol player, and writer on musical subjects.
   b. Dusseldorf, 1855.
   Father: Edmund van der Straeten, late burgomaster and Member of the Prussian Diet.
   Grandfather: Anton van der Straeten, sous prefet under Napoleon, and Knight of the Legion of Honour.
   e. at Cologne.
   In 1911-1912 he formed and conducted the chorus of six hundred voices for "The Miracle" at Olympia, and also the chorus for the Covent Garden performances of that work in 1912-1913.
   His published compositions include a Suite on English airs, two Albums of solo pieces for 'cello and piano; Suite for piano and strings; "The Lily of Kashmir," opéra comique in three acts ; Christmas Cantata, songs, vocal duets, trios, etc.
   Devotes a great deal of time and energy to promoting chamber concerts, at which he has produced a considerable number of modern works for the first time in London; author of "Technics of Violoncello Playing," "Romance of the Fiddle," "History of the Violoncello," "The Viola," and "The Revival of Viols."
   [Grove's Dictionary enters him under "Straeten." His full name was Edmund Sebastian Joseph van der Straeten, and he settled in London in 1888.]

226) Chas. Vincent (Chas. John Vincent), organist and composer.
   b. Houghton-le-Spring, near Sunderland, 1852.
   His parents were both musicians, his father being an organist and his mother (née Eliza Sherborne) a pianist.
   e. at Durham Cathedral Choir School.
   He is an examiner for Trinity College, London, for which institution he has travelled all over the British Empire.
   He has composed a great deal of Church music, organ and piano pieces, songs, part-songs, cantatas and orchestral works, including "Storm" overture (Bradford and Crystal Palace, under Manns).
   He is also author of several text-books upon musical subjects.
   [Not in Grove's Dictionary.]

227) George Frederick Vincent, organist.
   b. Houghton, Durham, 1855.
   Father: Charles J. Vincent.
   Brother of Dr. Chas. Vincent.
   e. at Field House School, Sunderland.
   His numerous compositions comprise operettas, cantatas, services, organ, pianoforte and violin solos.
   [Not in Grove's Dictionary.]

228) Albert Visetti, professor of singing, composer, and conductor.
   b. Dalmatia, 1846, his father being an Italian landowner in that country and his mother English.
   After devoting some time to a course of training on the Continent, he came to England, and at once took out letters of naturalisation.
   Among the important public appointments he has held may be mentioned the post of Director and Conductor of the Bath Philharmonic Society, for which Mr. Visetti wrote a cantata, "The Desert and the Praise of Song." His compositions include a "Cantico des Cantici" (libretto by Boito); an opera in three acts, "Giselda"; an opera, "Les Trois Mousquetaires" (the only musical setting of the romance, the libretto of which was specially written by Dumas père); "La Diva," waltz song, and many other songs, choral works, and music of a miscellaneous character.
   Mr. Visetti is also Editor of the Handel and Brahms editions published by Messrs. Augener.
   He is a littérateur, and has written the life of Verdi.
   [Not in Grove's Dictionary.]

229) Gustav Theodore von Holst, composer and teacher.
   b. Cheltenham, 1874.
   Father: Adolph von Holst.
   e. at Cheltenham Grammar School.
   He first appeared in London at St. James's Hall on May 20, 1904, when he conducted his own "Suite de Ballet"; his principal compositions are as follows, and have all been produced at the Queen's Hall; "The Mystic Trumpeter" (1905), "King Estmere" (1908); "A Somerset Rhapsody" (1910), "Choral Hymns" from the "Rig Veda" (1911), "Beni Mora" (Suite for orchestra, May, 1912), "Phantastes" (Suite for orchestra, July, 1912).
   [Grove's Dictionary lists many interesting but unpublished and seldom heard early works, which are not mentioned above: stage works, symphonic poems, a symphony, a Song of the Night for violin and orchestra, etc. etc.]   

[214) Joseph Alan Taffs]

Eleven composers with names beginning with "T":

214) Joseph Alan Taffs, student of the R.C.M.
   b. Islington.
   e. at the Stationers' Company's School, Hornsey.
   Studied composition under Sir Charles Stanford at the R.C.M., where he won the Arthur Sullivan Memorial Prize for Composition and (1912) the Mendelssohn Scholarship at the age of twenty.
   [No details of his compositions are provided, and he is not in Grove's Dictionary.]

215) Howard Talbot (Munkittrick), composer and conductor.
   b. New York, 1865.
   Father: Alexander Munkittrick.
   e. London; was for some time a medical student at King's College.
   His first opera, "Wapping Old Stairs," was produced at the Vaudeville Theatre, February, 1894; his subsequent works include "Monte Carlo," 1896; "A Chinese Honeymoon," 1899; "Kitty Grey" (part composer), 1901; "Three Little Maids" (part composer with Paul Rubens), 1902; "The Blue Moon" (part composer with Paul Rubens), 1905; "The White Chrysanthemum," 1905; "The Girl Behind the Counter," 1906; "The Three Kisses," 1907; "The Arcadians" (with Lionel Monckton), 1909; and "The Mousmé" (with Lionel Monckton), 1911.

216) Hope Temple (Madame Messager), song writer.
   b. and e. in Ireland.
   Began composing at fourteen, and has published many popular songs: "An Old Garden," "My Lady's Bower," "In Sweet September," "Auf Wiedersehen," "Rory Darlin'".
   [Grove's Dictionary provides a relatively long article. We learn that "Hope Temple" was a pseudonym, her original name being Alice Maud Davies, and that her operetta "The Wooden Spoon" was performed in London in 1892 and 1893.]

