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Sir John Stainer

Sir John Stainer (6 June 1840 – 31 March 1901) was an English composer and organist whose music, though seldom performed today (with the exception of The Crucifixion, still heard at Passiontide in some Anglican churches), was very popular during his lifetime. His work as choir trainer and organist set standards for Anglican church music that are still influential. He was also active as an academic, becoming Heather Professor of Music at Oxford.

Stainer was born in Southwark, London, in 1840, the son of a schoolmaster. He became a chorister at St Paul's Cathedral when aged ten and was appointed to the position of organist at St Michael's College, Tenbury, at the age of sixteen. He later became organist at Magdalen College, Oxford, and subsequently organist at St Paul's Cathedral. When he retired owing to his poor eyesight and deteriorating health, he returned to Oxford to become Professor of Music at the university. He died unexpectedly while on holiday in Italy in 1901.

Early years

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John Stainer was the eighth of nine children born to William Stainer and his wife Ann (née Collier) on 6 June 1840. At least three of the children died in infancy, and John was much younger than his brother, William, and his three sisters, Ann, Sarah, and Mary.[1] The family lived in Southwark, London, where his father joined his brother in his cabinet making business, later becoming a vestry clerk and registrar of births, and a parish schoolmaster.[1] He was also an untaught musician and player of the piano, violin, and flute. He built a small chamber organ at home on which the precocious John used to accompany him when he played hymn tunes on the violin. His sister Ann also used it – she was the regular organist at Magdalen Hospital, Streatham. It was a happy family, and young John seems to have been spoiled by his elders.[1] He could play Bach's Fugue in E major at the age of seven.[2]

In 1849, after a year's probation, young Stainer became a chorister at St Paul's Cathedral. He was already an accomplished player on keyboard instruments and possessed perfect pitch and a fine treble voice, and soon became the choir's principal soloist.

In 1854, he was invited to sing in the first English performance of Bach's St Matthew Passion under William Sterndale Bennett at the Hanover Square Rooms. He travelled each day between his home in Streatham and the cathedral by steamboat. The choristers were required to sing for services at 9:30 a.m. and 3:15 p.m. In between these times, the choristers were instructed in Latin, arithmetic, writing and other subjects, and Stainer probably received a much better education there than he would have done had he been educated at the local elementary school.[3] A house in the cathedral's present choir school has since been named after him. He received organ lessons at St Sepulchre's Church, Holborn from George Cooper, assistant organist at St Paul's Cathedral under John Goss. At this time, he might have met future composer Arthur Sullivan, his junior by two years. Certainly, the two young men later became friends and undertook activities together on half-holidays.[4]

In 1855, he was offered a six-month contract as organist at St Benet's, Paul's Wharf. He proved successful, and his contract was renewed several times for further six-month terms. As he was still a minor, his salary of £30 per year was paid to his father. During this period, he sometimes deputised for the regular organists, Goss and Cooper, at services in St Paul's Cathedral.[5]

St Michael's College, Tenbury

At the age of sixteen, Stainer was appointed by Sir Frederick Ouseley to the post of organist at the newly founded St Michael's College, Tenbury. Ouseley was Heather Professor of Music at Oxford University and had recently become vicar of St Michael's College on the outskirts of Tenbury Wells, a choir school with a church that he had founded and endowed and which was intended to serve as a model for Anglican church music.[6] Although Stainer was not much older than the choristers were, Stainer was put in charge of them. One of his duties was to give piano lessons to the boys for two hours a day.[7]

Ouseley was an antiquarian and had an extensive library. He was very interested in the history of music and acted as Stainer's mentor. Under his guidance, Stainer became the youngest ever successful candidate for the Bachelor of Music degree at Oxford.[8] For this, Stainer wrote a cantata, Praise the Lord, O my soul, with text from Psalm 103. Its traditional style was designed to appeal to the examining board and sounds stilted when set against his later works. About this time, he wrote several anthems, the most successful of which was I saw the Lord, a bolder and more original work in a more contemporary idiom.[9]

Magdalen College

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In 1860, he became organist at Magdalen College, Oxford, initially for a period of six months, at a salary of £120 per year. His duties included playing for services, training the choir, and leading them on Fridays, a day on which the organ was not used. A new organ had been installed five years earlier that was ideal for developing his talent. He proved satisfactory in the post, and his contract was made permanent. He was permitted to study for a degree as long as it did not interfere with his duties, and he chose to do so in the expectation that it would raise his social status. He gained his BA in 1864 and his MA two years later and was keen to proceed to his Mus Doc, which would raise his standing within the university.[10]

Interior of Magdalen College Chapel

Unfailingly conscientious as a choirmaster, Stainer introduced new anthems and service music, bringing the choir to a higher level of attainment than it had previously seen.[11] It had been the custom for the adult choir members, the lay clerks, not to attend practice at all, but Stainer had a magnetic personality and persuaded them to come. Their more regular attendance enabled the repertoire to be enlarged. Stainer's skill on the organ was much respected, and he was regarded as "the finest organist Oxford had seen in many generations".[12] The vice chancellor, Francis Jeune, was an admirer and in 1861 appointed Stainer to the prestigious post of University Organist at the University Church of St Mary the Virgin. Here he was expected to play for a service every Sunday (at a later time in the morning than the Magdalen service).[12]

At this time, he was composing liturgical music and developing his musical style. There were several anthems and two more technically assured multi-sectioned verse anthems, "Drop down, ye heavens from above" and "They were lovely and pleasant in their lives". His routine included two services daily, rehearsals, lectures, tutorials, attendance at Ouseley's lectures, and visits home to Southwark in the vacations. He must have performed his duties with diligence as his salary was raised by £10 a year and, after 1862, he received an allowance towards his rent.[13]

