This story begins with the destruction by fire of the church of St Barnabas in Dulwich Village on 8 December, 1992. All the music in the church was destroyed - with the exception of a handful of charred remains. One of the items lost was a set of finely bound scores of organ music, with the initials of the former owner neatly tooled in gold leaf on the front cover in the lower right-hand corner. Within the volume was the March Triumphant by ‘R. Dawre, Organist of St Peter’s Dulwich’. Following the fire the process of replacing lost music began. A copy of Dawre’s score was located in the British Library. Interest later deepened in his work, when, during visits to Australia and New Zealand the name Richard Dawre surfaced unexpectedly on a number of occasions.
Dawre/s Antipodean success (continued) Dawre’s mini-oratorio The Lion of Judah attracted literally dozens of performances - often using Dyke’s band parts, but sometimes with piano or organ accompaniment. The earliest performance of this miniature sacred oratorio seems to have been in Launceston, Tasmania on Wednesday 17 September, 1884: Sacred Cantata. - We remind our readers that this evening a sacred cantata, ‘The Lion of Judah,’ will be given at the Prince's Square Congregational Church with orchestral and organ accompaniment. The cantata, which has been well rehearsed, is full of pleasing melodies and concerted music, and all those who have not heard it should not let this opportunity slip by, especially as the admission is free. The review of the concert is worth repeating in full. SACRED CANTATA. The Prince's Square Congregational Church was full to overflowing - it being estimated that there were upwards of 700 persons present-last night, when a sacred cantata, entitled ‘The Lion of Judah,’ was performed by the members of the church choir, assisted by a few friends. This is the first occasion on which this cantata has been performed in Launceston, and the rendition thereof last evening was highly appreciated by all who were present. It is a very pleasing musical work, was composed by Richard Daure, [sic] and is illustrative of the Life and Mission of Christ. The performers, who numbered 35, of whom 25 were members of the choir, were seated on a platform erected the entire length of the end of the church. The pulpit had been removed, and the choir platform raised and extended, the improvement being very favourably commented upon by those who regularly attend the church. Miss Wigmore presided at the organ, and during the evening accompanied some of the soloists in an exceedingly able manner. The vocalists were assisted by a miniature orchestra, which did good service, and rendered the music of the cantata very creditably and with full effect. The soprano soloists were Miss N. Wadham, Miss Lambert, and Miss A. Goldsmith; the bass solos being rendered by Mr. W. A. Thornthwaite and Mr. Walker. Besides those ladies and gentlemen named, the following took part in the duets, trios, and quartettes:- Misses Birchall, Wilkins, and James, and Messrs. Rees, F. Cox, H. Button, and Ready. The whole performance went with the utmost smoothness, there not being the faintest approach to anything like a hitch, vocalists and instrumentalists alike being perfect in their parts; Miss Nellie Wadham's rendering of ‘Ecstatic bliss’ was very enjoyable, and her singing of the solo at the commencement of the second part, ‘God's spirit is upon me now,’ was highly appreciated, as it justly deserved to be. One of the most charming items rendered was the singing of the solo ‘Jesus Christ is risen to-day,’ by Miss Lambert, with the choir, orchestra, and organ joining in at the end of each line with the chorus ‘Hallelujah.’ The effect was very pleasing. Miss Lambert, who has a very nice, sweet voice, created a favourable impression upon the audience by her singing. ‘Came John the Baptist,’ a bass solo, was rendered by Mr. Thornthwaite with much care and taste. This gentleman played an organ voluntary during the interval between the parts, in his usual style. The first part commenced with an instrumental march, and the second with the performance of a pastorale. The choruses were exceedingly well sung by the choir. Mr. J. A. James, the choirmaster, wielded the baton in a most creditable manner, keeping the performers well in hand and paying due attention to the correct rendition of the light and shade. Mr. James deserves great praise for the state of efficiency to which he has brought his choir. No pains have been spared in the preparation of the cantata performed last night, and each lady and gentleman who took part therein deserves the highest praise. A book containing the words of the cantata was provided for the use of the audience. During the evening a collection was taken up in aid of the choir fund, upwards of £12 being donated. On Tuesday 4 November, 1884 The Northern Argus in the town of Clare, almost 100km north of Adelaide, reported another performance of the cantata. COUNTRY NEWS. WATERVALE, October 29. Anniversary services in connection with the Watervale Bible Christian Sunday School were conducted on Sunday and Monday, October 26 and 27. On Sunday three sermons were preached, those in the morning and evening by the Rev. T. Allen, of Bowden, and in the afternoon by the Rev. J. R. Bradbury, of Auburn … The Watervale Brass Band turned out in full force, and played several selections during the afternoon in a very creditable style. In the evening there was quite a large attendance at the church to hear the new sacred cantata ‘The Lion of Judah,’ which was given by the choir, assisted by some members of the Watervale Brass Band. This cantata has never been given in the colony before, having only been received from England last August. The subject is the life and mission of Christ. Libretto by Oswald Allan, music composed and edited by Richard Dawre. It comprises opening march and pastorale (instrumental), solo for soprano, contralto, tenor, and bass, with duets, trios, quartettes, and choruses, and some of the numbers are of exceptional and sterling merit. Considering the short time the piece has been under rehearsal it was creditably rendered … Many further performances followed: in Adelaide in 1886, Heathcote, Victoria and Melbourne in 1888, Geelong in 1892, Launceston, Tasmania in 1893, Sydney in 1902, Jambaroo and Kiama, Blue Mountains, New South Wales, together with further performances in towns south of Adelaide in 1905 and 1906, Brisbane, 1909, Illawarra (18 km north of Wollongon, NSW) in 1911, once again in Geelong in 1913 and again in Jambaroo in 1915. Performances of The Lion of Judah in New Zealand Newly published music was evidently exported to New Zealand and Australia almost as soon as it had been printed in London. The Hawkes Bay Herald of 25 November 1873 records that Dawre’s piano pieces Flora and Spring’s Greeting had been received by the Suez Mail and were evidently available for purchase. Soon after the first performances of The Lion of Judah in Adelaide, the word seems to have spread both to North and South Island in New Zealand. The first mention of a performance of Dawre’s oratorio is in the Timaru Herald, 26 June 1885: SACRED CANTATA. It is announced in another column this morning that the sacred cantata, ‘The Lion of Judah,’ will be given by the members of the choir of the Congregational Church on July 14th. The cantata is illustrative of the life and mission of our Saviour. The libretto is by Oswald Allan, and the music is composed and edited by Richard Dawre. The opening March is an excellent one; is not lengthy … This was followed two years later by a performance in Masterton, advertised in Wairarapa Daily Times, 18 July 1887. The Choir of the Masterton Presbyterian Church, assisted by the leading local amateurs, have in rehearsal a sacred cantata ‘The Lion of Judah’ by Oswald Allan and Richard Dawre, which, they intend to render in about two months’ time. The review of that concert was recorded in the Wairarapa Daily Times, 27 October, 1887, as follows: PRESBYTERIAN ENTERTAINMENT. The entertainment in aid of the Masterton Presbyterian Church Building fund attracted a large audience at the Theatre Royal last evening, (Wednesday) the splendid moonlight night combined with more especially to the country people [sic.], a great many of whom were present. The opening overture ‘Caliph of Bagdad’ [by Boieldieu] was rendered by the Cantata Band, consisting of seven Violins, Violincello, [sic.] two Cornets, Tenor horn and double bass, with Pianoforte and organ … The attraction of the, evening was undoubtedly the sacred cantata ‘The Lion of Judah,’ which the choir bad been practising most assiduously ‘for several weeks’, and which was rendered in a manner that elicited admiration from all lovers of music present. The Cantata is illustrative of the life, and mission of Christ, the Libretto being written by Oswald Allan, the music composed by Richard Dawre. It is sparkling with musical gems, some of which are adapted from the works of the greatest of the world’s composers. From the opening march, to ‘Song of Jubilee’ everything went as smoothly as possible, the solos and part singing being rendered with almost faultless expression and the choruses throughout showing careful training, and great attention to the composer’s instructions. Further performances followed: on 1 December, 1899, the Oamaru Mail, recorded a performance, harking back to the production in Timaru some years before; clearly things did not go according to plan: St Paul's Choir. ‘THE LION OF JUDAH.’ There was a very good attendance at St. Paul's Church last evening, when the church choir rendered Richard Dawre's sacred cantata, ‘The Lion of Judah.’ This cantata was given some 10 or 12 years ago, but was none the less appreciated by those who listened to it last night … The music of the piece, taken generally, is bright and spirited, and in many instances is admirably adapted to the words. The choir were ably assisted by an orchestra of 13, who materially added to the success of the performance. .... The opening chorus, ‘We sing, Emmanuel’ was sung in a resolute manner, the choir entering into the spirit of the piece with vigor. We have no space to enumerate the items, suffice it to say that one and all acquitted themselves well .... The other choruses were well sung, but suffered on account of a slight misunderstanding between the choir and the baton.