217) Frank Lewis Thomas, pianist, organist, composer, and teacher of singing.
   Father: the well-known bass singer, Lewis Thomas.
   b. London in 1857.
   He has composed a large number of songs, pianoforte pieces, also anthems and church music generally.
   [Not in Grove's Dictionary.]

218) John Thomas, harpist.
   b. Bridgend, Glamorganshire, 1826.
   Has composed a great deal of harp music; he is known in Wales as Pencerdd Gwalia (Chief of the Welsh Minstrels).
   [Grove's Dictionary tells us that "in 1852 he performed his harp concerto in E flat at a Philharmonic concert - the only work by a Welsh composer to be presented by the Philharmonic Society during the first hundred years of its existence." He also published "The Musical Notation of the Ancient Britons" (in Myvyrian Archaiology, Denbigh, 2/1870), and died in 1913, the year in which this Who's Who came out.]

219) Dr. R. Vaughan Thomas, composer.
   b. Wales.
   As a young man he worked as a miner; won several scholarships, and eventually won his way to Oxford University, where he took his M.A. and Mus.Doc.
   His compositions are numerous, perhaps his best known being a setting of Gray's Pindaric Ode, "The Bard," produced at Cardiff Festival, and afterwards performed by the London Choral Society at Queen's Hall.
   [Not in Grove's Dictionary.]

220) Vincent Thomas, composer and conductor.
   b. Wrexham, 1872.
   Father: William Thomas.
   e. at Grove Park and Rydal Mount.
   Principal compositions: "Eos and Gwevril" (opera), 1902; "Gwenevere" (opera), 1905; "Enid" (opera), 1908; "Quest of the Grail" (masque), 1908; new opera, "Dagonet," not yet produced; has composed numerous songs and orchestral works, etc.
   Mr. Thomas is an official of the London, County and Westminster Bank, and in 1895 formed an orchestra from members of the staff; he has conducted them ever since.
   [Not in Grove's Dictionary.]

221) Dr. E. H. Thorne, organist, pianist, and composer.
   b. Cranbourne, Dorset, 1834.
   Father: Edward Thorne, musician.
   e. at Windsor.
   Is a composer of a large quantity of orchestral, chamber, church, organ, and pianoforte music, including Cavatina for violin and piano, and Romance for 'cello and piano; he is held in very high esteem both as organist and a writer for the organ.
   [Not in Grove's Dictionary.]

222) Dora Thorpe, soprano.
   b. Tottenham.
   Father: Mr. R. Cureton-Thorpe.
   e. privately.
   Is the originator of the "Corona Septette" of ladies who were engaged to play at the Guildhall on the occasion of the Colonial Premiers' visit.
   Miss Thorpe is principally known in an unusual branch of her art - singing to her own 'cello obbligato.
   [Not in Grove's Dictionary.]

223) Sir F. Paolo Tosti, K.C.V.O.
   b. Ortona al Mare, in the Abbruzzi, 1847, but now a naturalised Englishman.
   Commenced his musical studies at the Conservatoire at Naples.
   His first songs, "Non m'Ama Piu" and "Lamento d'Amore," were refused by three Italian publishers, but eventually became his most popular works in Italy.
   In 1876 he came to London, and almost immediately caught the public taste with his song "For Ever and For Ever"; among his most popular compositions in this country are "Good-bye," "Beauties' Eyes," "Venetian Boat Song," "Ask Me No More," and "My Heart's Delight."
   Signor Tosti was a great favourite of the late Queen Victoria, and was frequently commanded to sing and play to Her Majesty.
   [Knighted in 1908.]

224) Frank E. Tours, composer and conductor.
   b. London, 1877.
   Father: the late Mr. Berthold Tours, a well-known Church musician.
   e. privately.
   His compositions include comic opera, "Melmotte" (produced London, 1901); "The Dairymaids," with Mr. Paul Rubens; "The Hoyden," with Mr. Paul Rubens. Part composer of "The Little Cherub," "See-See," and "The New Aladdin"; has written several songs, the most popular being "Mother o' Mine," "Red Rose," "A Meeting," "A Rose Romance," "Beyond the Sunset," "A Year Ago," etc., and "The Dashing Little Duke" (light opera).
   [Not in Grove's Dictionary.]

[189) George Saint-George]

Twenty-five people bearing names beginning with "S":

189) George Saint-George, violinist and composer.
   b. Leipzig, of English parents.
   As a composer is best known by his large contribution to violin literature; several effective organ works by him are issued by Schott, Lemoine (Paris), and others; his orchestral Suite, opus 20, and Overture, "Le Reveil du Printemps," were produced by the late Sir August Manns at the Crystal Palace.
   Principal recreation: Lutherie. Has made twelve violins, two violas, one 'cello, six viola d'Amore, and four viola da Gamba; a Welsh "Crwth" for the Cardiff Museum, upon which he gave a recital to the Honourable Society Cymmrodorion, being the first performer on that instrument since 1801. His latest achievement is an Elizabethan lute. These reproductions of antique instruments are considered by experts to be unequalled examples of Luthier's art.
   [Not in Grove's Dictionary.]

190) Henry Saint-George, violinist and author.
   b. London, 1866.
   Father: George Saint-George, the well-known violinist and composer.
   e. privately.
   Has introduced to the British public three unknown works by Bach - including a symphonic movement for violin, a concerto for two violas, and a Trauer Ode for contralto with two gambe obligati.
   His publications include "The Bow: Its History, Manufacture, and Use," and "The Place of Science in Music," and compositions for piano, violin, etc.
   [Not in Grove's Dictionary.]