Stainer was also conductor of the Magdalen Madrigal Society, which gave concerts in the College Hall, and the Magdalen Vagabonds, which performed during vacations. The latter gave concerts in various towns and cities and raised money for church restoration. He wrote some madrigals himself, which were published by Novello, a company with which he was to do much future business. He also wrote an oratorio, Gideon, as the exercise for his doctorate and it was performed in November 1865. It was well received on the day and was sufficient to gain him his doctorate, but has not been performed since.[14]

After Stainer had obtained his doctorate, Ouseley enrolled him as an examiner for Oxford musical degrees. In this capacity, Stainer met and later became friends with Hubert Parry. Attending at evensong at Magdalen College in 1866, Parry wrote in his diary "Stainer played the last 3 movements of the Sonata in B-flat (Mendelssohn) afterwards most gloriously".[15] He examined William Pole and Frederick Bridge and became involved in organ and music tuition and wider musical activities. He had considerable influence on sacred music in Oxford, and his reputation spread beyond the confines of the city. He was employed to play solo organ works at weekly concerts at Crystal Palace and took part regularly in the Three Choirs Festival.[16]

Stainer was interested in the history of music and traditional folk songs. He encouraged contralto, composer, and festival organizer Mary Augusta Wakefield, who shared this interest. There was a revived interest in carols at the time, and he rediscovered old carols, provided new settings for others, and introduced contemporary works. Many of his harmonisations are still in use today. He published a volume Christmas Carols New and Old which was a considerable success, with thousands of copies sold. He followed this up with another edition the following year to which he persuaded Arthur Sullivan to contribute. He also composed several hymn tunes, and some of these are still to be found in Anglican hymnals, with "Love divine, all loves excelling" being popular at wedding services.[17] Other parish music followed with a congregational Te Deum in C which was regularly sung at Magdalen on Sundays and a verse anthem "Sing a song of praise". Two more substantial anthems, intended for use in cathedrals, were "Lead kindly light" composed in 1868, followed by "Awake, awake, put on thy strength" in 1871. He also produced two evening canticles and a comprehensive set of music for morning, communion, and evening services. He had also been working for a long time on his first theoretical work, A Theory of Harmony Founded on the Tempered Scale, published by Novello in 1871.[18]

St Paul's Cathedral

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St Paul's Cathedral at about the time Stainer was organist
Engraving of the interior of St Paul's Cathedral

In 1871, Goss resigned as organist of St Paul's Cathedral, and Stainer was appointed to the position early in 1872 at a salary of £400 per annum. By this time, he had been married for seven years and had five children with another due shortly. The organ was in the process of being rebuilt, by the organ builder Henry Willis to Stainer's design, with portions on either side of the entrance to the choir stalls.[19] Around this time he was asked to help revise Hymns Ancient and Modern, a task he did with enthusiasm.[20] At St Paul's, he soon set about reinvigorating the choir. The appointment of vicars choral was for life, and the tenor and bass voices saw no need for rehearsal, meaning that the repertoire was static. Stainer was able to change their attitude, and new anthems and liturgies were introduced, a choir school was built, and the number of choristers increased from twelve to thirty-five. When William Sparrow Simpson was appointed Succentor, the raising of standards continued, and St Paul's Cathedral became the focus of religious ceremony in the capital, including state occasions, ceremonial events, memorial services, and the funerals of the great and famous.[21] A peal of twelve bells was installed in 1878.[22]

Further appointments followed. Stainer became an honorary fellow of the Royal Academy of Music in 1877 and an examiner for the Doctor of Music degree at Cambridge and London Universities. He accepted the post of musical director of the Madrigal Society of London. He was particularly honoured to be asked to be a juror at the French Exhibition in Paris in 1878 and in 1880 was an adjudicator at the Welsh Eisteddfod at Caernarvon.[23] He was made Chevalier of the Legion of Honour in 1879.[24]

Group of musicians (including John Stainer) that performed Haydn's Toy Symphony at St James Hall, on behalf of a charity, 1880 - Sir Arthur Sullivan is on the first row sitting on the floor.

In 1882, Stainer was offered the post of Inspector of Music in Schools and Colleges, a position he took with great seriousness and which he occupied for six years. His assistant was William Gray McNaught. Together they worked towards raising standards in music teaching and toured the country, visiting schools and colleges and examining candidates. Stainer advocated the use of musical notation and tonic sol-fa rather than the learning-by-ear method previously used. He was by now treated with the greatest respect in musical circles, but his many activities diminished the time available for composition.[25] The flow of new anthems and service music slowed down, but in 1883, he completed his oratorio Mary Magdalen. This was followed in 1887 by The Crucifixion, the work for which he is most remembered.[26]

In 1885, he was awarded an honorary degree by Durham University, and he became Heather Professor at Oxford in 1889 following the death of Ouseley. He conducted pioneering research into early music, notably the output of Netherlandish Renaissance composer Guillaume Du Fay and Gilles Binchois, then scarcely known even among experts. He also contributed a small treatise, Harmony, and another, Composition, to the famous series of Novello musical primers. For budding organists, he wrote a primer called, simply, The Organ, which continues to have a following. In recognition of his services to British music, he received a knighthood from Queen Victoria in 1888.[27]

Retirement

[edit]
Caricature published in Vanity Fair in 1891

Following a childhood accident, Stainer had lost the use of one eye. There is some confusion about this, and he may merely have had a lazy eye, but for a brief period in 1875, he feared he was losing the sight of the other eye. This proved not to be the case, but he suffered from eye strain and impairment to his vision for much of his life. This was a major reason for his decision to retire from St Paul's Cathedral in 1888,[28] while still in his forties. As Bumpus was to write, "Such honours as are at the disposal of his fellow musicians have been freely showered upon him, for he is universally beloved and esteemed, but his many onerous duties, his organistship of this, his presidency of that, and his incessant hard work as an examiner, have all involved responsibility and constant application, and the result is that his sight and general health have given way under the severe strain of sheer hard work."[29]

In later life, he and his wife took to travelling to the Riviera, Florence or Mentone each year for him to relax and recuperate. It was on such a visit to Verona, Italy, that on Palm Sunday, 31 March 1901, he felt unwell and retired to his room. Later that afternoon, he died of a heart attack. He was sixty. His body was taken back to England, and his funeral service was held on 6 April at St Cross Church, Oxford with a large number of friends and colleagues present,[30] followed by burial in adjacent Holywell Cemetery.

