age of eleven, by John Russell, R.A., is in the possession of his son, Mr. Erasmus Wesley. Another portrait in oils, painted by John Jackson, R.A., in 1826, is in the possession of the artist's nephew, the Rev. John Jackson, of Higher Broughton.
His published works, besides anthems, glees, songs, and organ and pianoforte music, include:
- Missa solemnis (Gregorian), for voices only.
- Six Latin motets.
- Morning and Evening Service in F, for the Church of England.
The large quantity of music in manuscript includes several motets, masses, four complete symphonies, three overtures, eleven organ concertos, and music for strings.
A large collection of Wesley's music, letters, and various other matter relating to him is preserved in the British Museum in Addit. MSS. 11729 (letters to Vincent Novello); 14339–344 (compositions); 17731 (pedigree list of compositions, &c.); 27593 (his reminiscences and autobiography); 31217, 31222 (antiphons); 31239 (chants, &c.); 31763 (tunes); 31764 (letters, portrait, &c.); 34007 (psalm and five letters); 34089 (organ voluntaries); 34996–35027 (many volumes of letters, compositions, documents, &c., bequeathed by Miss Eliza Wesley). Egerton MSS. 2159 (letters); 2512 (psalm-tunes); 2571 (motets and madrigals).
[In addition to authorities already cited, G. J. Stevenson's Wesley Family, 1879; Musical World, 20 Oct., 3 and 24 Nov. 1837; Grove's Dictionary of Music and Musicians, iv. 445; Wesley Banner, September, October, and November, 1851; Proceedings of Musical Association, session xx. 1893–4, p. 125 (paper on Samuel Wesley by James Higgs); An Account of the remarkable Musical Talents of several Members of the Wesley Family … by W. Winters, 1874; Musical Standard, 6 Dec. 1890, p. 473; Methodist Recorder, 28 Oct. (p. 840) and 11 Nov. 1897, also 16 Feb. 1899; private information. Lists of Wesley's compositions will be found in Grove's Dictionary of Music and Musicians, iv. 446b; Musical World, 3 Nov. 1837; Letters referring to the Works of J. S. Bach, by Samuel Wesley, edited by his daughter Eliza Wesley (1875), pp. 53 et seq.; Addit. MS. 17731.]
WESLEY, SAMUEL SEBASTIAN (1810–1876), composer and organist, natural son of Samuel Wesley (1766–1837) [q. v.], the musician, by Sarah Suter, was born in London on 14 Aug. 1810. He was named Sebastian after John Sebastian Bach, his father's idol. At the age of nine he became one of the children of the Chapel Royal, St. James's. In that capacity he was one of two or three specially selected boys who went to Brighton every week during the sojourn there of George IV to sing at the Sunday services in the private chapel of the royal pavilion. ‘The soprano of Master Wesley [in the anthem ‘O Lord, our Governor’] was remarkably clear; his shake was open, his every intonation distinct and correct. The king's band, with Mr. Attwood at the organ, were on duty’ (Morning Post, 30 Dec. 1823). The king presented the boy with a gold watch. Wesley was appointed organist of St. James's Chapel, Hampstead Road, in March 1826 at the age of fifteen (Addit. MS. 35019, f. xx). On 12 Jan. 1829 he became organist of St. Giles's Church, Camberwell. In the same year, probably on the death of Benjamin Jacob [q. v.], he was appointed to St. John's Church, Waterloo Road, Lambeth; and in 1830, attracted by the opportunities for fishing which the place afforded, he became evening organist of Hampton parish church. The duties at St. John's were discharged deputywise by his father; but as there was complaint made about S. S. Wesley's holding three posts at the same time, he resigned that of St. John's.
On 10 July 1832 Wesley was appointed organist of Hereford Cathedral in succession to John Clarke-Whitfeld [see Whitfeld]. He began duty on 6 Nov., when he reopened the organ after its renovation by Bishop; his masterly anthem, ‘The Wilderness,’ was in all probability first performed on that occasion (a foot-note on the current folio edition of the work states that it was ‘composed for the reopening of a cathedral organ, 1831,’ but this is doubtless a lapsus calami for ‘1832’). In the following month (15 Dec. 1832, Addit. MS. 35019, f. xv) he sent in his ‘Wilderness’ in competition for the Gresham prize (London)—a gold medal value five guineas, given annually by Miss Hackett for the best composition in church music—but without success. ‘It is a clever thing,’ wrote Richard John Samuel Stevens [q. v.], one of the adjudicators, ‘but not cathedral music.’ ‘The Wilderness’ was performed with orchestral accompaniment at the Birmingham Musical Festival of 1852 under the composer's conductorship. Another of Wesley's famous anthems, ‘Blessed be the God and Father,’ was composed while he was at Hereford. The state of the choir at that time may be estimated by the following note printed on the folio edition: ‘This anthem was written for an occasion (Easter day) when only trebles and a single bass voice were available.’ By virtue of his office Wesley conducted the festival of the three choirs, held at Hereford 9–11 Sept. 1834, when a manuscript overture of his, ‘which evinced great talent,’ was performed. In 1835 he resigned Hereford and became organist and