191) Harold Samuel, pianist and composer.
   b. London, 1879.
   Son of: Moses Samuel and his wife Victoria Mallan.
   e. privately.
   His principal compositions include songs for "As You Like It" (H.M. Theatre, 1907), Musical Comedy "Hon'ble Phil" (Hicks Theatre, 1908), various short operettas, sketches, and songs as well as instrumental works.
   [Grove's: "The whole course of his concert career was changed when he gave a week of daily Bach recitals in London in 1921. This series marked the beginning of a widespread demand for Bach's keyboard music in its original form rather than in the then popular 19th-century arrangements. He memorized all Bach's keyboard music, which he presented with 'extraordinary clarity, sobriety, and sense of shape.'"]

192) Wilfrid Ernest Sanderson, composer, organist, conductor, and teacher.
   b. Ipswich, 1878.
   Father: Rev. Thomas Sanderson
   e. at St. Dunstan's College, Catford, and City of London School.
   He has composed a large number of pianoforte and organ solos published by Gould & Co., and is well known to London concert audiences as the composer of numerous and successful songs, upwards of forty in number, published by Boosey & Co., Chappell & Co., Keith Prowse & Co., and Leonard & Co.
   [Grove's: "His songs became popular and are still performed; 'Until' sold one million copies."]

193) Sir Charles Santley, baritone and teacher of singing.
   b. Liverpool, 1834.
   Father: William Santley.
   He became a member of the Roman Catholic Church in 1880, and has composed a Mass and other church music, besides many orchestral works.
   In 1892 he published "Student and Singer"; he was knighted in 1907.
   [Grove's Dictionary provides no information about his orchestral works, but notes that he composed several songs under the pseudonym "Ralph Betterton."]

194) Emile Sauret, violinist and composer.
   b. Dun-le-Roi (France), 1852.
   Was for about twelve years professor at the R.A.M. in London, also for a short time at the G.S.M.
   Mons. Sauret is a prolific composer for the violin, having enriched the literature of his instrument by many well-known works, amongst which should be specially mentioned several violin Concertos and a great number of well-known "Etudes" for the violin, and his "Gradus ad Parnassum," a standard work.
   Address: 39 Sandringham Court, Maida Vale, W.

195) Adolph Schmid, musical director.
   b. Hannsdorf, Moravia, Austria.
   Father: Adolph Schmid, musician.
   e. at the Conservatoire of Music, Vienna.
   Was for some time a 'cellist, playing under the direction of such celebrated composers and conductors as Tschaikovsky, Brahms, Richard Strauss, Saint-Saëns, Massenet, Grieg, Mascagni, Leoncavallo, Puccini, Sir Edward Elgar, Dr. F. A. Cowen, Dr. Richter, Mottl, Nikisch, Weingartner, Mancinelli, etc.
   Has been for the last ten years musical director at His Majesty's Theatre.
   Composer of a ballet ("The May Queen"), incidental music to "Oliver Twist" and "Colonel Newcome," overture and incidental music to "The Winter's Tale," also many songs, dances, etc.
   Address: 40 Belsize Road, Swiss Cottage, N.W.
   [Not in Grove's Dictionary; but there is one "Adolph Schmid (1801 to 1886)," entered under the alternative name "Adolf Müller"; and a son of that Adolf Müller was another Adolf Müller, who lived from 1939 to 1901, and wrote the operetta Wiener Blut.]

196) Cyril Scott, composer.
   b. Oxton, Cheshire, 1879.
   Father: Henry Scott, a well-known Greek scholar.
   e. at Frankfort-on-Maine.
   His first symphony was performed at Darmstadt; other works by him have been played under the bâtons of Dr. Richter, Sir Henry J. Wood, and other leading conductors; he gives a limited number of lessons in the pianoforte, composition, harmony, etc.
   Recreations: Poetry, philosophy, and Indian mysticism.

197) Sir Alfred Scott Scott-Gatty, K.C.V.O., F.S.A., Garter King-of-Arms, Knight of Justice and Genealogist of the Order of St. John of Jerusalem, composer and writer.
   b. Ecclesfield, Yorks, 1847.
   Father: the Rev. Alfred Gatty, D.D., Vicar of Ecclesfield, Sub-Dean of York Cathedral.
   Mother: Margaret, daughter and heiress of the Rev. Alexander John Scott, D.D., sometime Private Secretary to Horatio, Viscount Nelson.
   Assumed by Royal License the additional surname and arms of Scott, 1892.
   e. at Marlborough and Christ's College, Cambridge.
   Showed a love of music from a very early age, his first compositions being published in a magazine edited by his mother, entitled "Aunt Judy's Magazine," and afterwards republished under the title "Little Songs for Little Voices," in three volumes; he has also written several musical plays for children and a collection of Plantation Songs which acquired great popularity, and which were the precursors of the "coon" songs of the present day. A few years ago he was one of the most popular drawing-room song writers of the day, such songs as "True till Death," "O Fair Dove, O Fond Dove," "One Morning, O so Early," and "The Open Window," having an immense vogue.
   [Not in Grove's Dictionary.]

198) William Shakespeare, tenor, composer, and teacher.
   b. Croydon, 1849.
   His chief compositions are a Dramatic Overture (1874), a Pianoforte Concerto, played at the Brighton Festival in 1879, also a Symphony, overtures, and string quartets in manuscript, together with several songs and pianoforte pieces.
   [Not in Grove's Dictionary.]