Richard Dawre’s compositions Dawre’s earliest published work is 1878. The complete known works are as listed below in chronological order; other works may subsequently come to light. This list is compiled from the British Library and The Bodleian Library Catalogues, from personal research, and from entries which appear in the Universal-Handbuch der Musikliteratur, published towards the end of the nineteenth century. Flora, morceau de salon for the Pianoforte. London, [Chappell, 1878; British Library acquisition date: 10 December, 1878] Spring's Greeting, morceau de salon for the Pianoforte. London, [Chappell, 1878] The Advance Guard March. [pianoforte] London, [Simpson, 1879; British Library acquisition date: 21 April, 1879] Te Deum Laudamus, set to music in the key of F (in festal form). London, [Novello & Co, 1879, reprinted 1905?] O come, O come Emmanuel. Advent hymn. London, [1879, reprinted by Novello, 1913] Jubilate Deo set to music in the Key of F (in festal form). London, [Novello & Co, 1880, Reprinted 1905?] The Old Oak Tree. Song [begins: ‘For fully three hundred years’]. Words by Miss M. B. Edwards. London, [Chappell, 1880] March Triumphant Organ Solo, London, 1878 Fairy Revel, morceau élégant pour Piano. London, [Moore, 1881] The Lion of Judah. A sacred cantata ... Libretto by O. Allan. London, [1883] The Lion of Judah. Band parts, arranged by Robert Dyke, London [John Guest, 1883; British Library acquisition date: 22 May, 1883] Au Bord du Lac ... Fantasia. [pianoforte] London : C. Seaton, [1883] The Lion of Judah ... Tonic Sol-Fa edition. London, [1883] March Militant, from the Cantata, the Lion of Judah. [pianoforte] London, J. Guest, [1884] Gavotte Antique, for the pianoforte. London, J. Guest, [1884] Gavotte Antique [for flute and strings. Separate parts] London, [1884] Over the Ocean we are sailing to Thee. A Sacred Song, poetry by O. Allan. London, J. Guest, [1884] 2 Offertories [for organ]: 1. in D minor, 2. in F minor, Org à 4 [i.e., an organ duet?], Jefferys [1884?]. These works have not been located in any source. Dawre’s first published composition appears to be Flora, morceau de salon for the Pianoforte, published by Chappell & Co., London in 1878. His Festal Te Deum and Jubilate were issued by Novello in 1879; this pair of choral works must have enjoyed a certain popularity, as they were later re-advertised or reissued by the publisher in 1905. Advertisements for his Advent Hymn O Come, O Come, Emmanuel began to appear in Musical Times from 1 November, 1880, price 6d - one of the more expensive items in Novello’s Anthem Catalogue at that time - along with the Festal Te Deum - a longer work - priced only 4d. The Lion of Judah must be considered his most significant piece - although it must be noted that a portion of the work was completed by other composers. This short cantata-cum-oratorio was issued in 1883, together with a tonic sol-fa edition and band parts written by Robert Dyke. Dawre, as noted above, died in October 1881, and so these additional movements, together with the band parts, must have been written after his death, and the work published posthumously. The exact sequence of events here is difficult to unpick. Perhaps the publisher, F. Pitman Hart & Co., commissioned this work as part of its series of easy cantata-type oratorios, or was encouraged to publish it posthumously, perhaps by Dawre’s supporters from St Peter’s parish church. When Dawre died suddenly, either the publisher retrieved what Dawre had written and completed the work with additional movements written by others, or, as an act of goodwill, the publisher took the work, and a friend or colleague completed the score. The band parts, were written by Robert Dyke, ‘late of HM 46th Regiment’ and published by John Guest from 20 Warwick Lane, EC. In the advertisements carried on the inside back page of The Lion of Judah, Guest is noted as ‘composer and editor’ of a series of easy oratorios, all published by J. Pitman Hart & Co. Guest arranged editions of Handel’s music (e.g., Judas Maccabeus) for this same publisher who operated from 20 & 21 Paternoster Row in London’s EC3. This was a most important street for London’s publishing trade with numerous printers and booksellers occupying adjacent premises. Guest may have been a music editor for Pitman Hart & Co - either way, he completed Dawre’s manuscript, adding some of his own movements and inserting compositions by others. The list of movements is as follows: Opening March [March Militant] Dawre We sing Emmanuel Dawre While Shepherds Watch Howell Oh, be not dismayed Dawre Mortals, awake R. Dickson, arr. J. Guest Mary’s Joy Dawre The Infant Jesus [Dawre?] arr. J. Guest Christ in the Temple J. Guest Christ’s Baptism Dawre Pastorale Dawre Christ’s Mission J. Guest Christ heals the sick Dawre Thrice Blessed Lord ?Dawre Bethany J. Guest Kedron J. Guest The Crucifixion F.V. Mellon The Resurrection F.V. Mellon Easter Hymn Arr. J. Guest Then live each day J. Guest The Lion of Judah J. Guest The Song of Jubilee Handel, arr. J. Guest. It will be seen that the final eight movements are composed by others; perhaps Dawre sketched out how he envisaged the oratorio and his plan was completed after his death. The substantive movements are by Dawre, and some of the shorter movements have been added by others. F.V. Mellon was organist at Charterhouse in London in the 1860s; in 1863 Gray & Davison built a new organ for the chapel there, and Mellon is noted as the resident organist. Dawre may have had some - as yet undiscovered - connection with the Charterhouse. The references in The Musical Standard and Musical Times of 1868 refer to the parish church of St Thomas Charterhouse in Islington, which has no connections to the Charterhouse School foundation (also known as Sutton’s Hospital) in EC1; to add to the confusion, there was also a National school called St Thomas’ Charterhouse School, founded in 1856 next to the church in Islington, which is sometimes confused with Charterhouse School.
