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Scan 373
Grove's Dictionary of music and musicians, 1910
15 lines. Read by computer on 11 September 2026, twice; the two readings disagreed in places. Printed page 329. See the scan on archive.org.
1for a short visit, but ever since he has lived and worked in Berlin, and has entered largely into the musical life of that capital. Most of his compositions, which are numerous and varied in character, have been produced there, and their publication in Germany has given him recognised standing as an American composer whose work has been influenced wholly by German ideals. In 1901 the Paderewski prize, founded in New York by the pianist Ignace Jan Paderewski for the encouragement of American composers, was awarded to Mr. Bird for a serenade for wind instruments. He has composed in addition to this work a symphony in A, and three suites for orchestra; for pianoforte, 'Puppentänze,' four pieces, op. 10; three characteristic marches, op. 11; three waltzes, op. 12; 'Zwei Poesien,' for four hands; introduction and fugue; variations and fugue; three suites; sketches; ballet music; two pieces for violin and pianoforte; a comic opera, 'Daphne,' and a ballet, 'Rübezahl.'
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5BIRD, HENRY RICHARD, born Nov. 14, 1842, is the third son of George Bird, organist of Walthamstow Parish Church. He was appointed in Feb. 1851, when little more than eight years old, organist of St. John's Church, Walthamstow, where the incumbent was an ardent musical amateur, and arranged for Henry Bird to study with Turle of Westminster. This eminent organist stopped Bird's organ practice, and turned his attention to piano, harmony, and reading vocal and orchestral scores. In 1859 Bird came to London, and occupied successively the posts of organist at St. Mark's, Pentonville, Holy Trinity, Chelsea, and St. Gabriel's, Pimlico. While in Chelsea he conducted a large choral and orchestral society at the Town Hall, and he accompanied at several good private societies which were popular some years ago, and held that position for many years at the Civil Service Musical Society, when it was conducted by Sullivan and John Foster. In 1872 Bird was appointed organist of St. Mary Abbots, Kensington, a post he has filled with much distinction ever since. He gave many classical concerts in Kensington, at one of which Mr. Plunket Greene made his first appearance; this led to Bird's engagement as regular accompanist for Mr. Greene, and eventually procured him the appointment of permanent accompanist at the Popular Concerts in 1891, a post which had not been filled by one regular and official accompanist since the days of Benedict. In the recent reorganisation of the scheme, following the abandonment of the Monday concerts, various accompanists have been engaged. Since 1896 he has been a member of the teaching staff of the Royal College of Music. It is as an accompanist of rare accomplishment that Bird has gained the distinguished position he holds in the musical world of London; in all schools of music he is equally at home, and he is apparently in complete sympathy with all classes of singers.
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10BIRMINGHAM FESTIVAL. This Triennial Festival, which is now acknowledged to be the most important 'music meeting' in the provinces, was commenced in 1768 with a series of performances in St. Philip's Church and in the theatre in King Street, in aid of the funds of the General Hospital. The first programme was exclusively Handelian, with a band of twenty-five and a chorus of forty, conducted by Mr. Capel Bond of Coventry, but since 1802 the programmes have been drawn from all sources. In 1778 a second festival was held, and in 1784 Lord Dudley and Ward was the president of the third festival, at which, for the first time, a body of noblemen and gentlemen assisted as stewards. In 1787 and 1790 the band was drawn from the King's Theatre in London, and with the chorus numbered 100 performers. In 1793 no festival was held, owing to the burning of the theatre, but from 1796 to 1829 there was a triennial festival. The next festival was in 1834, the first held in the New Town Hall, where the concerts have since taken place every third year. At the earlier festivals the male singers were members of the Worcester and Lichfield Cathedral choirs, the sopranos being selected from several Lancashire choral societies, famed then as now for the excellence of their voices. The members of a local Gentlemen's Musical Association also assisted in the chorus, which now consists of a large choral society, formed specially for each festival. In 1805 the number of performers was increased to 120, in 1808 to 188, in 1811 to 204, in 1820 to 231, in 1834 (in the Town Hall) to 386, and at the Festival of 1903 the band numbered 125 and the chorus 353. At first the duties of organist and conductor were combined, but in 1832 they were divided. The conductors included Capel Bond (1768), Dr. Crotch (1808), S. Wesley (1811), T. Greatorex (1820), W. Knyvett (1834-43), Mendelssohn and Moscheles (1846), Costa (1849-1882), Richter (1885 to the present time). The band included the most eminent orchestral players of the time. The solo instrumentalists and principal singers include almost every artist of note, many of whom have here made their first appearances.
12The scheme of the first festival (1768) included the Dettingen 'Te Deum,' the Utrecht 'Jubilate,' the 'Coronation Anthem,' and the 'Messiah' (sung in the church), and 'L'Allegro' and 'Alexander's Feast' in the theatre. In 1778 an organ concerto was introduced at the church performance. In 1784 Purcell's 'Te Deum' was sung, and a new oratorio, 'Goliath,' by Atterbury, produced. Year by year Handel's music, although still forming the major part of the programmes, was more and more varied by the music of other masters.
14Among the most noteworthy events in the
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