199) Herbert Sharpe, composer and pianoforte teacher at R.C.M.
   b. Halifax, Yorkshire, 1861.
   Father: a Yorkshire merchant.
   e. at National Training School (afterwards the R.C.M.), where he held the Halifax Scholarship.
   Principal compositions: Three part-songs (Op. 54), Suite for flute and piano (Op. 62), etc.; Idylle (Op. 38), piano duets (Op. 24 and 59), Variations for two pianos (Op. 46), Suite for piano (Op. 58), Six English Fantasies (Op. 71), Fantasie-Romance for piano, "We Two" (Op. 73), Preludes for piano (Op. 74), Six Two-part songs (Op. 63), and Legende for Violin (Op. 26).
   [Not in Grove's Dictionary.]

200) Achille Simonetti, violinist and composer.
   He has appeared at a large number of leading concerts in London and on the continent both as a soloist and in association with Madam Amina Goodwin and Mr. W. E. Whitehouse, for nearly fifteen years in the "London Trio" (established in 1889), and these three artists have for many years given an annual series of subscription concerts at the Æolian Hall.
   His compositions include a large number of pieces for the violin, besides two string quartettes [sic] and two sonatas for pianoforte and violin.
   [Grove: "His graceful salon pieces for the violin are no longer in print, though one of them, Madrigale, achieved worldwide popularity; . . . the second of his string quartets is described by Cobbett as 'a delightful work in lyric vein.'"]

201) H. Leslie Smith, accompanist, organist, conductor, and teacher.
   b. London, 1870.
   Father: Charles Henry Smith.
   e. at the Whitgift School, Croydon.
   Has composed a quantity of Church music and numerous songs and orchestral works.
   Is a keen Freemason.
   [Not in Grove's Dictionary.]

202) Dr. Ethel Smyth, composer.
   Father: General J. H. Smyth, C.B., of Primhurst, late of the Royal Artillery.
   She first came into notice as a composer with a quintet for strings, performed at Leipzig early in 1884; then came a Sonata in A minor (Opus 7), for piano and violin, 1887; in 1890 two of her compositions were performed at the Crystal Palace: a Serenade in D for orchestra and an overture, "Anthony and Cleopatra"; a Solemn Mass in D was performed by the Royal Choral Society at the Albert Hall in 1893; she has also written a quantity of chamber music and three operas; one, "Der Wald," was originally produced at Berlin, and subsequently at various theatres in Germany, also at the Royal Opera, Covent Garden, in 1903, where her later opera, "The Wreckers," has also been heard; under its German name of "Standrecht," it was first played in 1906 at Leipzig and Prague. She has written several choruses with orchestral accompaniment, purely orchestral works (notably overture to "The Wreckers" and "On the Cliffs of Cornwall"), Songs to Chamber Music and Orchestral Songs (also arranged to pianoforte accompaniment) and Organ Preludes; a new string quartette [sic] is now (January, 1913) in the press.
   [She was made DBE in 1922.]

203) Carlos Sobrino, pianist.
   b. Pontevedra, Galicia, Spain, 1861.
   Father: Luis Maria Sobrino, Director and Professor of Philosophy at Government Institute, Pontevedra.
   Since 1898 has been established in London, touring occasionally, and teaching at the G.S.M., where he is professor of pianoforte.
   He has composed and published numerous works for the piano.
   [Not in Grove's Dictionary.]

204) Lord Henry Richard Charles Somerset, composer.
   Second son of the eighth Duke of Beaufort.
   b. 1849.
   He was M.P. for Monmouthshire, 1871-80, and Comptroller of Her Majesty's Household, 1874-9; is a Privy Councillor [sic].
   He has composed and published numerous songs, among them "Across the Sea," "All through the Night," "Along the Sands," "Dawn," "Far Away," "First Spring Day," "A Birthday," "Love's Flight," "Once More," "Song of Night," "Song of Sleep," "Where'er You Go," "Echo," etc.
   [Not in Grove's Dictionary.]

205) Arthur Somervell, composer.
   b. Windermere, 1863.
   e. at Uppingham School and King's College, Cambridge.
   His compositions include a Mass in C, for soli, chorus, and orchestra, first performed by Bach Choir, 1891; "A Song of Praise," Kendal Exhibition, 1891; orchestral ballad, "Helen of Kirkconnel," Philharmonic Society, 1892; "The Forsaken Merman," Leeds Festival, 1895; "The Power of Sound," Kendal Festival, 1895; "Elegy," alto solo, chorus, and orchestra, Hovingham Festival, 1896; "Charge of the Light Brigade," chorus and orchestra; "Ode to the Sea," soprano solo, chorus, and orchestra, Birmingham Festival, 1897; "Ode on the Intimations of Immortality," Leeds Festival, 1907; "Symphonic Variations," Oxford, 1912; "Symphony in D minor," London, 1913; and a large number of song albums, piano pieces and sketches, also "Ten Minutes' Technique."
   [Knighted in 1929. Grove: "Somervell did pioneer work of great value in helping to establish music as a recognized school subject at all levels."]

206) Joseph Speaight, composer, pianist, violinist, and organist.
   b. London, 1868.
   Father a professional violinist.
   Principal compositions: Symphony No. 1 (1893-4), No. 2 (1897), Tone-poem (1904), Concerto, piano, and orchestra (1891), and sundry quintets and quartets.
   [Not in Grove's Dictionary.]