Sutton’s Hospital was a joint foundation for pensioners and poor scholars, founded in 1611 by Thomas Sutton and housed in the buildings of a former Carthusian monastery, or ‘Charterhouse’, at Smithfield. The School moved out of London to Godalming in 1872, but the pensioners remain at the London Charterhouse to this day. The other composers featured in The Lion of Judah, Howell and R. Dickson, remain unknown.
Dawre’s antipodean success The advertisements carried on the inner back page of the full score of The Lion of Judah proclaim that the works listed ‘have acquired a world-wide popularity. Band parts may be had.’ Dawre’s music surfaces at the opening of an organ in St Andrews’ by the Sea, Glenelg, in the suburbs of Adelaide, in July 1883. These suburbs have various districts, the names of some of which will be familiar to South Londoners: Norwood and Dulwich. Exactly what the connection was with South London is beyond the scope of this essay - but it seems doubly curious that Dawre’s organ music should readily find a home in Adelaide’s suburbs so soon after his death. One cannot help but wonder whether there remains some undiscovered musical or social connection between these two far-distant places - perhaps the link was the Congregationalists? The review of the concert in 1883 was as follows: SACRED CONCERT AT GLENELG. The Glenelg Congregational Choir Association gave the first of a series of sacred concerts in the Congregational Church on Tuesday evening. The Association is to be congratulated on the growing interest manifested in their concerts, that given last night drawing the largest audience of any yet held. Although the Association is numerically small, it contains well-trained voices, and their performance last night reflects much credit on the organist, Mr. Rickards, and the conductor, Mr. Kirkpatrick. The programme opened with an offertoire on the organ in F [Dawre] by Mr. H. S. Rickards, which received full justice at the hands of the organist. Dawre’s Offertoire was evidently considered sufficiently strong a piece of music to feature as the first item in the Glenelg concert programme. A few years later, in North Terrace, we find the same work holding its head up against some well-known pieces by established composers: THE JUBILEE EXHIBITION The Exhibition attracted 6,862 persons on Saturday, this number being made up of 3,075 cash admissions and 3,787 season ticket admissions. Up to and including that day the attendance had been as follows:- Cash admissions, 82,744; season ticket admissions, 85,491 ; total, 168,235. … In the evening Mr. W. R. Knox gave an organ recital also in the main hall. The programme was as follows:- March, 'Occasional Oratorio' (Handel); (a) Melody in F (varied) (Munro); (b) ' Tannhauser March,' (Wagner); Introduction and Fugue (Andre); selection, 'Martha' (Flotow); Andantino (from 6th Quartette, Op. 8) (Pleyel); Offertoire in D (Dawre); ‘The Golden Trumpets’ (Fowles); ‘Hallelujah Chorus’ (Handel).
Evaluating Richard Dawre’s music It seems curious that, for a period of several decades from c.1880, Dawre’s music should have happily rubbed alongside some of the great works of the eighteenth and nineteenth century in numerous concert presentations. The music does not seem to have been performed much beyond the end of the Great War, when tastes in music changed: in England an extended Romanticism took hold - the so-called Second English Renaissance - and in Europe there were huge developments: the ‘impressionist’ music of Debussy and Ravel, was rapidly followed by the experimental forms of the Second Viennese School: the music of Schoenberg, Webern and Berg. Dawre’s music - and those of his contemporaries, such as Sir John Stainer - must have looked terribly old fashioned. Dawre’s musical style is relatively, if not refreshingly, naïve: it is a youthful style, derivative of the musical forms which were familiar to him - notably the extremely popular marches of numerous other forgotten composers, such as The Rev. Frederick Scotson Clark (1840-1883), or the Offertoires and boisterous voluntaries of the French organ-composers Édouard Batiste (1820-1876) and Louis James Alfred Léfébure-Wély (1817-1869). The repetitive chords, flowing scale passages and arpeggiated right-hand accompaniments found in the accompaniment to several movements from The Lion of Judah or O Come, O Come, Emmanuel recall the musical style of Faust by Charles Gounod (1818-1893) or O Holy Night by Adolphe Adam (1803-1856). Such accompaniment devices represent a common musical language for music of this period - a style which reached its zenith in the 1920s with works such as Albert Ketèlbey’s Sanctuary of the Heart. Much of Dawre’s output is for pianoforte and conforms to the genre known as ‘salon music’; his short compositions focus on a virtuoso technical display, or bear emotional expression of a sentimental character. Pieces which fall into this category often carry the title ‘fantasia’ - such as Au Bord du Lac published in 1883. Several of his piano pieces have their titles in French, with an additional explanatory phrase, such as ‘morceau de salon’ or ‘morceau élégant pour Piano’. Pieces of this kind were issued in vast numbers by publishers wanting to cash in on the rapidly developing urban market, in which a drawing room and pianoforte for the well-to-do were a must-have addition to any Victorian house. Despite these highly derivative stylistic characteristics, Dawre’s music is tuneful and readily approachable by amateur singers. It must be remembered that there were no composers striving to break the compositional mould during the Victorian period, and the style of English composition remained quite stable until the emergence of the entertainingly challenging music of Lord Berners (1883-1950). Similar characteristics contained in Dawre’s musical miniatures can be found in works such as Stainer’s Crucifixion (1887), Maunder’s Olivet to Calvary (1905), as well in the music of the leading composers of the day: the light-hearted operettas of Sir Arthur Sullivan (1842-1900), or the more serious concert works of the later generation, represented in the music of Sir Charles Hubert Hastings Parry, (1848-1918) and Sir Charles Villiers Stanford (1852-1924). A notable feature of The Lion of Judah is the mix of styles. This is almost certainly on account of the joint authorship of the work. In the first nine movements there are echoes of the style of earlier composers. For example, in the third item ‘While Shepherds Watch’ - no relation - an opening duet is followed by two Handelian choruses. The fourth movement, ‘Oh be not dismayed’, opens in the style of a Bach chorale, rapidly usurped by the operatic style of Donizetti. ‘Mortals awake brings’ another Handelian-style chorus with elements of a madrigal or glee - very popular in the nineteenth century. In ‘Mary’s Joy’ an opening recitative is followed by a solo aria which could be straight out of Gilbert and Sullivan. In ‘The Infant Jesus’, the tune of - appropriately for the nativity - ‘Happy Birthday to You’ hidden in the organ part. ‘Christ in the Temple’ is a hymn, and finally in this first section ‘Christ’s Baptism’ brings a solo aria, once again in the style of Gilbert and Sullivan. In the second half of the work the ‘Pastorale’ is an instrumental number, in a style reminiscent of the ‘Pastoral Symphony’ in Handel’s Messiah. The band parts contain a prominent (and unusual) role for the triangle. ‘Christ’s Mission’ brings more Gilbert and Sullivan. ‘Christ heals the sick’ is, briefly, like something from a Bach Passion, but more in the operatic style of Bellini or Donizetti. With ‘Thrice Blessed Lord’ we have more in the style of a Chorale from a Bach Passion. ‘Kedron’ is a four-part madrigal. ‘The Crucifixion’ has elements strongly reminiscent of Stainer’s work of the same name - although, interestingly, the latter was written in 1887, some years after eh completion of The Lion of Judah. ‘The Resurrection’ is a short recitative followed by the well-known Easter Hymn ‘Jesus Christ is risen today’. Then live each day brings another hymn. The final number ‘The Lion of Judah’ could be a chorus from HMS Pinafore or the Pirates of Penzance. And, last but not least, The Song of Jubilee is avowedly borrowed from Handel, using musical quotations lifted wholesale from the Halleluiah Chorus from Messiah. Dawre’s compositions are, quite simply, entirely representative of music the Victorian period; it is tuneful and approachable, and, although relatively undistinguished, it comes with a fascinating story of personal tragedy and extraordinary posthumous far-flung popularity. It also contains a strong element of humour through its musical cross-references to other genres of the period and so remains a ‘spirited work of a forgotten mid-Victorian’.