The grave of Sir John Stainer in Holywell Cemetery in Oxford in 2024

Lady Stainer was devastated by his death and went into mourning for a year, but as she confided to a friend, the pianist Francesco Berger, "I am thankful he has been spared long illness and the weariness of old age, which he always dreaded".[31] She gave a memorial stained glass window to St Cross Church and arranged for a monument to be erected at Magdalen College. Her husband's valuable library of antiquarian music books passed to his elder son, J F R Stainer, who allowed its use for study and research purposes. The collection was sold to an American collector in 1932 who, on his death in 1973, had it bequeathed to the Bodleian Library, where it remains. Lady Stainer died in 1916 leaving six children. She is buried in Holywell Cemetery, Oxford, beside her husband.[31]

Legacy

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Stainer's memorial in St Paul's Cathedral by Henry Alfred Pegram

Stainer's output of sacred music was extensive, including the Passion cantata or oratorio The Crucifixion (1887), the Sevenfold Amen (this latter piece was especially admired by the lexicographer Sir George Grove), and numerous hymn tunes, including "Cross of Jesus", "All for Jesus" (both from The Crucifixion), and "Love Divine".[26] His settings for the Gloria and Sanctus were sung at the coronation of Edward VII in 1902.[32]

His work as a composer was much esteemed during his lifetime but is not well known today - and Stainer himself was dismissive of his own work, telling Edmund Fellowes that "he regretted ever having published most of his compositions".[33] The Crucifixion is one of the few major works of his that is still regularly performed. It is often given in Anglican churches during Holy Week and forms part of the repertoire of numerous choirs. He also made a lasting contribution to the music of Christmas in his Christmas Carols New and Old (1871), produced in collaboration with the Revd. H. R. Bramley, which marked an important stage in the revival of the Christmas carol. The book includes Stainer's arrangements of what were to become the standard versions of "What Child Is This", "God Rest Ye Merry Gentlemen", "Good King Wenceslas", "The First Nowell", and "I Saw Three Ships", among others.[34] He was a skilled musician and accompanist and Walter Galpin Alcock, who was taught composition by Arthur Sullivan at the National Training School of Music, recalls Sullivan saying "I was at St Paul's yesterday, listening to Dr Stainer extemporising. My dear young friends, he is a genius, and I hope you will miss no chance of hearing him."[35] John Stainer was also a close friend of Edmund Hart Turpin, the later Hon. Secr. of the Royal College of Organists for more than fifty years.[36]

Stainer's portrait is included in William Holman Hunt's 1890 Pre-Raphaelite painting May Morning on Magdalen Tower.[37]

Selected list of works

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A list of Stainer's more prominent works is provided below.[38]

Anthems

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Services

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  • Full services in E-flat, D/A, B-flat and D
  • Communion services in A, F and C

Hymn tunes

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Oratorios

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Stainer wrote four oratorios:[40]

  • Gideon (1865)
  • The Daughter of Jairus (1878)
  • St Mary Magdalen (1883) Written, by request, for a performance at the Triennial Music Festival of 1883
  • The Crucifixion (1887)

Books with carols and hymns

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Organ music

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Books on musical theory, history and instruments

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

John Stainer

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Sir John Stainer (6 June 1840 – 31 March 1901) was an English composer, , and music scholar renowned for his contributions to , including the The Crucifixion (1887) and numerous hymn tunes and anthems. Born in , , as the son of schoolmaster William Stainer and Ann Collier, he rose from a chorister at to become one of Victorian Britain's leading musical figures, serving as there from 1872 to 1888 and as of music at the from 1889 to 1899. Stainer's early career was marked by prodigious talent; he joined the choir of St. Paul's in 1847 at age seven and held his first organist position at St. Benedict and St. Peter in 1854 while still a teenager. Educated at , where he earned degrees including a Doctor of Music in 1865, he also studied under notable figures and quickly advanced, becoming organist at , in 1860 and founding the Oxford Philharmonic Society in 1866. His marriage to Eliza Cecil Randall in 1865 produced seven children, and he maintained close ties with his musical family throughout his life. In addition to performance, Stainer excelled as an educator and administrator, serving as inspector of music in elementary schools from 1882, professor of organ at the National Training School for Music, and Master of the Musicians' Company in 1900; he was knighted in 1888 for his services to music. His scholarly output included influential texts such as A of Harmony (1871), The Music of the Bible (1879), and Dufay and his Contemporaries (1899), which advanced understanding of and history. Stainer's compositional legacy, though less performed today beyond The Crucifixion and pieces like the cantata The Daughter of Jairus (1878), encompassed oratorios, over 40 anthems, approximately 150 hymn tunes (including "Sevenfold Amen"), and organ works that shaped Anglican worship. He died suddenly in Verona, Italy, during a holiday, and was buried in Oxford's Holywell Cemetery.