207) W. H. Squire, 'cellist and composer.
   b. Ross, Hereford, 1871.
   Father: John Squire, banker.
   e. at Kingsbridge Grammar School.
   [No specific information provided there about his compositions. But according to Grove's, he lived until 1963, and "among his compositions are a cello concerto, much light music and two operettas."]

208) Sir Charles Villiers Stanford, composer and conductor.
   b. Dublin, 1852.
   Father: the late John Stanford, Esq., Examiner to the Irish Court of Chancery.
   e. privately.
   He first came into prominence as a composer when he was chosen by Tennyson to write the music to "Queen Mary" for the Lyceum Theatre in 1875.
   His published and produced works are exceedingly numerous; they include seven operas, several symphonies, concertos for pianoforte, violin and clarionet [sic], oratorios, several choral ballads and cantatas, many quintets, quartets and other chamber music, church music, vocal quartets, songs, pianoforte and organ music. His first opera, "The Veiled Prophet of Khorassan," was produced at Hanover in 1881, "Savonarola" at Hamburg in 1884, and "The Canterbury Pilgrims" at Drury Lane (by Carl Rosa) in 1884. "Shamus O'Brien" was performed at the Opéra Comique, London, in 1896; "Much Ado About Nothing" at Covent Garden in 1901, and at Leipzig in 1902. His Irish Symphony was first performed under Richter in 1887; his choral ballads, "The Revenge" (Leeds Festival, 1886), "The Voyage of Maeldune" (Leeds, 1889), "Phaudrig Crohoore" (Norwich, 1896), "The Battle of the Baltic," and "Last Post" (Hereford, 1891 and 1900), are well known both in England, and the Colonies; his "Requiem," written in memory of Leighton, was first given at the Birmingham Festival of 1897; a "Te Deum" for Queen Victoria's Diamond Jubilee was first given at the Leeds Festival, 1898; the "Songs of the Sea" at Leeds in 1904; the "Stabat Mater" in 1907, and "Songs of the Fleet" in 1910; his music to Tennyson's "Becket" was given by Irving at the Lyceum in 1893; he composed the music for two of the Greek Plays at Cambridge, the Eumenides and Œdipus Rex; his oratorios, "The Three Holy Children," and "Eden," were produced at the Birmingham Festivals of 1885 and 1891; he has devoted special attention to the Folk music of Ireland, arranging 130 airs from the Petrie Collection, and restoring and re-arranging the Irish melodies of Thomas Moore, besides editing the complete collection of Petrie's manuscripts; his two Irish Rhapsodies for orchestra (first given at Norwich and at Amsterdam respectively) are founded on some of these airs.
   He was knighted in 1902.

209) Reginald Steggall, composer and organist.
   b. London, 1867.
   Father: the late Charles Steggall, Doctor of Music, the well-known teacher and church composer.
   e. at Westminster School.
   He has composed several important works for the orchestra, some of which were produced at the Crystal Palace by the late Sir August Manns in 1896 and 1899; others were produced at the Queen's Hall under Sir Henry J. Wood, and most of his orchestral compositions have been played at Bournemouth, under Dan Godfrey, and at Leeds, under Mr. Fricker, and several times in Germany; in 1911 his Concertstück for organ and orchestra was played in Paris; he has also composed much church, organ, and piano music, which has been published by Breitkopf & Haertel, Schott, Novello & Co., and Vincent, and Houghton. His compositions include two Symphonies, two Orchestral Suites, two Dramatic Scenas for contralto and orchestra. Variations on an Original Theme for Orchestra, Concerto for organ and orchestra. Suite for organ. Fantasia for organ, three sets of pianoforte pieces, a Quintette [sic] for Woodwind and Horn, and about twenty songs, etc.
   [Grove's Dictionary merely mentions his name in a line at the end of the entry for his father. It acknowledges none of the many compositions listed here.]

210) Paul Stoeving, violinist and writer.
   b. Leipzig, 1861.
   In 1896 came to London, where he elected to remain.
   He has a number of violin compositions to his credit, which have been published by Siegel, of Leipzig.
   The well-known sculptor, Professor Curt Stoeving, of Berlin, is his brother.
   [Not in Grove's Dictionary.]

211) Leslie Stuart (Thomas A. Barrett), composer.
   b. Southport, 1866.
   First sprang into prominence as a composer of several songs for the late Signor Foli, notably "Rip Van Winkle," "The Bandolero," etc.; came to London permanently in 1895, and wrote "Louisiana Lou" etc.; established a firm reputation with the song, "Soldiers of the Queen," in 1895-6; subsequently composed a number of popular "coon" songs for Eugene Stratton, notably "Little Dolly Day-dream" ; is the composer of the following musical plays: "Florodora," 1899; "The Silver Slipper," 1901; "The School Girl," 1903; "The Belle of Mayfair," 1906; "Havana," 1908; "Captain Kidd," 1910; "The Slim Princess," 1910; "Peggy," 1911.

212) Percy Such, violoncellist.
   b. London, 1878.
   Mr. Such has composed and arranged several books of Studies, etc., for the 'cello.
   [Not in Grove's Dictionary.]

213) Joseph Summers, organist, composer and teacher.
   b. Somerset, 1843.
   Went to Australia in 1865. He is at present resident in Perth, Western Australia.
   [No information about his compositions is provided. Not in Grove's Dictionary.]

[181) Helen, Countess of Radnor]

The eight British people whose names begin with "R" and who in 1913 were described as composers:

181) Helen, Countess of Radnor, amateur musician; well known in that capacity under her former title of Viscountess Folkestone. Fifteen annual concerts were given by her Ladies' String Band and Chorus, which she conducted at the old St. James's Hall and elsewhere, for
various charities.
   Lady Radnor has published several songs and is the Editor of "An Order of Service for Children," Carol Service, etc., etc., published by Novello.
   [Not in Grove's Dictionary.]

