Society of Arts Pitch

           

Abstract: The appendices to the report in Vol.1 Pt.I continue in this Pt.II with a note to the letter from J. Gibson; a scheme of "school districts" under an enlarged system submitted to the consideration of the commission and referred to in the report, Pt.Ill ch.VIII; a report from "Select committee on education in Ireland reports" referred to in the general report of the commission Pt.1; and a collection of rules and regulations of the commissioners of national education in Ireland showing the successive alterations made from time to time; the collection of forms of lease etc., of vested national schools; and abstracts of trust set forth from time to time in leases or trust deeds with dates of change or modification compiled for the royal commissioners by J. Behan. The appendices are followed by three special reports. The first is a report on the district and minor model schools of the national board by the Rev. B. M. Cowie and S. N. Stokes

Mr. F. Davison :

If one allows for a transcription error, and the 'F Davison' referred to should actually be 'Mr J Davison' - then a possible candidate would be J W Davison being an influential music critic, editor of the Musical World, and friend of Sterndale Bennett. That would certainly meet the criteria for attendance.  There is a biography of him published some years ago called 'The Music Monster'.  Her Majesty's Theatre Archive, Ballarat, Victoria holds a collection of material relating to his wife, the pianist Arabella Goddard.

However an alternative candidate, and one bearing the correct name, is the Frederick Davison who took over at the well-established organ builders Gray & Davison. The firm had enjoyed particular success since Davison took charge in 1849. Staff numbers were around seventy in 1861, new instruments totaled about 200 stops a year and Gilbert Scott had been commissioned to design a factory and exhibition hall on Easton Road. Rothwell thus stepped in to a very good position as Gray & Davison's principal voicer.

Mrs Rothwell's diary logged his activities from 1882. Rothwell spent much time at the Crystal Palace, revoicing the organ to cope with the enormous choirs which were becoming fashionable, the pressures eventually ending up at six inches for the Great and Swell flue work and ten for the Solo. Nevertheless, by 1875, the house style of Gray & Davison was for fairly mild-toned flue work, modest power and smooth reeds, and this was to influence Rothwell for the rest of his career. However, all was not well at Gray & Davison in the 1880s. Davison was becoming elderly, his son had gone outside organ-building and his nephew Charles had taken over the management. The company was going downhill rapidly and Rothwell departed in 1889 after an exchange of splendidly acrimonious correspondence.

In The Charities of London, by Samuel Low, Jun., London: Sampson Low, Son, and Marston, Milton House, Floodgate Hill, (1861) Frederick Davison is shown as being the treasurer of the Organ-builders' Benevolent Institution, established 1842, for granting annuities to aged and infirm organ-builders, and their widows; also to raise a fund for the purpose of building a retreat for the aged.

Mr. C. Wentworth Dilke : (Member of the Council of the Society of Arts)

probably Sir Charles Wentworth Dilke (1810-1869) 1st Baronet a commissioner of 1862 London Exhibition, father of Sir Charles Wentworth Dilke: (1843-1911), British statesman who was a  radical leader in the Liberal party, helped pass the parliamentary Reform Acts of 1884-85 as well as laws giving the municipal franchise to women, legalizing labor unions, and limiting working hours. Dilke jnr’s political career was effectively ended in 1885, when he was named as correspondent in a notorious divorce case.

Professor Donaldson :

As a young man John Donaldson (1792-1865) was an accomplished pianist and composer, but he also took a keen interest in 'the elucidation of the phenomena of sound, and the general theory of acoustics'. He was much influenced by the innovative teaching methods of Johann Bernhard Logier, and built up a successful practice as a 'professor of music' in Glasgow. In the 1820s he turned to law, and in 1826 was called to the Scottish bar as an advocate, but he did not give up his interest in the science of music. On being appointed Reid Professor of Music at Edinburgh in 1845 he set about equipping his classroom with experimental apparatus - much of it imported from the firm of Deleuil in Paris - to illustrate his lectures. He attached great importance to the teaching of acoustics, a branch of study which he considered 'not only leads to greater excellence in the art itself, but enlarges the understanding, and strengthens the intellectual powers'. He wanted to see the subject being taught in an attractive and practical way, with General Reid's endowment being used to provide 'such philosophical apparatus as would make the results perceptible to the ear and eye as well as to the understanding'.