Richard Dawre met an untimely end on Wednesday 5 October 1881. His death certificate records that he died of ‘effusion on the brain’, arising from an accidental fall, at 2 Barnes Cottages. He is identified as a ‘composer of music and organist’, but his age is given as 36. This must be a mistake: we know that he was baptised 31 October, 1847 at St Paul’s Church, Bristol and the census returns of 1851 and 1881 both tally with his age: he must have celebrated his 34th birthday only a few days before his death. It is here the trail of records and documentation goes cold; there was no grant of probate or letters of administration between 1881 and 1883 inclusive. Richard Dawre died suddenly and intestate. There was a complication: the death certificate records that William Carter, the Coroner for Surrey, issued the death certificate, with an inquest to be held on 12 October, 1881. An article in The Times for 1 November that year records Alleged neglect by a Coroner A crowded meeting of East Dulwich residents was held last evening [i.e., Monday 31 October, 1881] in the Moore-Park Hotel, Honor Oak [this was on Wood Vale and is now a private residence], to express indignation at the delay of Mr. Carter, coroner for East Surrey, in holding the inquest on the body of Mr. Richard Dawre, who died on the 5th of October from injuries received in the day previous. The complaint was that an inquest fixed for the 10th was not held until the 12th and then only, as alleged, in a perfunctory manner. Mr. Carter, when asked for an explanation, declared there had been a mistake, as he had fixed the inquest for Wednesday, and had so marked it in his diary, and threw the blame upon his officer. A committee was formed immediately after the inquiry, the outcome of which was the meeting of last night. The chairman was Mr. J. Fitzgibbon (vestry-man of Camberwell) who was supported by a number of influential local residents. After letters of sympathy had been read from Mr. W. Grantham Q.C., M.P. [Conservative Member of Parliament for East Surrey between 1874 and 1885], the Rev. Dr. Scott [vicar of St Peter’s], and Mr. G.C. Whiteley, Mr. Hemmings moved the adoption of a memorial to the Home Secretary praying for an inquiry into the matter. The resolution was carried and other steps were taken to have the matter fully inquired into.’ A report in The Standard on 13 October clarified the mix-up over the Coroner’s absence: Immediately the above inquest had concluded, a meeting of a few ratepayers and jurymen was held in the same room to consider what steps should be taken with reference to the inconvenience they had been put to through a misunderstanding between the Coroner and his officer. It appeared that the jury and witnesses had been summoned to attend on Monday, but no Coroner arrived. After waiting three hours the officer discharged them for the day, instructing them to appear the next morning (Tuesday). Later in the day the jury were informed that their presence would not be required until Wednesday; but all the witnesses, some of whom had travelled several miles, were told on their arrival on Tuesday morning that the inquiry would not take place till the following day. - Mr. Fitzgibbon having taken the chair, a resolution was carried ‘to petition the Home Secretary’ in reference to the matter, and a Committee was appointed to wait upon him. The unfortunate circumstances of Richard Dawre’s death were described as ‘melancholy’ by The Western Times: Many citizens will regret to hear of the death of Mr. Dawre, who was well-known in Exeter about 12 years since as organist of St Paul’s Church, and subsequently of the Congregational Church on Southernhay. It seems that on a recent occasion Mr. Dawre with a party of friends was at luncheon at the Franciscan Convent, Peckham. After the luncheon he with others commenced singing glees, and on attempting to resume his seat on the conclusion of the first, he fell backwards and struck his head against a wooden partition. He was assisted up and seemed none the worse for the fall, but a quarter-of-an-hour afterwards he fell down in exactly the same way, but he did not appear hurt by the second fall as he was able to walk into the garden adjoining, unsupported. Staying there rather a long time, one of the company went to look for him, where he found him lying at the bottom of a flight of steps in an insensible condition, and bleeding from a wound to the head. Mr. Dawre was at once conveyed home and a doctor immediately summoned, who was of the opinion that he was suffering from compression of the brain, caused by some vessel having given way. Mr. Dawre never recovered consciousness, and died shortly afterwards, the doctor giving it as his opinion that the deceased’s death was due to the last fall he received. The funeral was very largely attended by the neighbouring Choirs, who sang the hymn, ‘Brief life is here our portion.’ At the time of his death Mr. Dawre was organist of St. Peter’s Church, Dulwich, where his ability was highly appreciated. This newspaper report appeared towards the end of November and seems to have been a collation of the known facts. A report in The Standard on 13 October had also recorded the saga; some interesting additional facts, not included in The Western Times, emerged from that report: Mr. A. Burgess, of 73 Montpelier-road, Peckham, an artist, stated that a few days since he and the deceased gentleman were at lunch in the school-room adjoining the Roman Catholic Church in Lower Park Road, Peckham. Mr. Dawre, Witness and others sang a glee … The report is then almost verbatim, as per The Western Times, but continues: Subsequently the Witness found Mr. Dawre in the adjoining garden, lying on his back, bleeding from a wound on his head. He was conveyed home in a cab. Witness could not account for the gentlemen thus falling. He was quite sober, but was a very awkward man. Mr. J. Rand, surgeon … attended Mr. Dawre … Again, the report follows the account quoted above, but noted: ‘The Jury [at the inquest] returned a verdict of Accidental Death.’ A further report appeared in The Essex Gazette, but this was almost word-for-word as had been reported in The Times. In the absence of the actual coroner’s report, these two pieces of journalism piece the story together: Richard Dawre fell down a flight of steps in the garden of the Franciscan Convent in Peckham, hit his head and never regained consciousness. He must have been concussed and disorientated from his previous falls; his final fall resulted in a brain haemorrhage. ‘Effusion on the brain’, as recorded on Dawre’s death certificate, was the nineteenth-century description of a haemorrhage: ‘the escape of a fluid out of its natural vessel or viscous into another part. Also, the secretion of fluids from the vessels, as of lymph or serum, on different surfaces’, and as ‘the seeping of serous, purulent, or bloody fluid into a body cavity or tissue.’ The interesting phrase, ‘He was quite sober, but was a very awkward man’ remains a curiosity; this is effectively the only glimpse we get of Dawre’s character: in what way was he ‘awkward’? Was this a reference to a physical affliction, or was he simply clumsy? Perhaps it refers to a character trait? We shall never know.
