# A Dictionary of Music and Musicians/Sacred Harmonic Society

From volume 3 of the work.
​SACRED HARMONIC SOCIETY. This Society was originated by Thomas Brewer, Joseph Hart, W. Jeffreys, Joseph Surman, and Cockerell, who first met, with a view to its establishment, on Aug. 21, 1832. Its practical operations did not however commence until Nov. 20 following. Its first meetings were held in the chapel in Gate Street, Lincoln's Inn Fields, many years since converted into a music hall. Its first concert was given in the chapel on Tuesday evening, Jan. 15, 1833. The programme comprised selections from Handel's 'Messiah' and 'Funeral Anthem,' and from Perry's 'Fall of Jerusalem' and 'Death of Abel,' with Attwood's Coronation Anthem, 'O Lord, grant the king a long life,' and the hymn ​'Adeste fideles.' The names of the principal singers were not published; Thomas Harper was engaged as solo trumpeter. The then officers of the Society were John Newman Harrison, president; Thomas Brewer, secretary; J. G. Moginie, treasurer; Joseph Surman, conductor; George Perry, leader of the band; and F. C. Walker, organist. In Nov. 1833, the permission to meet in the chapel being suddenly withdrawn, the Society removed to a chapel in Henrietta Street, Brunswick Square, and shortly afterwards to a room belonging to the Scottish Hospital in Fleur de Lys Court, Fleet Street; but at Midsummer, 1834, it migrated to Exeter Hall, which was its home until Michaelmas, 1880. The concerts were for the first two years given in the Minor Hall, and consisted principally of selections, in which a few short complete works were occasionally introduced, such as Handel's 'Dettingen Te Deum,' Haydn's 'Mass,' No. 1, Bishop's 'Seventh Day,' and Romberg's 'The Transient and the Eternal.' The Society having on June 28, 1836, given a concert in the Large Hall in aid of a charity with very great success, was shortly afterwards induced to give its own concerts there. At the same time an important change in its policy was effected, viz. the abandonment of miscellaneous selections for complete oratorios, a change which was received by the public with great favour. Up to that period, even at the provincial festivals, it was very rarely that any complete oratorio, except Handel's 'Messiah' was performed, whilst the programmes of the so-called 'Oratorios' at the two patent theatres on the Wednesdays and Fridays in Lent were a mongrel mixture of oratorio songs and choruses, secular songs of all kinds, and instrumental solos. The first concert given in the Large Hall on the Society's own account was Handel's 'Messiah,' on Dec. 20, 1836, the orchestra consisting of about 300 performers. In 1837 the works performed included Mendelssohn's 'St. Paul' (March 7), for the first time in London and second in England, Handel's 'Messiah,' 'Israel in Egypt,' and 'Dettingen Te Deum,' Haydn's 'Creation,' and the Mass known as Mozart's 12th. On Sept. 12 another performance of 'St. Paul' was given, in the composer's presence [see Mendelssohn], of which he wrote to the Committee of the Society—'I can hardly express the gratification I felt in hearing my work performed in so beautiful a manner,—indeed, I shall never wish to hear some parts of it better executed than they were on that night. The power of the choruses,—that large body of good and musical voices,—and the style in which they sang the whole of my music, gave me the highest and most heartfelt treat; while I reflected on the immense improvement which such a number of real amateurs must necessarily produce in the country which may boast of it.' During the year the number of performers was increased to 500. In the same year the formation of a musical library was commenced, and Robert Kanzow Bowley appointed honorary librarian. In 1838 Handel's 'Judas Maccabeus,' 'Samson,' and 'Solomon' were revived, and Beethoven's 'Mass in C,' Spohr's 'Last Judgment,' and Perry's 'Fall of Jerusalem' introduced. 1839 witnessed the revival and repetition of Handel's 'Joshua.' A new organ was built for the Society by Walker, and opened Jan. 23, 1840, with a performance by Thomas Adams. Handel's 'Saul' was revived, and Elvey's 'Resurrection and Ascension,' and Perry's 'Thanksgiving Anthem on the birth of the Princess Royal' introduced. 1841 was distinguished by a revival of Handel's 'Jephthah,' and by two performances of a selection of anthems. The latter was received with great interest, public attention having been then lately drawn to our cathedral music. The programme was chronologically arranged and exhibited the various changes in the style of English church music from Tallis to Samuel Wesley, a period of two centuries and a half. It is true that a performance of a so-called 'Selection of Anthems' had been given in the preceding year, but the programme being injudiciously arranged—a few anthems being interspersed with songs and other pieces in no wise connected with church-music,—had produced but little effect: the distinguishing feature of it was two admirable performances upon the organ by Mendelssohn. Perry's 'Death of Abel,' was also brought forward in 1841. In 1842 Handel's 'Jubilate Deo,' and Beethoven's 'Mount of Olives' (the 'Engedi' version), were introduced. In 1843 Spohr's 'Fall of Babylon' was produced, conducted by the composer, who was then on a visit to England; Dr. Crotch's anthem, 'The Lord is king,' was performed for the first time; Mendelssohn's 'Hymn of Praise' was introduced, and also Handel's 'Deborah.' The new introductions in 1844 were a Coronation Anthem and an organ concerto by Handel, Mendelssohn's 42nd Psalm, and Haydn's Mass, No. 16; but the season was chiefly distinguished by two performances of Mendelssohn's 'St. Paul,' conducted by the composer. Handel's 'Athaliah,' Purcell's 'Jubilate in D,' and cantata 'Saul and the Witch of Endor,' Neukomm's 'David,' and a new selection of anthems, were brought forward for the first time in 1845. In 1846 the new introductions comprised Perry's 'Belshazzar's Feast,' Mendelssohn's 114th Psalm, Haydn's Mass, No. 2, and some minor pieces. 