The Stourbridge Observer, Cradley Heath, Halesowen & District Chronicle.
Stourbridge, West Midlands, England, 1887-11-05 00:00:00

A GREAT MUSICIAN,

Sir George Alexander Macfarren, Professor of
Music at the University of Cambridge, and Principal
of the Royal Academy of Music, died somewhat sud-
denly at his residence in London on Monday after-
noon. He was not known to be in immediate danger,
and, indeed, only ten days ago he was present at a
concert given by the students of the Royal Academy
of Music, at which an unpretentious cantata," Around
the Hearth," from his own pen, was produced. But
in the course of Monday afternoon the intelligence
arrived at the Royal Academy of Music that the head
of the institution was dead. All the classes were at
once stopped, the blinds were drawn down, and the
pupils were dismissed to their homes.
Sir George Macfarren was a son of the late George
Macfarren, the well-known English playwright,
dramatic author and critic, and manager of the old
Queen's (afterwards the Prince of Wales's) and of the
Strand Theatres. Sir George Macfarren was born
March 2, 1813, and his early studies were under the
guidance of his father, himself an excellent musician,
and eventually librettist of his son's "Devil's Opera"
and "Don Quixote." In 1827 young Macfarren
began to study music seriously under Charles Lucas,
and in June, 1829, he entered at the Royal Academy
of Music, making composition (under Cipriani
Potter, and Croft) his principal study, and also taking
lessons on the trombone, and from the late W. H.
Holmes on the pianoforte. His course of study
was finished in June, 1834. But he had already
long before entered the lists as a composer. His
first symphony is dated 1828, and before his Spin-
phony in F minor was produced by the Society
of British Musicians in 1834 he had written three
others. In 1836 Mendelssohn produced his " CheTy
Chase" overture at the Gewandhaus concerts, Leipiic.
Shortly afterwards, in 1838, the young musician
attracted considerai,le attention by the production at
the Royal Opera House, Lyceum, of his "Devil's
Opera." Two years later, in 1840, be produced at
Drury-lane "An Emblematical Tribute" on the
Queen's marriage, of which little seems to be known
beyond the fact that it was composed and duly
executed. He also edited for the Musical Antiquarian
Society Paroell's " Dido and .7Eneas," and he after-
wards edited for the Handel Society "Belshazzar."
"Judas Maccabeus," and " Jephtha." In 1844 M-.
Macfarren was engaged by M. Laurent, then manager
of Covent Garden Theatre, to undertake the conduc-
torship of Mendelssohn's "Antigone," which, en-
couraged by its success in Germany, M. Laurcnt hail
determined to present in England.
In 1846, when Bunn had taken Drury Lane for
English opera, Macfarren produced at that theatre his
"Don Quixote," which was followed at the Princess's
Theatre (under the direction of Mr. Maddox, who WAR
also speculating in English opera), by "Charles II."
Macfarren soon afterwards turned his attention to
cantatas. He brought out in 1851 at the National
Concerts at the old Her Majesty's Theatre his so-
called serenata "The Sleeper Awakened." His
cantata " Leonore" belongs to about the same
period, but "May Day" and " Christmas " followed
some years later. In 1860 Macfarren had once more
a chance of writing for the stage, and he brought out
that year at Her Mtjesty's Theatre his opera
"Robin Hood," the libretto by John Oxenford,
and with Mr. Sims Reeves as Locksley. Mac-
farren's other works of this character include
" Freva's Gift," a masque; "Jessie Lea," "She
Stocps to Conquer," "Helvellyn." and several
still in M.S., such as " Kenilwortb," " Ca-actacus,"
"El Malhechor," "Allan of Aberfeldy," and others.
Somewhat late in life Macfarren began to compose
oratories. The first of those works, " St. John the
Baptist," written for the Bristol Festival of 1873, is
undoubtedly the best. It was followed in 1876 by
"The Resurrection," written for Birmingham, in
1877, by "Joseph." composed for Leeds, and in 1883
by "King David," also produced at Leeds. In 1877
was produced at the Glasgow Festival the cantata
"The Lady of the Lake." A full list of Sir Geerge
Macfarren's contributions to the repertory is, how-
ever, hardly possible now. It comprises a largo
quantity of Church Church music, including two
"services," nearly 20 full anthems, and 52 short
anthems, besides two pianoforte sonatas, seven sym-
phonies, many overtures, a pianoforte concerto, four
string quartets, and a vast quantity of part and
other songs. Sir George Macfarren was es-
teemed one of the greatest contrapuntists in
Europe, and he has written several valuable treatises
on harmony and counterpoint. He had also a wide
knowledge of musical history, and has written many,
articles in the " EncyclopEedia Britannica," the" Im-
perial Dictionary of Biography," and similar works.
His memory was extraordinary, and although for some
years past he has suffered from blindness, he was able
from bare recollection to dictate many articles and
analyses bristling with facts and dates. Macfarren
was elected principal of the Royal Academy of Music
after the death of his fellow-student Sir Sterndale
Bennett. He likewise succeeded Bennett as professor
at Cambridge, and was granted the decree of Mus.
Bac. and Mus. Doc. at that university in April, 1876.
In 1883 he received the honour of knighthood.

VERY odd, indeed, are the signs and tokens of well-
bred folk, according to some (whim. Mr. Ruskin
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table people ignore, save perchance when it is ..g-
-gested in a salad ; but a quainter criticism was that of
. ...pt.in Trish barrister, who is said to have defined
a gentleman as a man wno ate jam with his mutton.

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