Bravo richi
😇
This story begins with the destruction by fire of the church of St Barnabas in Dulwich Village on 8 December, 1992. All the music in the church was destroyed - with the exception of a handful of charred remains. One of the items lost was a set of finely bound scores of organ music, with the initials of the former owner neatly tooled in gold leaf on the front cover in the lower right-hand corner. Within the volume was the March Triumphant by ‘R. Dawre, Organist of St Peter’s Dulwich’. Following the fire the process of replacing lost music began. A copy of Dawre’s score was located in the British Library. Interest later deepened in his work, when, during visits to Australia and New Zealand the name Richard Dawre surfaced unexpectedly on a number of occasions.
Dawre/s Antipodean success (continued)
Dawre’s mini-oratorio The Lion of Judah attracted literally dozens of performances - often using Dyke’s band parts, but sometimes with piano or organ accompaniment. The earliest performance of this miniature sacred oratorio seems to have been in Launceston, Tasmania on Wednesday 17 September, 1884:
Sacred Cantata.
- We remind our readers that this evening a sacred cantata, ‘The Lion of Judah,’ will be given at the Prince's Square Congregational Church with orchestral and organ accompaniment. The cantata, which has been well rehearsed, is full of pleasing melodies and concerted music, and all those who have not heard it should not let this opportunity slip by, especially as the admission is free.
The review of the concert is worth repeating in full.
SACRED CANTATA.
The Prince's Square Congregational Church was full to overflowing - it being estimated that there were upwards of 700 persons present-last night, when a sacred cantata, entitled ‘The Lion of Judah,’ was performed by the members of the church choir, assisted by a few friends. This is the first occasion on which this cantata has been performed in Launceston, and the rendition thereof last evening was highly appreciated by all who were present. It is a very pleasing musical work, was composed by Richard Daure, [sic] and is illustrative of the Life and Mission of Christ. The performers, who numbered 35, of whom 25 were members of the choir, were seated on a platform erected the entire length of the end of the church. The pulpit had been removed, and the choir platform raised and extended, the improvement being very favourably commented upon by those who regularly attend the church. Miss Wigmore presided at the organ, and during the evening accompanied some of the soloists in an exceedingly able manner. The vocalists were assisted by a miniature orchestra, which did good service, and rendered the music of the cantata very creditably and with full effect. The soprano soloists were Miss N. Wadham, Miss Lambert, and Miss A. Goldsmith; the bass solos being rendered by Mr. W. A. Thornthwaite and Mr. Walker. Besides those ladies and gentlemen named, the following took part in the duets, trios, and quartettes:- Misses Birchall, Wilkins, and James, and Messrs. Rees, F. Cox, H. Button, and Ready. The whole performance went with the utmost smoothness, there not being the faintest approach to anything like a hitch, vocalists and instrumentalists alike being perfect in their parts; Miss Nellie Wadham's rendering of ‘Ecstatic bliss’ was very enjoyable, and her singing of the solo at the commencement of the second part, ‘God's spirit is upon me now,’ was highly appreciated, as it justly deserved to be. One of the most charming items rendered was the singing of the solo ‘Jesus Christ is risen to-day,’ by Miss Lambert, with the choir, orchestra, and organ joining in at the end of each line with the chorus ‘Hallelujah.’ The effect was very pleasing. Miss Lambert, who has a very nice, sweet voice, created a favourable impression upon the audience by her singing. ‘Came John the Baptist,’ a bass solo, was rendered by Mr. Thornthwaite with much care and taste. This gentleman played an organ voluntary during the interval between the parts, in his usual style. The first part commenced with an instrumental march, and the second with the performance of a pastorale. The choruses were exceedingly well sung by the choir. Mr. J. A. James, the choirmaster, wielded the baton in a most creditable manner, keeping the performers well in hand and paying due attention to the correct rendition of the light and shade. Mr. James deserves great praise for the state of efficiency to which he has brought his choir. No pains have been spared in the preparation of the cantata performed last night, and each lady and gentleman who took part therein deserves the highest praise. A book containing the words of the cantata was provided for the use of the audience. During the evening a collection was taken up in aid of the choir fund, upwards of £12 being donated.
On Tuesday 4 November, 1884 The Northern Argus in the town of Clare, almost 100km north of Adelaide, reported another performance of the cantata.
COUNTRY NEWS.
WATERVALE, October 29.
Anniversary services in connection with the Watervale Bible Christian Sunday School were conducted on Sunday and Monday, October 26 and 27. On Sunday three sermons were preached, those in the morning and evening by the Rev. T. Allen, of Bowden, and in the afternoon by the Rev. J. R. Bradbury, of Auburn … The Watervale Brass Band turned out in full force, and played several selections during the afternoon in a very creditable style. In the evening there was quite a large attendance at the church to hear the new sacred cantata ‘The Lion of Judah,’ which was given by the choir, assisted by some members of the Watervale Brass Band. This cantata has never been given in the colony before, having only been received from England last August. The subject is the life and mission of Christ. Libretto by Oswald Allan, music composed and edited by Richard Dawre. It comprises opening march and pastorale (instrumental), solo for soprano, contralto, tenor, and bass, with duets, trios, quartettes, and choruses, and some of the numbers are of exceptional and sterling merit. Considering the short time the piece has been under rehearsal it was creditably rendered …
Many further performances followed: in Adelaide in 1886, Heathcote, Victoria and Melbourne in 1888, Geelong in 1892, Launceston, Tasmania in 1893, Sydney in 1902, Jambaroo and Kiama, Blue Mountains, New South Wales, together with further performances in towns south of Adelaide in 1905 and 1906, Brisbane, 1909, Illawarra (18 km north of Wollongon, NSW) in 1911, once again in Geelong in 1913 and again in Jambaroo in 1915.
Performances of The Lion of Judah in New Zealand
Newly published music was evidently exported to New Zealand and Australia almost as soon as it had been printed in London. The Hawkes Bay Herald of 25 November 1873 records that Dawre’s piano pieces Flora and Spring’s Greeting had been received by the Suez Mail and were evidently available for purchase. Soon after the first performances of The Lion of Judah in Adelaide, the word seems to have spread both to North and South Island in New Zealand. The first mention of a performance of Dawre’s oratorio is in the Timaru Herald, 26 June 1885:
SACRED CANTATA.
It is announced in another column this morning that the sacred cantata, ‘The Lion of Judah,’ will be given by the members of the choir of the Congregational Church on July 14th. The cantata is illustrative of the life and mission of our Saviour. The libretto is by Oswald Allan, and the music is composed and edited by Richard Dawre. The opening March is an excellent one; is not lengthy …
This was followed two years later by a performance in Masterton, advertised in
Wairarapa Daily Times, 18 July 1887.
The Choir of the Masterton Presbyterian Church, assisted by the leading local amateurs, have in rehearsal a sacred cantata ‘The Lion of Judah’ by Oswald Allan and Richard Dawre, which, they intend to render in about two months’ time.
The review of that concert was recorded in the Wairarapa Daily Times, 27 October, 1887, as follows:
PRESBYTERIAN ENTERTAINMENT.