182) William Henry Reed, conductor, violinist, and teacher.
   b. Frome, 1877.
   Father: Francis John Reed.
   e. privately.
   His principal compositions include "Suite Venitienne [sic]," "Valse Brillante," "Among the Mountains of Cambria" (produced by Sir Henry Wood at Queen's Hall Promenade Concerts), scenes from the ballet "Caliban" (produced at Gloucester Festival), variations for string orchestra (produced at Worcester Festival and by the London Symphony Orchestra at Queen's Hall); also chamber music, songs, violin, and piano music.
   [Grove: "A close friend of Elgar, he took part in the first performance of the latter's Violin Sonata, String Quartet and Piano Quintet, and wrote two books on the composer, the first of which ('Elgar as I Knew Him') includes Elgar's sketches for his unfinished third symphony with Reed's commentary on them, based on first-hand discussions with Elgar."]

183) Percy Rodney Rideout, composer and organist.
   b. in London in 1868.
   An early orchestral work was produced by Mr. Henschel at St. James's Hall, and his compositions include a pianoforte concerto, a violin sonata, several orchestral scenas, together with songs and pianoforte pieces, etc.
   [Not in Grove's Dictionary.]

184) Roland Rogers, organist and composer.
   e. privately.
   Is the composer of a cantata, "The Garden," "Prayer and Praise" (a choral and orchestral work), and a quantity of Church music and some very popular part-songs.
   [Not in Grove's Dictionary.]

185) Bernard Rolt, composer.
   b. London, 1872.
   Father: the Rev. Henry George Rolt, Church of England clergyman.
   e. at Winchester College, and for the army.
   Has composed a number of songs, and has frequently accompanied his own compositions at the Ballad and other leading concerts. Has composed the music of a comic opera, "Mr. Flame," libretto by Charles Haddon Chambers.
   [Not in Grove's Dictionary.]

186) Landon Ronald, composer, conductor and pianist.
   b. London, 1873.
   e. at St. Marylebone and All Souls' Grammar School and Margate College.
   In 1895-6, at the age of only twenty-one, he conducted grand opera at Covent Garden and Drury Lane.
   He has composed nearly 200 songs, including additional numbers to "Little Miss Nobody," "L'Amour Mouillé," "Florodora" and "The Silver Slipper"; several orchestral pieces, among them a Suite de Ballet and Symphonic Poem; the music of the Coronation Ballet, "Britannia's Realm" and the "Entente Cordiale" Ballet, both produced at the Alhambra Theatre, etc., etc.
   [Grove: "Illegitimate son of Henry Russell and Hannah de Lara." Knighted in 1922.]

187) Algernon Sidney Rose, littérateur and critic. Fellow of the Philharmonic Society.
   e. at Broadstairs, Kent, and afterwards in Stuttgart and Yverdon, Switzerland.
   His musical compositions include waltzes, marches, minuet, etc..
   And his literary publications are as follows: "Talks with Bandsmen," "A Handbook for Wind Instrumentalists," "Greater Britain Musically Considered," "Blue-book on Pitch," "Information Concerning Pianos," "On Choosing a Piano," and "Dances of the Olden Times"; also part author of the musical novel "A 439, or the Autobiography of a Piano."
   [Not in Grove's Dictionary.]

188) Paul A. Rubens, librettist and composer.
   b. 1876.
   e. Winchester, and at Oxford University.
   Contributed some songs to "Florodora" at Lyric, 1899; wrote part of the lyrics and composed the score of "Great Cæsar," 1900; composed various numbers for "A Country Girl," 1902; "The Cingalee," 1904; "The Blue Moon," 1905; "The Dairymaids," 1906; author of "Young Mr. Yarde," 1900; sole author and principal composer of "Three Little Maids," 1902, and "Mr. Popple (of Ippleton)," 1905; part author and sole composer of "Lady Madcap," 1904; "Miss Hook of Holland," 1907, and "My Mimosa Maid," 1908; sole author and composer of "Dear Little Denmark," 1909; furnished part lyrics and whole of the music of "The Balkan Princess," 1910; part author, with Harold Whitaker, of the farce, "Lovely Woman," 1910.
   [Grove's Dictionary gives his year of birth as 1875, at Bayswater, London. "By the age of ten he had written the music to a comic opera with text by Nigel Playfair. . . . His later music combines a real vein of tenderness with a flair for dramatic situations."]

[166) Norman O'Neill]

One composer listed under "O"; followed by thirteen "P's" and one "Q":

166) Norman O'Neill, composer.
   b. Kensington, 1875.
   Father: G. B. O'Neill.
   His principal compositions include: Orchestral works - Overture, "In Autumn" (Op. 8); overture, "Hamlet" (Op. 11); overture, "In Spring-time" (Op. 21); Miniatures, suite for small orchestra (Op. 14); Danish Dance (dirge), from Incidental Music to "Hamlet" (Op. 13); "Death on the Hills," ballad for contralto and orchestra (Op. 12); "Waldemar," fantasy for soli, chorus, and orchestra (Op. 19); Overture, "Entr'actes," and Incidental Music to the play "A Lonely Queen" (Op. 22); Prelude and Intermezzo to the play "A Tragedy of Truth" (Op. 23); Miniatures, six pieces for full orchestra (Op. 25); Overture, "Entr'actes," and Incidental Music to the play, "The Last Heir" (Stephen Phillips), (Op. 28); Variations for orchestra (Op. 29); a Scotch Rhapsody (Op. 30); "La belle dame sans merci," ballad for baritone and orchestra (Op. 31); Overture and Incidental Music to "King Lear" (Op. 34); Overture, dances and complete music to "The Blue Bird" (Op. 37); music to "The Gods of the Mountain" (Op. 41); four Dances from "The Blue Bird," for full or small orchestra; music to "The Golden Doom"; music to "The Pretenders." Chamber music: Variations for piano, violin, and 'cello (Op. 1); Quintet for piano, two violins, viola, and 'cello (Op. 10); Trio for piano, violin, and 'cello (Op. 7); Trio in one movement for violin, 'cello, and piano (Op. 26). Mr. O'Neill has also composed numerous violin and pianoforte pieces and a large number of songs.
   [A close friend of Delius.]