Early Life

Family Background

John Stainer was born on 6 June 1840 at in , , the eighth of nine children born to William Stainer and his wife Ann (née Collier). William, born in 1802, worked as a schoolmaster at the parish school of St Thomas's in , supporting the family in modest circumstances typical of a Victorian working-class household in the area. Ann, born in 1803 and descended from a Huguenot family long settled in London's district, married William in 1823 after what was described as a "runaway" match against her father's wishes. At least three of the Stainer children died in infancy, adding to the hardships faced by the family. The Stainer home provided an early nurturing ground for musical interests, largely due to William's passion for music despite his primary profession in education. An amateur enthusiast, he constructed a small chamber organ with a polished mahogany case and gilt pipes for the household and played the violin, often performing hymn tunes with young John accompanying him on the organ from an early age. This domestic setting, combined with the family's regular attendance at Anglican services at nearby St Thomas's Church, immersed Stainer in the sounds of choral and organ music that would shape his career.

Education and Early Training

John Stainer entered the choir of in 1847 at the age of seven, serving as a chorister for nine years until 1856. During this period, he demonstrated exceptional talent as a sight-singer and player, gaining a solid foundation in musical performance within the cathedral's rigorous choral tradition. Building on the supportive musical environment of his family home, Stainer's early exposure at honed his skills in vocal and instrumental music. Stainer supplemented his chorister training with formal lessons in from William Bayley and from Dr. William Steggall, while receiving organ instruction from George Cooper at St. Sepulchre's Church in , facilitated by the patronage of Miss Maria Hackett. He developed proficiency on the and organ largely through dedicated practice, reflecting his precocious aptitude for these instruments. In 1854, at age 14, he secured his first professional appointment as organist and choirmaster at St. Benedict and St. Peter, Paul's Wharf, where he began applying his growing expertise in . As his voice broke around age 16, Stainer departed the choir in 1856, marking the end of his boyhood training at St. Paul's. In 1857, he was appointed organist at St. Michael's College, Tenbury, under the mentorship of Sir Frederick Gore Ouseley, where he further advanced his knowledge of and composition. During his chorister years, he experimented with early compositional efforts, including simple anthems and settings that foreshadowed his later church music contributions. These foundational experiences established Stainer's deep knowledge of Anglican liturgy and choral techniques, shaping his lifelong dedication to sacred music.

Professional Career

Organist at Magdalen College

In July 1860, at the age of 20, John Stainer was appointed and informator choristarum (choirmaster) at , following a trial period for the position vacated by Benjamin Blyth. His duties included directing the chapel choir, composing music for services, teaching choristers, and maintaining the organ, all while pursuing his studies at the university. Stainer's prior experience as at St. Michael's College, Tenbury, from 1857 had prepared him for this role, though he faced stiff competition from more established candidates. During his time at Magdalen, Stainer advanced his academic career, earning the degree of (B.Mus.) from on 10 June 1859, shortly after his matriculation at Christ Church on 26 May of that year, making him one of the youngest recipients at the time. He proceeded to the Doctor of Music (D.Mus.) in 1865, submitting an exercise that demonstrated his growing compositional skill. These degrees solidified his reputation as a and performer within Oxford's musical circles. Stainer's tenure at Magdalen marked the beginning of his significant compositional output for the Anglican church, including early s and services performed in the college chapel, such as the anthem Drop down, ye heavens, from above (c. 1860s), which reflected his interest in Advent texts and polyphonic writing. He composed works like Awake, awake, put on thy strength, O Zion and contributed to the chapel's repertoire by introducing new service settings, enhancing the choir's performance standards through rigorous training. Additionally, in 1866, Stainer founded and conducted the Philharmonic (later the Musical Club), promoting orchestral performances and fostering musical activity among students and faculty.

Organist at St. Paul's Cathedral

John Stainer was appointed organist of on 25 March 1872, succeeding Sir John Goss, and he oversaw the cathedral choir until his resignation in 1888 due to failing eyesight. His tenure marked a period of significant transformation, as he immediately set about reforming the choir's organization and discipline to address longstanding issues such as the declining quality of the men's singing and the overwork of the boy choristers. By 1873, Stainer had enlarged the choir, increasing the number of choristers to 30 with an additional 8 probationers, and introduced new statutes in 1874 that established Assistant Vicars Choral under the age of 30, a probationary period for new members, and a of 60. These measures, combined with strict attendance policies, elevated the overall professional standards of the ensemble, enabling performances of more ambitious repertoire including orchestral services and works by composers such as Mendelssohn and Bach. A cornerstone of Stainer's reforms was his focus on improving the education and welfare of the boy choristers. In 1872, he appointed Revd Alfred Barff as Master of the Choristers, and by 1873, the boys began boarding arrangements to alleviate their previous overwork. This culminated in the establishment of a dedicated choir school on Carter Lane in 1874, with foundation laid on 25 January 1874 and completed in early 1875, where resident singing master provided specialized training alongside regular academic progress reports. The school not only enhanced musical instruction but also ensured a more balanced , fostering a new generation of skilled choristers and setting a model for music . Stainer also oversaw key enhancements to the cathedral's organ, which supported his broader musical ambitions. A major rebuild was completed in July 1873 by the organ builder Henry Willis, significantly improving the instrument's capabilities for accompanying services and solo performances. Further modifications followed in 1891, though after his departure, these upgrades reflected his earlier advocacy for modernizing the organ to meet evolving liturgical needs. During his time at St. Paul's, Stainer directed music for several high-profile royal occasions, most notably the Thanksgiving Service on 27 1872 for the Prince of ’ recovery, which highlighted the choir's elevated standards on an international stage. His innovative approach, including a willingness to move away from outdated cathedral music traditions, transformed St. Paul's into a leading center for Anglican sacred music, comparable to Europe's finest ecclesiastical ensembles.