The entertainment in aid of the Masterton Presbyterian Church Building fund attracted a large audience at the Theatre Royal last evening, (Wednesday) the splendid moonlight night combined with more especially to the country people [sic.], a great many of whom were present. The opening overture ‘Caliph of Bagdad’ [by Boieldieu] was rendered by the Cantata Band, consisting of seven Violins, Violincello, [sic.] two Cornets, Tenor horn and double bass, with Pianoforte and organ … The attraction of the, evening was undoubtedly the sacred cantata ‘The Lion of Judah,’ which the choir bad been practising most assiduously ‘for several weeks’, and which was rendered in a manner that elicited admiration from all lovers of music present. The Cantata is illustrative of the life, and mission of Christ, the Libretto being written by Oswald Allan, the music composed by Richard Dawre. It is sparkling with musical gems, some of which are adapted from the works of the greatest of the world’s composers. From the opening march, to ‘Song of Jubilee’ everything went as smoothly as possible, the solos and part singing being rendered with almost faultless expression and the choruses throughout showing careful training, and great attention to the composer’s instructions.
Further performances followed: on 1 December, 1899, the Oamaru Mail, recorded a performance, harking back to the production in Timaru some years before; clearly things did not go according to plan:
St Paul's Choir.
‘THE LION OF JUDAH.’
There was a very good attendance at St. Paul's Church last evening, when the church choir rendered Richard Dawre's sacred cantata, ‘The Lion of Judah.’ This cantata was given some 10 or 12 years ago, but was none the less appreciated by those who listened to it last night … The music of the piece, taken generally, is bright and spirited, and in many instances is admirably adapted to the words. The choir were ably assisted by an orchestra of 13, who materially added to the success of the performance. .... The opening chorus, ‘We sing, Emmanuel’ was sung in a resolute manner, the choir entering into the spirit of the piece with vigor. We have no space to enumerate the items, suffice it to say that one and all acquitted themselves well .... The other choruses were well sung, but suffered on account of a slight misunderstanding between the choir and the baton.
Richard Dawre’s compositions
Dawre’s earliest published work is 1878. The complete known works are as listed below in chronological order; other works may subsequently come to light. This list is compiled from the British Library and The Bodleian Library Catalogues, from personal research, and from entries which appear in the Universal-Handbuch der Musikliteratur, published towards the end of the nineteenth century.
Flora, morceau de salon for the Pianoforte.
London, [Chappell, 1878; British Library acquisition date: 10 December, 1878]
Spring's Greeting, morceau de salon for the Pianoforte. London, [Chappell, 1878]
The Advance Guard March. [pianoforte]
London, [Simpson, 1879; British Library acquisition date: 21 April, 1879]
Te Deum Laudamus, set to music in the key of F (in festal form). London, [Novello & Co, 1879, reprinted 1905?]
O come, O come Emmanuel. Advent hymn. London, [1879, reprinted by Novello, 1913]
Jubilate Deo set to music in the Key of F (in festal form). London, [Novello & Co, 1880, Reprinted 1905?]
The Old Oak Tree. Song [begins: ‘For fully three hundred years’]. Words by Miss M. B. Edwards. London, [Chappell, 1880]
March Triumphant Organ Solo, London, 1878
Fairy Revel, morceau élégant pour Piano. London, [Moore, 1881]
The Lion of Judah. A sacred cantata ... Libretto by O. Allan.
London, [1883]
The Lion of Judah. Band parts, arranged by Robert Dyke, London
[John Guest, 1883; British Library acquisition date: 22 May, 1883]
Au Bord du Lac ... Fantasia. [pianoforte] London : C. Seaton, [1883]
The Lion of Judah ... Tonic Sol-Fa edition. London, [1883]
March Militant, from the Cantata, the Lion of Judah. [pianoforte] London, J. Guest, [1884]
Gavotte Antique, for the pianoforte. London, J. Guest, [1884]
Gavotte Antique [for flute and strings. Separate parts] London, [1884]
Over the Ocean we are sailing to Thee. A Sacred Song, poetry by O. Allan. London, J. Guest, [1884]
2 Offertories [for organ]: 1. in D minor, 2. in F minor, Org à 4 [i.e., an organ duet?], Jefferys [1884?]. These works have not been located in any source.
Dawre’s first published composition appears to be Flora, morceau de salon for the Pianoforte, published by Chappell & Co., London in 1878. His Festal Te Deum and Jubilate were issued by Novello in 1879; this pair of choral works must have enjoyed a certain popularity, as they were later re-advertised or reissued by the publisher in 1905. Advertisements for his Advent Hymn O Come, O Come, Emmanuel began to appear in Musical Times from 1 November, 1880, price 6d - one of the more expensive items in Novello’s Anthem Catalogue at that time - along with the Festal Te Deum - a longer work - priced only 4d.
The Lion of Judah must be considered his most significant piece - although it must be noted that a portion of the work was completed by other composers. This short cantata-cum-oratorio was issued in 1883, together with a tonic sol-fa edition and band parts written by Robert Dyke. Dawre, as noted above, died in October 1881, and so these additional movements, together with the band parts, must have been written after his death, and the work published posthumously. The exact sequence of events here is difficult to unpick. Perhaps the publisher, F. Pitman Hart & Co., commissioned this work as part of its series of easy cantata-type oratorios, or was encouraged to publish it posthumously, perhaps by Dawre’s supporters from St Peter’s parish church. When Dawre died suddenly, either the publisher retrieved what Dawre had written and completed the work with additional movements written by others, or, as an act of goodwill, the publisher took the work, and a friend or colleague completed the score.
The band parts, were written by Robert Dyke, ‘late of HM 46th Regiment’ and published by John Guest from 20 Warwick Lane, EC. In the advertisements carried on the inside back page of The Lion of Judah, Guest is noted as ‘composer and editor’ of a series of easy oratorios, all published by J. Pitman Hart & Co. Guest arranged editions of Handel’s music (e.g., Judas Maccabeus) for this same publisher who operated from 20 & 21 Paternoster Row in London’s EC3. This was a most important street for London’s publishing trade with numerous printers and booksellers occupying adjacent premises. Guest may have been a music editor for Pitman Hart & Co - either way, he completed Dawre’s manuscript, adding some of his own movements and inserting compositions by others.
The list of movements is as follows:
Opening March [March Militant] Dawre
We sing Emmanuel Dawre
While Shepherds Watch Howell
Oh, be not dismayed Dawre
Mortals, awake R. Dickson, arr. J. Guest
Mary’s Joy Dawre
The Infant Jesus [Dawre?] arr. J. Guest
Christ in the Temple J. Guest
Christ’s Baptism Dawre
Pastorale Dawre
Christ’s Mission J. Guest
Christ heals the sick Dawre
Thrice Blessed Lord ?Dawre
Bethany J. Guest
Kedron J. Guest
The Crucifixion F.V. Mellon
The Resurrection F.V. Mellon
Easter Hymn Arr. J. Guest
Then live each day J. Guest
The Lion of Judah J. Guest
The Song of Jubilee Handel, arr. J. Guest.
It will be seen that the final eight movements are composed by others; perhaps Dawre sketched out how he envisaged the oratorio and his plan was completed after his death. The substantive movements are by Dawre, and some of the shorter movements have been added by others. F.V. Mellon was organist at Charterhouse in London in the 1860s; in 1863 Gray & Davison built a new organ for the chapel there, and Mellon is noted as the resident organist. Dawre may have had some - as yet undiscovered - connection with the Charterhouse. The references in The Musical Standard and Musical Times of 1868 refer to the parish church of St Thomas Charterhouse in Islington, which has no connections to the Charterhouse School foundation (also known as Sutton’s Hospital) in EC1; to add to the confusion, there was also a National school called St Thomas’ Charterhouse School, founded in 1856 next to the church in Islington, which is sometimes confused with Charterhouse School.