167) Clement Charlton Palmer, organist and composer.
   e. at Derby School of Music.
   Dr. Palmer is the composer of choral, orchestral, and organ music.
   [Not in Grove's Dictionary.]

168) Henry Parker, composer and teacher of singing.
   b. 1842.
   e. privately, and as a chorister at All Saints', Margaret Street, Cavendish Square.
   Is the composer of a romantic opera, "Mignonette," produced at the Royalty Theatre, May, 1889, and a comic opera, "Kitty," produced at the Opera House, Cheltenham, Aug., 1897; has also composed over 500 orchestral pieces, songs, duets, part-songs, piano solos, etc.
   [Not in Grove's Dictionary.]

169) Sir Walter Parratt, organist and composer.
   b. Huddersfield, 1841.
   Father: Thomas Parratt, organist of Doncaster Parish Church.
   e. at the Collegiate School, Huddersfield, and privately.
   At the age of seven took a service at Armitage Bridge, near Huddersfield, in place of his elder brother. In 1892 he received the honour of knighthood, and in 1893 was appointed Master of the Music in Ordinary to the Queen, and on the accession of King Edward was appointed Master of the Music to His Majesty, and is now Master of the Music to His Majesty King George.
   He composed the music for the production of "Agamemnon" at Oxford, 1880; set the "Elegy of Patroclus" for the production of "The Tale of Troy," London, 1883; music to "The Story of Orestes," London, 1886; and has also composed many anthems, songs, and organ pieces, as well as odes and marches on the occasion of Royal weddings and other State occasions.
   He is Professor of Music at the University of Oxford.

170) Sir Charles Hubert Hastings Parry, first Bart. (cr. 1902; knighted 1898), composer and author.
   b. Bournemouth 1848.
   Father: the late T. Gambler Parry, of Highnam Court, Gloucester.
   e. Went to Eton in 1861, and proceeded to Oxford in 1866.
   His earliest composition of importance was a Church Service in D, composed when he was at Eton. In 1868 an orchestral intermezzo from his pen was performed at the Gloucester Musical Festival. His "Prometheus Unbound" was also first performed at the Gloucester Festival in 1880, and since then he has produced more works at the provincial festivals than any other composer. Among his best-known compositions are the noble choral ode, "Blest Pair of Syrens"; "L'Allegro and Il Penseroso"; the oratorios, "Judith," "Job," and "Saul"; and he has written a large quantity of orchestral and chamber music.
   His literary works include "Studies of Great Composers," 1886; "The Art of Music," enlarged as "The Evolution of the Art of Music," 1896; "Summary of Musical History" (Primer), 1893; "Music of the Seventeenth Century," "Life of J. S. Bach," and "Style in Musical Art," etc., and he has contributed many elaborate articles to Grove's "Dictionary of Music."

171) James Partridge, organist and composer.
   b. Stafford, 1850.
   e. with the view of becoming a schoolmaster at Saltley College, Birmingham.
   Mr. Partridge had become warmly attached to Brinley Richards while acting as his assistant and deputy for several years, and upon his death in 1885 was appointed as his successor at the G.S.M., a position he still holds. For many years Mr. Partridge held the office of "reader" at Ashdown's, the publishing firm, an experience which fairly entitles him to be considered an expert in matters relating to "proof" work.
   Mr. Partridge is the composer of numerous songs and some church music. At the request of Mr. S. Cocks, he edited two volumes of Brinley Richards' compositions.
   Hobbies: Omnivorous reading, boxing, and fencing.
   [James Partridge is not in Grove's Dictionary, but the pianist and prolific composer Brinley Richards (1817 to 1885), also known as "Carl Luini," is. He was said to be the finest pianist in Britain in the mid-19th century.]

172) Charles W. Pearce, organist, composer, and writer.
   b. Salisbury, Wilts, 1856.
   Father: Mr. William Charles Pearce, parish clerk of St. Martin's, Salisbury.
   e. at St. Martin's School.
   Dr. Pearce is an ardent Freemason, and has been W.M. of the Incorporated Society of Musicians Lodge, No. 2881.
   [No information about his compositions is provided. Not in Grove's Dictionary.]

173) H. G. Pélissier, composer and entertainer.
   b. Finchley, 1874.
   Of French origin on his father's side, his mother being English; a descendant of the famous Marshal Pelissier.
   Father: a diamond merchant.
   e. at Folkestone, Highgate, and Scarborough.
   He studied music somewhat promiscuously but to such good purpose that he commenced to write songs, some of which have acquired considerable popularity on the concert platform and the stage.
   [Not in Grove's Dictionary.]