Professor of Music at Oxford

In 1889, John Stainer was elected to the position of Heather Professor of Music at the , succeeding Sir Frederick Ouseley upon the latter's death. He held this prestigious chair until 1899, when deteriorating health and eyesight prompted his resignation, after which he was succeeded by Sir Hubert Parry. As professor, Stainer brought his extensive experience from prior roles as an to bear on academic leadership, focusing on elevating the standards of musical scholarship and performance at the university. Stainer implemented significant reforms to the Oxford Music Faculty, expanding the curriculum beyond theoretical foundations to incorporate practical training and historical studies. Among his initial changes, he established dedicated music classes and appointed specialist readers to deliver lectures on key subjects, including harmony, counterpoint, musical form, analysis, piano technique, and acoustics. These additions aimed to provide students with hands-on skills alongside intellectual engagement with music's evolution, addressing previous deficiencies in the program that had emphasized rote learning over comprehensive education. He also enhanced the Bachelor of Music (BMus) degree requirements, replacing basic factual questions—such as composers' birthdates—with more rigorous examinations demanding in-depth knowledge of historical periods and compositional styles. For the doctorate, Stainer maintained demanding standards, requiring candidates to submit an original oratorio or similar work and perform it publicly, while the BMus incorporated papers from other disciplines and a practical harmony composition exercise. Additionally, he introduced a guidance booklet for BMus candidates, cautioning against common pitfalls for both diligent but unremarkable students and gifted individuals lacking technical discipline, and proposed the creation of a conservatoire-style institution for advanced instrumental training—though this vision was not realized during his tenure. Through his professorship, Stainer mentored a generation of musicians, fostering their development via lectures, examinations, and faculty oversight, which contributed to the broader vitality of 's musical life. His influence extended to the university's musical societies, where he actively supported and conducted ensembles, building on his earlier founding of the Oxford Philharmonic Society in to promote choral and orchestral performances among students. These efforts not only enriched campus culture but also aligned with Stainer's national advocacy for improved , including his role as Inspector of Music, where he emphasized structured over informal methods.

Personal Life

Marriage and Children

Stainer married Cecil Randall, the daughter of Oxford Thomas Randall, on 27 December 1865 at St Aldate's Church in . The ceremony was officiated by his mentor, Sir Frederick Ouseley. , often called "Sissey," came from a prominent local family and provided steadfast support throughout Stainer's career, including accompanying him on travels such as a European tour in 1876. The couple had seven children, one of whom died in infancy; Eliza survived Stainer with four sons and two daughters. Their offspring included John Frederick Randall Stainer (born 1866), who pursued a career in and ; Elizabeth Cecil Stainer (born 1867), who remained unmarried; Helen Stainer (born 1868, known as Ellie); Edward Stainer (born 1869), a physician specializing in ; Charles Lewis Stainer (born 1871), a scholar and ; Frederick Henry Stainer (born 1872, died 1874); and William Edgar Stainer (born 1873), an engineer. The family initially resided in during Stainer's time as organist at , where the growing household reflected his professional stability. Upon his appointment as Professor of Music at the in 1889, they relocated to , maintaining a home that facilitated his academic and creative pursuits while allowing family involvement in his musical activities. This domestic support enabled Stainer to balance his demanding career with family life, including dedicating works like the "Sevenfold Amen" to his son Edward.

Honors and Knighthood

In recognition of his distinguished contributions to church music and organ performance, particularly during his tenure as organist at St. Paul's Cathedral, John Stainer was knighted by Queen Victoria at Windsor Castle on July 10, 1888. This honor, bestowed shortly after his resignation from St. Paul's due to deteriorating eyesight, underscored his elevation to a prominent figure in Victorian musical life. Stainer received several honorary fellowships and degrees that affirmed his scholarly and professional stature. He was appointed an Honorary Fellow of , reflecting his long association with the university, and in November 1900 became an Honorary Fellow of St. Michael's College, Tenbury, a key institution for studies. Additionally, he earned an honorary Doctor of Music (Mus.D.) in 1885 and an honorary (D.C.L.) from in 1895. His leadership roles in musical organizations further highlighted his influence. Stainer served as Vice-President of the Royal College of Organists, an honorary position that recognized his expertise in organ and performance standards. He also held presidencies of the Plain-song and Society, the London Gregorian Association, and the Musical Association, promoting the revival and study of forms. As a member of the Philharmonic Society and an Honorary Member of the Royal Academy of Music, he engaged with elite musical circles. Public tributes from musical societies marked key milestones in Stainer's career. In 1854, the Bach Society presented him with a card of thanks for singing in the first English performance of Bach's , acknowledging his early advocacy for repertoire. He joined the Madrigal Society in 1877 and served as its Director of Music until 1887, contributing to its focus on Renaissance . Internationally, Stainer was awarded the Chevalier of the Legion d'Honneur by France in 1878 for his service as a juror at the Paris Exhibition, highlighting his growing European recognition.

Later Years

Retirement from Oxford

In 1899, after a decade as Heather Professor of Music at the University of , Sir John Stainer resigned from the position, citing health issues stemming from earlier in his career and a desire for greater following years of demands. His resignation was formally announced in of that year, concluding his tenure that had begun in 1889. Stainer was succeeded by Sir Hubert Parry, who took up the chair in 1900. The immediate aftermath of his resignation saw Stainer engaging in lighter transition activities, including occasional consulting on musical matters and the composition of smaller-scale works. One notable example was his unaccompanied six-part Communion Service in C (SSATBB), an autograph manuscript completed between December 1900 and January 1901, which reflected his continued interest in sacred choral music despite his scaled-back role. These endeavors allowed him to maintain creative involvement without the rigors of full-time academic duties. Stainer's financial security in retirement was supported by pensions and accumulated earnings from his prior positions, including a pension granted upon his 1888 retirement from St. Paul's Cathedral due to deteriorating health and eyesight. This stability, derived from his long service as organist at St. Paul's and other institutional roles, enabled him to focus on personal pursuits in his final years.

