organist at the Temple; Edwin George Monk (d. 1900), pupil of Macfarren and in 1859-83 organist of York Cathedral; George Cooper (d. 1876), from 1856 the admired organist of the Chapel Royal; John Matthew Wilson Young (d. 1897), in 1850-95 organist of Lincoln Cathedral; Samuel Reay of Newcastle and Newark; John Bacchus Dykes (d. 1876), a clergyman distinguished for his gift as a writer of hymn-tunes; William Henry Monk (d. 1889), from 1847 connected with King's College, London; William Spark (d. 1897), in 1850-80 organist at Leeds and editor of much organ music; F. A. G. Ouseley (see below); Robert Prescott Stewart (d. 1894), all his life a fruitful worker at Dublin; William Thomas Best (d. 1897), with an international reputation as an organist, working from about 1845 at Liverpool, especially in 1855-94 at St. George's Hall; Charles Steggall, professor at the Royal Academy from 1851 and organist at Lincoln's Inn; Henry Hiles (d. 1904), whose varied activity as composer and theorist belongs mostly to the recent period; John Baptiste Calkin (d. 1905), long known in London churches; H. S. Oakeley (see below); William Joseph Westbrook (d. 1894), a specially fruitful organist; George Mursell Garrett (d. 1897), organist first at Winchester, then at Madras, and from 1857 at Cambridge; Edward Henry Thorne, from 1853 organist at Henley, Chichester, Brighton and several London churches; Edmund Hart Turpin, another conspicuous London organist; Joseph Barnby (d. 1896), trained at York, from about 1855 active at London, especially as a choral conductor and the writer of part-songs and the graceful cantata Rebekah (1870); John Naylor (d. 1897), in 1856-83 at Scarborough and then at York Cathedral; the Netherlander Berthold Tours (d. 1897), violinist and editor; Scotson Clark (d. 1883), a clergyman who attained wide repute as a concert-organist; and John Stainer (d. 1901), beginning his career as organist in 1854, in 1872-88 Goss' successor at St. Paul's and finally professor at Oxford, and a powerful influence upon musical education and scholarship. All these contributed freely to the immense literature of anthems, services and hymn-tunes which has had so wide an influence throughout the English-speaking world. Several of them produced extended choral works in the later period.
Many of the foregoing were able writers of songs and part-songs, especially Smart, Macfarren, Reay, Hiles, Garrett and Barnby. The old line of real glee-makers was successfully prolonged by Robert Lucas Pearsall (d. 1856), living mostly in Switzerland, with many madrigals (from 1840); by James Coward (d. 1880), from 1857 organist at the Crystal Palace; and by Henry David Leslie (d. 1896), who from 1855 was the indefatigable leader of a famous chorus for a cappella singing. Still more inevitably were those named below more or less active in the song field. Among many favorite ballad-writers of unambitious rank was Joseph Philip Knight (d. 1887).
English stage-music in this period still ran mostly to light operettas, though with some striking efforts to establish an English operatic type of a higher class.
Two foreigners were early conspicuous as conductors. One was the Neapolitan Michael Costa (d. 1884), who came to London in 1830, and after 1846 had charge of the Italian Opera, the Philharmonic and Sacred Harmonic Concerts, and the Birmingham festivals—the composer of 4 Italian operas at