174) Alfred Phillips, composer and publisher.
   b. 1844; of Welsh descent.
   Writer also, under noms de plume of "Sarakowski," for pianoforte compositions, and "Leigh Kingsmill" for songs.
   Mr. Phillips has written a great many lyrics for musical setting; and has also written and composed a number of Sunday school anniversary hymns. A tune of his, "Rose-hill" ("Lord in this Thy mercy's day"), will be found in Sullivan's "Church Hymns."
   [Not in Grove's Dictionary.]

175) Montague Fawcett Phillips, composer and organist.
   b. London, 1885.
   Father: Richard L. Phillips.
   His principal compositions include "Symphonic Scherzo"; overture, "Boadicea" (London Symphony Orchestra, conducted by composer, 10 Feb., 1913), Piano Concerto in F sharp minor (played by Miss Irene Scharrer), string quartet in D major, "Fidelity" (song with orchestra, Promenade Concert, 1908, sung by Miss Butterworth), Phantasy for violin and orchestra (1912), Symphony in C minor (produced at the composer's Orchestral Concert, Queen's Hall, 17 May, 1912), about fifty songs, numerous part songs, piano and organ pieces.
   [Montague Phillips lived until 1969, but his wife, the soprano Clara Butterworth, lived from 1888 to 1997, a remarkable span of one hundred and nine years.]

176) Percy Pitt, conductor and composer.
   b. London, 1870.
   Among Mr. Percy Pitt's numerous compositions are the following: An Orchestral Suite in four movements (1895); a suite, "Fêtes Galantes" (1896); a Coronation March (1897); a Clarinet Concertino; overture, "Taming of the Shrew"; and a choral ballad, "Hohenlinden," for male voices and orchestra (1898); a Ballade for violin and orchestra; a symphonic poem, "Le Sang des Crépuscules"; and "Cinderella," a musical fairy-tale (1899); suite de ballet, "Dance Rhythms," and the incidental music to Mr. Stephen Phillips's play, "Paolo and Francesca" (1901); incidental music to "Richard the Second" and "Flodden Field," for Mr. Tree's performances at His Majesty's Theatre (1903); two series of vocal poems with orchestral accompaniment, one for baritone (Philharmonic Society, 1903), the other for mezzo-soprano (Queen's Hall Symphony Concerts, 1904), "La Serenade" (for small orchestra); and the Symphony composed for the Birmingham Musical Festival of 1906. This does not, however, exhaust the catalogue of Mr. Pitt's creative output, as there must also be placed to the credit of his account a ballet, two cantatas, part-songs, chamber-music, pianoforte pieces, studies, and songs.

177) Mme. Poldowski (Lady Dean Paul), composer.
   Father: Henri Wieniawski, the famous Polish violinist and composer.
   Among her compositions are "A Miniature Suite," 1912, and a violin and piano Sonata played for the first time at a concert of her works on 4th July, 1912, at the Æolian Hall, also a large number of songs. Mme. Poldowski is at present at work on a two-act opera, the libretto being by M. Maeterlinck.
   [She married Sir Aubrey Dean Paul in 1901 and later became a naturalized British citizen.]

178) William Prendergast, organist and composer.
   e. at Winchester Cathedral and privately.
   Dr. Prendergast is the composer of a considerable quantity of church music, songs, etc.
   [Not in Grove's Dictionary.]

179) Louis Beethoven Prout, professor of harmony and composition.
   b. Hackney, 1864.
   Father: the late Ebenezer Prout.
   In 1891 he lectured before the Musical Association on "A Neglected Aspect of Harmony," and has since published numerous articles and books on harmony and other branches of musical theory, besides lecturing on kindred subjects, his principal and, perhaps, best known work being "Harmonic Analysis," published in 1894.
   His musical compositions include a number of songs and a setting of the 93rd Psalm.
   Hobby: Entomology.
   [Not in Grove's Dictionary.]

180) Roger Quilter, composer.
   b. Brighton, 1877.
   Father: Sir Cuthbert Quilter.
   e. at Eton College.
   Principal compositions: Song cycle "To Julia," brought out by Mr. Gervase Elwes in 1905; "Serenade" (for small orchestra), played at Queen's Hall Promenade Concert on 27 August, 1907; "Seven Elizabethan Lyrics," brought out by Mr. Gervase Elwes in 1908; "Three English Dances" (for orchestra), produced at the Queen's Hall Promenade Concert, 30 June, 1910; Music to Children's Fairy Play "Where the Rainbow ends" (Savoy Theatre, 21 December, 1911); Suite for orchestra "Where the Rainbow ends," played at Queen's Hall Promenade Concert, 26 September, 1912.
   [Grove's Dictionary marks the Serenade "unpublished."]   

Both were hypersensitive to criticism (but quick enough to dish it out), frequently tactless, stubborn and, in Stanford's case especially, quarrelsome. . . .

Vaguely seeking something to shed more light on this subject, I did find some snippets that may be of interest:

1) Fuller Maitland - Music in the XIXth Century (1902):

". . . it may be said in passing that Stanford's various articles in warm commendation of works by his contemporaries, such as 'The Golden Legend' (National Review, Nov. 1886), 'Judith' (Fortnightly Review, Oct. 1888), and 'Falstaff' (Fortnightly Review, April 1893), are a lasting monument to his critical insight, as well as to his complete lack of that professional jealousy which has spoilt the nature of too many English musicians."

2) Sydney Grew - Our Favourite Musicians (1922 - chapter on Elgar):

"He [Elgar] has a biting tongue when necessary, and does not wrap honey round the sting. . . . This, however, is not to imply that Elgar is unkind."