Travels and Final Activities

Following his retirement from the University of Oxford in 1899, Stainer embraced a period of leisure that enabled extensive travels across Europe, focusing on recovery from years of demanding professional commitments. These journeys, undertaken primarily with his wife Eliza, included stays in Switzerland and Italy, where the mild climates were sought for health restoration amid emerging physical frailties. During these post-retirement excursions, Stainer participated in informal musical pursuits that reflected his enduring passion for without the pressures of formal duties. In one such instance, while visiting a small Swiss village several years prior to his death, he volunteered to assist an English clergyman by improvising on a harmonium for a local service, demonstrating his willingness to contribute to settings abroad. He also engaged in light compositions oriented toward family enjoyment, such as simple pieces shared during travels, allowing him to nurture personal creative outlets alongside advisory roles in music encountered en route. Stainer's health gradually deteriorated in these final years, marked by persistent heart-related concerns that intensified despite the restorative aims of his European sojourns. By early , while on a leisurely tour through the South of and into with Lady Stainer—visiting sites like for continued recuperation—these issues culminated in his passing, closing a life devoted to music amid serene continental landscapes.

Musical Works

Anthems and Services

John Stainer's anthems and services represent a significant portion of his output in , comprising over 40 anthems and at least seven services that became integral to cathedral and parish repertoires during the late . These works were designed for choral forces typical of English cathedrals, often featuring verse anthems with soloists and full , and they emphasized expressive melodies suited to liturgical use, helping to elevate the standard of sacred music in Anglican worship. Stainer's compositions in this genre were frequently performed at during his tenure as organist from 1872 to 1888, and many remain in active use today for their accessibility and emotional depth. Among his notable anthems is "I saw the Lord," composed in 1858 with text drawn from Isaiah 6:1–4, depicting the prophet's vision of divine glory. Scored for double choir (/) with verse soloists and organ, it was first published by Novello in 1865 and later included in Frederick Arthur Gore Ouseley's collection in 1866; its bold harmonic progressions and antiphonal writing were tailored to the resonant acoustics of , where it received early performances. Another key work, "What are these that are arrayed in white robes?" (also known as "! What are these"), dates to 1871 and uses text from :13–17, celebrating the redeemed in heaven. Published in 1876 by Novello, this anthem for mixed chorus and organ gained popularity for its triumphant choral climaxes and has been a staple in and general festival services, with recordings and performances continuing in cathedrals like Ely and Durham. Stainer's services include the Service in , composed in the and published by Novello, which encompasses canticles such as the , Benedictus, , and , alongside settings for the Office for Holy Communion. This work exemplifies Victorian romanticism through its lyrical phrasing, rich harmonies, and occasional modal inflections that evoke ancient traditions, making it suitable for both grand settings and smaller parish choirs. Other services, such as those in B-flat and , similarly blend expressive with straightforward accompaniments, ensuring their enduring place in Anglican . Some elements from these anthems and services were later adapted into hymn tunes for broader congregational use.

Hymn Tunes and Carols

John Stainer composed numerous hymn tunes that became staples in Victorian and Edwardian church services, emphasizing melodic simplicity and emotional resonance suitable for congregational singing. Among his most enduring contributions is the tune "Cross of Jesus," written in 1887 for the "We sing the praise of him who died," which features a poignant, ascending evoking sacrifice and redemption. Similarly, his 1889 tune "Love Divine," set to Wesley's "," employs a flowing 8.7.8.7 meter that underscores themes of and has remained popular for its lyrical warmth. Another notable example is the tune "Magdalen," composed in 1873 and later adapted as a for Mote's "My Hope is Built on Nothing Less," highlighting Stainer's skill in repurposing choral material for broader devotional use. Stainer also made significant contributions to carol literature through editorial and compositional efforts that revived and arranged medieval and folk traditions for contemporary audiences. His collaboration with Henry Ramsden Bramley on Christmas Carols, New and Old (first series published in 1871) compiled and harmonized over 70 carols, drawing from ancient manuscripts and introducing accessible arrangements that popularized works like "The First Nowell" in English worship. Additionally, Stainer adapted and arranged Twelve Old Carols, English and Foreign around 1890, featuring pieces such as "Shepherds! Shake off Your Drowsy Sleep" and "Come, Shepherds, Come!," which preserved rustic melodies while adding Victorian harmonic refinements for choral and organ accompaniment. These collections fostered a renewed interest in carols during the Christmas season, influencing liturgical practices across Anglican churches. Stainer's hymnody exerted lasting influence, with more than 30 of his approximately 150 original tunes appearing in the revised edition of Hymns Ancient and Modern (1916), a key hymnal still in use today, and over 20 continuing in modern compilations like The Hymnal 1982. His melodies, characterized by diatonic harmony and singable ranges, bridged Romantic expressiveness with practical congregational needs, ensuring their integration into worship traditions well into the 20th century.