1847 was an important epoch in the Society's annals; Handel's 'Belshazzar' was revived, and a new selection of anthems given, but the greatest event was the production for the first time in its improved form of Mendelssohn's 'Elijah,' under his own personal direction. Four performances of it were given, and it at once took that firm position which it has ever since maintained. Subsequently Spohr visited this country at the invitation of the Society and conducted two performances of his 'Fall of Babylon' and one of his 'Christian's Prayer' and 'Last Judgment' (the last for the only [App. p.778 "first"] time in England), and produced his '84th Psalm, Milton's version,' composed expressly for the occasion. An occurrence also took place during this year which eventually ​led to changes which had an important influence on the fortunes of the Society. A committee, appointed to investigate the conduct of Joseph Surman, both in respect of his dealings with the Society and his execution of the office of conductor, having unanimously reported adversely to him, he was removed from his office Feb. 15, 1848. [Surman.] Pending a regular appointment the remaining concerts of the season were conducted by the leader of the band, George Perry. Mr. (now Sir Michael) Costa was elected conductor, Sept. 22, 1848. Very beneficial results followed this appointment: both band and chorus were strengthened and improved, and the number of performers was augmented to nearly 700. The performances of the season consisted principally of more effective renderings of the stock pieces, but Mendelssohn's music for 'Athalie' was introduced with great success. In 1850 nothing new was given but Mendelssohn's 'Lauda Sion' in an English dress. 1851 was chiefly remarkable for the number of concerts given—31; 'Messiah,' 'Elijah,' and the 'Creation' having been performed alternately, one in each week, from May to September for the gratification of visitors to the Great Exhibition in Hyde Park. Later in the year Haydn's 'Seasons' was introduced for the first time. In 1852 Spohr's 'Calvary' and the fragments of Mendelssohn's 'Christus' were introduced. In 1853 some changes took place in the officers of the Society, R. K. Bowley becoming treasurer, and W. H. Husk succeeding him as librarian: Mozart's 'Requiem' was first brought forward this year. 1854 was distintinguished by two performances of Beethoven's Mass in D. Griesbach's 'Daniel' was also brought forward, and the Society undertook the performance of the music at the opening of the Crystal Palace on May 10. In 1856 Costa's 'Eli' was performed for the first time in London with marked success. In 1857 Rossini's 'Stabat Mater' was introduced, and the Society undertook the musical arrangements for the first Handel Festival at the Crystal Palace. [See Handel Festival.] In 1862 Beethoven's 'Mount of Olives' was given with its proper libretto. Costa's 'Naaman' was introduced to a London audience in 1865. In 1867 Benedict's 'Legend of St. Cecilia ' was given for the first time in London. In 1870 Beethoven's Mass in D was again performed. The Society sustained the loss, by death, of three of its principal officers, J. N. Harrison, president, R. K. Bowley, treasurer, and T. Brewer, secretary and, for a few weeks, president. They were replaced by D. Hill, president, W. H. Withall, treasurer, and J. F. Puttick, secretary. In 1873 the last-named died, and E. H. Mannering was appointed in his stead. Bach's St. Matthew 'Passion' was given for the first time. In 1874 Dr. Crotch's 'Palestine' was introduced, and Macfarren's 'St. John the Baptist' given for the first time in London. Mozart's Litany in B♭, in an English dress, was introduced in 1877. In 1878 Rossini's 'Moses in Egypt' was restored to its original position as an oratorio. Nothing new was brought forward in the season of 1879–80, which ended on April 30, 1880, with 'Israel in Egypt.' Owing to a change in the proprietorship of Exeter Hall the Society had to quit that building, and the concerts of the season 1880–81 were given in St. James's Hall, the number of performers being reduced, on account of the limited space of the orchestra, to about 300. The first concert was on Dec. 3. Sullivan's 'Martyr of Antioch' (first time in London) and Cherubini's Requiem in C minor were brought out during the season.
The Society's library, in the 44 years which have elapsed since its formation, has become the largest collection of music and musical literature ever gathered together by a musical body in England. Space does not allow here of even a brief list of its principal contents, and the reader is therefore referred to the last edition of its printed catalogue, issued in 1872. [See also Musical Libraries, vol. ii. p. 420a.] The Society also possesses some interesting original portraits, statuary, and autograph letters. It is in constitution an essentially amateur body, none but amateurs being eligible for membership, and the governing committee being chosen by and from the members. Every member is required to take some part in the orchestra, and a strict examination as to his qualification for so doing is made prior to his admission. The most eminent professors are engaged as principal vocalists and instrumentalists, the rest of the band and the whole of the chorus being amateurs. The members are comparatively few in number, the majority of the amateurs being assistants, who give their gratuitous services, but pay no subscription. The subscription of members, originally £1, is now £2 2s. 0d. per annum. Subscribers to the concerts pay £3 3s. 0d., £2 12s. 6d., or £2 2s. 0d. per annum, according to the position of their seats.
[ W. H. H. ]