Sutton’s Hospital was a joint foundation for pensioners and poor scholars, founded in 1611 by Thomas Sutton and housed in the buildings of a former Carthusian monastery, or ‘Charterhouse’, at Smithfield. The School moved out of London to Godalming in 1872, but the pensioners remain at the London Charterhouse to this day.
The other composers featured in The Lion of Judah, Howell and R. Dickson, remain unknown.
Dawre’s antipodean success
The advertisements carried on the inner back page of the full score of The Lion of Judah proclaim that the works listed ‘have acquired a world-wide popularity. Band parts may be had.’
Dawre’s music surfaces at the opening of an organ in St Andrews’ by the Sea, Glenelg, in the suburbs of Adelaide, in July 1883. These suburbs have various districts, the names of some of which will be familiar to South Londoners: Norwood and Dulwich. Exactly what the connection was with South London is beyond the scope of this essay - but it seems doubly curious that Dawre’s organ music should readily find a home in Adelaide’s suburbs so soon after his death. One cannot help but wonder whether there remains some undiscovered musical or social connection between these two far-distant places - perhaps the link was the Congregationalists?
The review of the concert in 1883 was as follows:
SACRED CONCERT AT GLENELG.
The Glenelg Congregational Choir Association gave the first of a series of sacred concerts in the Congregational Church on Tuesday evening. The Association is to be congratulated on the growing interest manifested in their concerts, that given last night drawing the largest audience of any yet held. Although the Association is numerically small, it contains well-trained voices, and their performance last night reflects much credit on the organist, Mr. Rickards, and the conductor, Mr. Kirkpatrick. The programme opened with an offertoire on the organ in F [Dawre] by Mr. H. S. Rickards, which received full justice at the hands of the organist.
Dawre’s Offertoire was evidently considered sufficiently strong a piece of music to feature as the first item in the Glenelg concert programme. A few years later, in North Terrace, we find the same work holding its head up against some well-known pieces by established composers:
THE JUBILEE EXHIBITION
The Exhibition attracted 6,862 persons on Saturday, this number being made up of 3,075 cash admissions and 3,787 season ticket admissions. Up to and including that day the attendance had been as follows:- Cash admissions, 82,744; season ticket admissions, 85,491 ; total, 168,235. … In the evening Mr. W. R. Knox gave an organ recital also in the main hall. The programme was as follows:- March, 'Occasional Oratorio' (Handel); (a) Melody in F (varied) (Munro); (b) ' Tannhauser March,' (Wagner); Introduction and Fugue (Andre); selection, 'Martha' (Flotow); Andantino (from 6th Quartette, Op. 8) (Pleyel); Offertoire in D (Dawre); ‘The Golden Trumpets’ (Fowles); ‘Hallelujah Chorus’ (Handel).
Evaluating Richard Dawre’s music
It seems curious that, for a period of several decades from c.1880, Dawre’s music should have happily rubbed alongside some of the great works of the eighteenth and nineteenth century in numerous concert presentations. The music does not seem to have been performed much beyond the end of the Great War, when tastes in music changed: in England an extended Romanticism took hold - the so-called Second English Renaissance - and in Europe there were huge developments: the ‘impressionist’ music of Debussy and Ravel, was rapidly followed by the experimental forms of the Second Viennese School: the music of Schoenberg, Webern and Berg. Dawre’s music - and those of his contemporaries, such as Sir John Stainer - must have looked terribly old fashioned.
Dawre’s musical style is relatively, if not refreshingly, naïve: it is a youthful style, derivative of the musical forms which were familiar to him - notably the extremely popular marches of numerous other forgotten composers, such as The Rev. Frederick Scotson Clark (1840-1883), or the Offertoires and boisterous voluntaries of the French organ-composers Édouard Batiste (1820-1876) and Louis James Alfred Léfébure-Wély (1817-1869). The repetitive chords, flowing scale passages and arpeggiated right-hand accompaniments found in the accompaniment to several movements from The Lion of Judah or O Come, O Come, Emmanuel recall the musical style of Faust by Charles Gounod (1818-1893) or O Holy Night by Adolphe Adam (1803-1856). Such accompaniment devices represent a common musical language for music of this period - a style which reached its zenith in the 1920s with works such as Albert Ketèlbey’s Sanctuary of the Heart.
Much of Dawre’s output is for pianoforte and conforms to the genre known as ‘salon music’; his short compositions focus on a virtuoso technical display, or bear emotional expression of a sentimental character. Pieces which fall into this category often carry the title ‘fantasia’ - such as Au Bord du Lac published in 1883. Several of his piano pieces have their titles in French, with an additional explanatory phrase, such as ‘morceau de salon’ or ‘morceau élégant pour Piano’. Pieces of this kind were issued in vast numbers by publishers wanting to cash in on the rapidly developing urban market, in which a drawing room and pianoforte for the well-to-do were a must-have addition to any Victorian house.
Despite these highly derivative stylistic characteristics, Dawre’s music is tuneful and readily approachable by amateur singers. It must be remembered that there were no composers striving to break the compositional mould during the Victorian period, and the style of English composition remained quite stable until the emergence of the entertainingly challenging music of Lord Berners (1883-1950). Similar characteristics contained in Dawre’s musical miniatures can be found in works such as Stainer’s Crucifixion (1887), Maunder’s Olivet to Calvary (1905), as well in the music of the leading composers of the day: the light-hearted operettas of Sir Arthur Sullivan (1842-1900), or the more serious concert works of the later generation, represented in the music of Sir Charles Hubert Hastings Parry, (1848-1918) and Sir Charles Villiers Stanford (1852-1924).
A notable feature of The Lion of Judah is the mix of styles. This is almost certainly on account of the joint authorship of the work. In the first nine movements there are echoes of the style of earlier composers. For example, in the third item ‘While Shepherds Watch’ - no relation - an opening duet is followed by two Handelian choruses. The fourth movement, ‘Oh be not dismayed’, opens in the style of a Bach chorale, rapidly usurped by the operatic style of Donizetti.
‘Mortals awake brings’ another Handelian-style chorus with elements of a madrigal or glee - very popular in the nineteenth century. In ‘Mary’s Joy’ an opening recitative is followed by a solo aria which could be straight out of Gilbert and Sullivan. In ‘The Infant Jesus’, the tune of - appropriately for the nativity - ‘Happy Birthday to You’ hidden in the organ part. ‘Christ in the Temple’ is a hymn, and finally in this first section ‘Christ’s Baptism’ brings a solo aria, once again in the style of Gilbert and Sullivan.
In the second half of the work the ‘Pastorale’ is an instrumental number, in a style reminiscent of the ‘Pastoral Symphony’ in Handel’s Messiah. The band parts contain a prominent (and unusual) role for the triangle. ‘Christ’s Mission’ brings more Gilbert and Sullivan. ‘Christ heals the sick’ is, briefly, like something from a Bach Passion, but more in the operatic style of Bellini or Donizetti. With ‘Thrice Blessed Lord’ we have more in the style of a Chorale from a Bach Passion. ‘Kedron’ is a four-part madrigal. ‘The Crucifixion’ has elements strongly reminiscent of Stainer’s work of the same name - although, interestingly, the latter was written in 1887, some years after eh completion of The Lion of Judah. ‘The Resurrection’ is a short recitative followed by the well-known Easter Hymn ‘Jesus Christ is risen today’. Then live each day brings another hymn.