Oratorios and Cantatas

John Stainer composed five major sacred vocal works classified as oratorios and cantatas, all drawing on biblical narratives and emphasizing dramatic storytelling through choral and solo elements. These pieces, including (1865), The Daughter of Jairus (1878), St. Mary Magdalen (1883), (1885), and The Crucifixion (1887), were premiered at significant festivals or churches and gained traction in Victorian concert repertoires for their blend of solemn reflection and accessible emotional appeal. Stylistically, Stainer favored straightforward, singable melodies that prioritized clarity and devotion over complexity, often employing homophonic textures in choruses to enhance congregational participation, while incorporating orchestral scoring—typically strings, winds, and —to build dramatic tension and vivid scene-painting. Stainer's earliest major work, the oratorio Gideon, premiered in Oxford in 1865 as part of his doctoral exercise, explores the biblical judge's triumph over the Midianites through a narrative arc of divine calling, battle preparation, and victory, structured around recitatives, arias, and triumphant choruses that highlight themes of faith and obedience. Similarly, the cantata The Daughter of Jairus, premiered at the Worcester Festival in September 1878, dramatizes the New Testament miracle of Jesus raising Jairus's daughter, featuring a poignant progression from grief to resurrection joy, with soloists portraying the family and Christ amid swelling orchestral interludes that underscore the emotional pivot. St. Mary Magdalen (also known as The Remorse of Mary Magdalen), composed for the Gloucester Festival in 1883, delves into the saint's repentance and redemption, using expressive tenor and soprano solos interwoven with choral lamentations to convey inner turmoil and forgiveness, its orchestral palette adding layers of pathos through subtle dynamic contrasts. The cantata Hagar, premiered at the Bradford Festival in 1885, portrays the Old Testament story of Hagar and Ishmael's exile, emphasizing maternal anguish and divine provision through narrative-driven sections that alternate intimate recitatives with robust ensemble passages. Stainer's most renowned work, the oratorio The Crucifixion: A Meditation on the Sacred Passion of the Holy Redeemer, premiered on February 24, 1887, at Parish Church in , stands as a contemplative Passion narrative spanning the events from to the resurrection. Divided into 20 sections—including recitatives, solos for and bass, duets, and choruses—it unfolds as a series of meditative vignettes rather than a continuous dramatic arc, with iconic moments like the anthem "God So Loved the World" providing lyrical anchors amid chromatic harmonies and building crescendos that evoke Christ's suffering and triumph. Though initially scored for organ accompaniment to suit settings, later performances adapted it for , amplifying its theatrical scope. Its immediate and lasting popularity stemmed from this unpretentious yet evocative style, making it a fixture in 19th-century Lenten concerts across English-speaking churches, where it was performed thousands of times and praised for fostering devotional intimacy without demanding elite virtuosity.

Organ and Cantata Accompaniments

Stainer's organ compositions, though not as prolific as his vocal output, reflect his profound understanding of the instrument gained through his roles as at , and . His original works for organ primarily consist of short voluntaries and pedagogical pieces composed in a romantic style, characterized by lyrical melodies, expressive dynamics, and moderate technical challenges suited to church and concert settings. Notable examples include the Allegretto in F, Andante in A, Fantasia in , Adagio, and Prelude and Fughetta in C, all featured in his 1877 textbook The Organ, where they serve to demonstrate phrasing, registration, and interpretive techniques on the Victorian organ. These pieces, totaling around a dozen in his oeuvre, prioritize emotional depth over virtuosic display, aligning with Stainer's emphasis on musicality in Anglican worship. A representative festive voluntary is Stainer's A Jubilant March (c. 1900), a bold and rhythmic composition intended for celebratory occasions, featuring triumphant fanfares and pedal work that highlight the organ's majestic tone. This work exemplifies the technical demands Stainer placed on performers, requiring precise articulation and swell box control to evoke grandeur. In the realm of cantata accompaniments, Stainer's expertise is evident in his sacred works, particularly The Crucifixion (1887), a Passion meditation for SATB chorus and organ where the keyboard provides comprehensive support without orchestral forces. The organ part includes idiomatic reductions of potential fuller scorings, with sustained pedal points, chordal textures, and dramatic interjections that underscore the narrative's emotional arc; a key example is the "Processional to Calvary" ("Fling wide the gates"), a march-like section blending choral melody with robust organ accompaniment to convey solemn procession. Similar organ-centric accompaniments appear in his other cantatas, such as The Daughter of Jairus (1878), reinforcing Stainer's preference for the organ's versatility in devotional music.

Scholarly Contributions

Books on Music Theory

Stainer's A Theory of Harmony, published in , presented a structured examination of fundamentals grounded in the tempered scale, emphasizing practical for aspiring musicians. The text detailed chord progressions, such as the resolution of dominant to tonic and the use of secondary dominants, alongside techniques for smooth modulations between keys, illustrated through analytical examples and scored fragments. To reinforce theoretical concepts, it incorporated numerous exercises requiring students to compose sequences and analyze given progressions, fostering hands-on mastery of rules like consecutive fifth avoidance and proper voice distribution. These texts profoundly shaped late 19th-century , serving as core references in British and international conservatories, where their clear, exercise-driven methodology influenced teaching practices and composer training for decades.

Historical and Organological Publications

John Stainer made significant contributions to through his publications on historical topics and organology, emphasizing and biblical . His 1879 work, The Music of the , provides a detailed examination of ancient Hebrew musical instruments and scales, integrating biblical texts with observations of contemporary Jewish practices to reconstruct possible ancient tonal systems. Stainer identifies instruments such as the () and (ram's horn), analyzing their roles in worship and drawing parallels to Eastern traditions for contextual depth. This book, spanning over 300 pages, remains a foundational text for understanding biblical , blending philological analysis with acoustic speculation grounded in 19th-century . In 1877, Stainer published The Organ, a comprehensive primer that traces the instrument's from ancient hydraulic mechanisms to Victorian-era developments, covering principles like pipe scaling, wind systems, and registration techniques. The volume details historical milestones, from the Greek hydraulis to medieval church organs and 19th-century innovations by builders such as Henry Willis, while offering practical guidance on performance adapted to English organs. It emphasizes the organ's acoustic properties and historical adaptations, serving as an accessible yet scholarly resource for students and builders. Stainer's Dufay and His Contemporaries (1898) compiles and analyzes fifty compositions from the early 15th century, focusing on Guillaume Dufay and figures like to illustrate the transition from medieval polyphony to Renaissance harmony. Edited with his children Cecie Stainer and J. F. R. Stainer, the work transcribes manuscripts from the , providing critical commentary on rhythmic innovations and contrapuntal techniques that shaped Burgundian music. This publication highlights Stainer's role in reviving , offering modern clefs and realizations to make the repertoire performable while preserving historical fidelity.

Editorial and Anthological Works

Stainer served as president of the and Mediaeval Music Society from 1895 until his death, overseeing efforts to transcribe and publish medieval , including 15th-century works from English sources. Under his guidance, the society produced editions that preserved chant-based , such as those drawn from Sarum rite manuscripts, emphasizing accurate notation and rhythmic interpretation derived from contemporary scholarship. His editorial contributions extended to the society's A Manual of Plainsong for Divine Service (1902), which he supervised, incorporating transcribed canticles, tones, and hymns in modern notation to facilitate performance in Anglican services while adhering to historical practices. This work included detailed appendices on intonation and psalmody, reflecting Stainer's commitment to reviving authentic medieval repertoires. A landmark in his anthological efforts was Early Bodleian Music, a two-volume series edited in collaboration with his son J. F. R. Stainer and daughter Cecie Stainer, published between 1898 and 1901. The volumes transcribed over 100 sacred and secular compositions from manuscripts, spanning approximately A.D. 1185 to 1505, with facsimiles, modern transcriptions, and analytical notes to highlight polyphonic development in English and continental traditions. The second volume, subtitled Dufay and His Contemporaries, focused on fifty pieces from the early , transcribed from Ms. Canonici misc. 213, including motets and chansons by Guillaume Dufay and associated composers; Stainer provided a critical elucidating structures and textual-musical relationships. This anthology advanced the study of Renaissance polyphony by making rare sources accessible to scholars and performers.

Legacy

Contemporary Influence

During his lifetime, John Stainer's hymns and achieved widespread adoption in Anglican churches throughout Britain and its colonies, becoming staples of Victorian worship by the close of the . Works such as the "God So Loved the World" from his 1887 Passion oratorio The Crucifixion entered standard repertoires, with The Crucifixion itself performed frequently in cathedrals and settings for its accessibility to amateur choirs. His harmonizations, including those for "The First Nowell," appeared in influential collections like Hymns Ancient and Modern, which circulated extensively across the , embedding Stainer's contributions in global Anglican . This dissemination elevated the overall quality of , as his compositions balanced melodic simplicity with emotional depth, making them suitable for both professional and congregational use. Stainer played a pivotal role in professionalizing music education, particularly through his tenure as Heather Professor of Music at the from 1889 to 1899, where he advocated for reforms to modernize the curriculum. He emphasized rigorous training in theory, history, and performance, authoring key publications such as The Organ () and A Theory of Harmony (1872), which became foundational texts for aspiring musicians and teachers. These efforts extended to his oversight of the St. Paul's Cathedral Choir School, completed in 1875, which served as a model for institutionalizing choral and raising standards in boys' training programs across . By integrating scholarly rigor with practical , Stainer helped transform music from a gentlemanly pursuit into a structured . Stainer's cultural reach extended through prominent performances at festivals like the Three Choirs Festival, where he conducted the premiere of his oratorio St. Mary Magdalen in in , solidifying his status in the British musical establishment. These events showcased his ability to blend orchestral and choral forces, influencing the festival's programming and broader Victorian concert culture. Among contemporaries, Stainer's innovations in sacred music and educational reforms resonated with figures like , who drew inspiration from Stainer's liturgical experiments, such as orchestral accompaniments for services, in shaping the English Musical Renaissance.

Modern Reception and Recognition

Following Stainer's death in 1901, his compositional output experienced a marked decline in performance and critical esteem after the , largely attributed to its perceived Victorian and emotional directness, which fell out of favor amid modernist shifts in musical taste. This downturn was particularly evident in his oratorios and anthems beyond church settings, as broader cultural preferences moved toward more austere or expressions; however, his 1887 meditation The Crucifixion has endured as an exception, remaining a staple for annual performances in Anglican and other churches worldwide, valued for its accessibility and devotional immediacy. In modern scholarship, Stainer's legacy has seen selective revivals, particularly through his pioneering editions of , which continue to inform historical performance practices in academic and ensemble contexts. His work Early Bodleian Music (1895), compiling medieval and examples, has been recognized as a foundational contribution to , with renewed interest in the for its role in authenticating pre-modern repertoires. 21st-century recordings have further sustained aspects of his oeuvre, including Chandos's 1997 release of The Crucifixion by the and a 2024 rendition by the Choir of St. Mary's Cathedral, , highlighting renewed choral interest. Recognition of Stainer persists through enduring institutions and scholarly reassessments, such as the publishing house Stainer & Bell, established in 1907 to promote British music and still active in distributing his hymn tunes and editions today. Over 30 of his hymn tunes remain included in major collections like Hymns Ancient and Modern, ensuring ongoing liturgical use. Recent studies in Victorian , including Jeremy Dibble's 2007 biography John Stainer: A Life in Music and a 2021 analysis of his sacred contributions, have reframed his work as a bridge between Romantic accessibility and scholarly rigor, emphasizing its cultural significance in 19th-century .

References

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