The final number ‘The Lion of Judah’ could be a chorus from HMS Pinafore or the Pirates of Penzance. And, last but not least, The Song of Jubilee is avowedly borrowed from Handel, using musical quotations lifted wholesale from the Halleluiah Chorus from Messiah.
Dawre’s compositions are, quite simply, entirely representative of music the Victorian period; it is tuneful and approachable, and, although relatively undistinguished, it comes with a fascinating story of personal tragedy and extraordinary posthumous far-flung popularity. It also contains a strong element of humour through its musical cross-references to other genres of the period and so remains a ‘spirited work of a forgotten mid-Victorian’.
Richard Dawre met an untimely end on Wednesday 5 October 1881. His death certificate records that he died of ‘effusion on the brain’, arising from an accidental fall, at 2 Barnes Cottages. He is identified as a ‘composer of music and organist’, but his age is given as 36. This must be a mistake: we know that he was baptised 31 October, 1847 at St Paul’s Church, Bristol and the census returns of 1851 and 1881 both tally with his age: he must have celebrated his 34th birthday only a few days before his death. It is here the trail of records and documentation goes cold; there was no grant of probate or letters of administration between 1881 and 1883 inclusive. Richard Dawre died suddenly and intestate.
There was a complication: the death certificate records that William Carter, the Coroner for Surrey, issued the death certificate, with an inquest to be held on 12 October, 1881. An article in The Times for 1 November that year records
Alleged neglect by a Coroner
A crowded meeting of East Dulwich residents was held last evening [i.e., Monday 31 October, 1881] in the Moore-Park Hotel, Honor Oak [this was on Wood Vale and is now a private residence], to express indignation at the delay of Mr. Carter, coroner for East Surrey, in holding the inquest on the body of Mr. Richard Dawre, who died on the 5th of October from injuries received in the day previous. The complaint was that an inquest fixed for the 10th was not held until the 12th and then only, as alleged, in a perfunctory manner. Mr. Carter, when asked for an explanation, declared there had been a mistake, as he had fixed the inquest for Wednesday, and had so marked it in his diary, and threw the blame upon his officer. A committee was formed immediately after the inquiry, the outcome of which was the meeting of last night. The chairman was Mr. J. Fitzgibbon (vestry-man of Camberwell) who was supported by a number of influential local residents. After letters of sympathy had been read from Mr. W. Grantham Q.C., M.P. [Conservative Member of Parliament for East Surrey between 1874 and 1885], the Rev. Dr. Scott [vicar of St Peter’s], and Mr. G.C. Whiteley, Mr. Hemmings moved the adoption of a memorial to the Home Secretary praying for an inquiry into the matter. The resolution was carried and other steps were taken to have the matter fully inquired into.’
A report in The Standard on 13 October clarified the mix-up over the Coroner’s absence:
Immediately the above inquest had concluded, a meeting of a few ratepayers and jurymen was held in the same room to consider what steps should be taken with reference to the inconvenience they had been put to through a misunderstanding between the Coroner and his officer. It appeared that the jury and witnesses had been summoned to attend on Monday, but no Coroner arrived. After waiting three hours the officer discharged them for the day, instructing them to appear the next morning (Tuesday). Later in the day the jury were informed that their presence would not be required until Wednesday; but all the witnesses, some of whom had travelled several miles, were told on their arrival on Tuesday morning that the inquiry would not take place till the following day. - Mr. Fitzgibbon having taken the chair, a resolution was carried ‘to petition the Home Secretary’ in reference to the matter, and a Committee was appointed to wait upon him.
The unfortunate circumstances of Richard Dawre’s death were described as ‘melancholy’ by The Western Times:
Many citizens will regret to hear of the death of Mr. Dawre, who was well-known in Exeter about 12 years since as organist of St Paul’s Church, and subsequently of the Congregational Church on Southernhay. It seems that on a recent occasion Mr. Dawre with a party of friends was at luncheon at the Franciscan Convent, Peckham. After the luncheon he with others commenced singing glees, and on attempting to resume his seat on the conclusion of the first, he fell backwards and struck his head against a wooden partition. He was assisted up and seemed none the worse for the fall, but a quarter-of-an-hour afterwards he fell down in exactly the same way, but he did not appear hurt by the second fall as he was able to walk into the garden adjoining, unsupported. Staying there rather a long time, one of the company went to look for him, where he found him lying at the bottom of a flight of steps in an insensible condition, and bleeding from a wound to the head. Mr. Dawre was at once conveyed home and a doctor immediately summoned, who was of the opinion that he was suffering from compression of the brain, caused by some vessel having given way. Mr. Dawre never recovered consciousness, and died shortly afterwards, the doctor giving it as his opinion that the deceased’s death was due to the last fall he received. The funeral was very largely attended by the neighbouring Choirs, who sang the hymn, ‘Brief life is here our portion.’ At the time of his death Mr. Dawre was organist of St. Peter’s Church, Dulwich, where his ability was highly appreciated.
This newspaper report appeared towards the end of November and seems to have been a collation of the known facts. A report in The Standard on 13 October had also recorded the saga; some interesting additional facts, not included in The Western Times, emerged from that report:
Mr. A. Burgess, of 73 Montpelier-road, Peckham, an artist, stated that a few days since he and the deceased gentleman were at lunch in the school-room adjoining the Roman Catholic Church in Lower Park Road, Peckham. Mr. Dawre, Witness and others sang a glee …
The report is then almost verbatim, as per The Western Times, but continues:
Subsequently the Witness found Mr. Dawre in the adjoining garden, lying on his back, bleeding from a wound on his head. He was conveyed home in a cab. Witness could not account for the gentlemen thus falling. He was quite sober, but was a very awkward man. Mr. J. Rand, surgeon … attended Mr. Dawre …
Again, the report follows the account quoted above, but noted: ‘The Jury [at the inquest] returned a verdict of Accidental Death.’
A further report appeared in The Essex Gazette, but this was almost word-for-word as had been reported in The Times. In the absence of the actual coroner’s report, these two pieces of journalism piece the story together: Richard Dawre fell down a flight of steps in the garden of the Franciscan Convent in Peckham, hit his head and never regained consciousness. He must have been concussed and disorientated from his previous falls; his final fall resulted in a brain haemorrhage. ‘Effusion on the brain’, as recorded on Dawre’s death certificate, was the nineteenth-century description of a haemorrhage: ‘the escape of a fluid out of its natural vessel or viscous into another part. Also, the secretion of fluids from the vessels, as of lymph or serum, on different surfaces’, and as ‘the seeping of serous, purulent, or bloody fluid into a body cavity or tissue.’
The interesting phrase, ‘He was quite sober, but was a very awkward man’ remains a curiosity; this is effectively the only glimpse we get of Dawre’s character: in what way was he ‘awkward’? Was this a reference to a physical affliction, or was he simply clumsy? Perhaps it refers to a character trait? We shall never know.