Within a few months of his appointment, however, arguments began within the University over Professor Donaldson's demands upon the Reid Fund. These led to an epic legal battle between the Town Council (who as Patrons of the University supported Donaldson) and the Principal and Professors (who as Trustees of the Reid Fund opposed him). The question of expenditure on 'musical apparatus' featured prominently in the case, which was eventually settled in 1855 in the Donaldson's favour.

The most obvious consequence of the settlement was the erection in 1858-9 of this building - the first substantial expansion of the University outwith the bounds of Old College - as a 'School of the Theory of Music'. What is now the concert hall was the `Music Class Room', which from 1861 housed a 4-manual organ constructed by William Hill & Sons to Donaldson's specifications (including a unique 14-rank mixture, justly tuned), while this gallery was a 'Museum of Instruments' where apparatus and musical instruments were kept and displayed. During the 1850s the professor continued to add to the array of acoustical equipment, much of which was specially manufactured to his own requirements. Though much of his collection of apparatus has been lost, some items are still in the University and a few others were transferred in 1972 to the Royal Scottish Museum (now the National Museums of Scotland). This Exhibition brings together the most important of them for the first time for nearly 70 years.

Donaldson's lifetime coincided with the birth of modern acoustical science, and he took a close interest in the work of Chladni, Biot, Cagniard de la Tour, Savart, Wheatstone and others. Though he published little himself, at least one Fellow of the Royal Society, Alexander John Ellis, was influenced by his teaching. It is gratifying to learn that Sir John Herschel urged the University of Cambridge to appoint to its vacant Chair of Music in 1856 a professor able to give 'lectures in which the principles of the physical science of sound shall be made (as at a scientific university they ought to be) an integral feature - to do, in short, for Cambridge what Donaldson is doing for Edinburgh'.

In an age of conspicuous advances in the design and manufacture of many musical instruments, part of the purpose of Donaldson's teaching was 'to discover the true principles on which musical instruments ought to be constructed, and which may lead, and have led, to the invention of new ones'. Some of the instruments that he acquired for the Music Classroom can be seen both in the Exhibition itself and in the surrounding display.

Rev. G.T. Driffield :

possibly Rev G T Driffield, writer of hymns including 'Ripening Love' (words and music by Miss M A Browne and Rev G T Driffield); also 'On wings of faith mount up, my soul, and rise' composed by G.T. Driffield, which was published in The Bristol Tune Book: A Manual of Tunes and Chants (1881) published by Novello, Ewer and Co. edited by Alfred Stone/

Dr. Elvey :

Sir George Job Elvey (1816-1893). Elvey was born in Canterbury on the 27th of March 1816. He was a chorister at Canterbury cathedral under Highmore Skeats, the organist. Subsequently he became a pupil of his elder brother, Stephen, and then studied at the Royal Academy of Music under Cipriani Potter and Dr. Crotch. In 1834 he gained the Gresham prize medal for his anthem, "Bow Down Thine Ear", and in 1835 was appointed organist of St. George's chapel, Windsor, a post he filled for 47 years, retiring in 1882. He took the degree of Mus B. at Oxford in 1838, and in 1840, that of Mus D. Anthems of his were commissioned for the Three Choirs Festivals of 1853 and 1857, and in 1871 he received the honour of knighthood. He died at Windlesham in Surrey on the 9th of December 1893. His works, which are nearly all for the Church, include two oratorios, a great number of anthems and services, and some pieces for the organ. A memoir of him, by his widow, was published in 1894.

Mr. Godfrey :

The most likely candidates are:

Charles Godfrey I (1790-1863), who began the family's association with military music by playing bassoon in the Coldstream Guards Band in 1813. He became Bandmaster in 1825, retaining that position until his death, although he retired from the Army in 1834. In 1831 he had become a Musician in Ordinary to the King and from 1847 he edited Jullien's 'Military Journal', one of the earliest of military band publications

Daniel Godfrey I (1831-1903) son of Charles Godfrey I, who, after study at the Royal Academy of Music, became Bandmaster of the Grenadier Guards in 1856, holding that position for forty years

Adolphus Frederick Godfrey, known as "Fred" (1837-82). Like his other brothers he studied at the Royal Academy and he took over from his father (Charles Godfrey I (1790-1863)) as Bandmaster of the Coldstream Guards in 1863, holding the appointment until 1880

Charles Godfrey II (1839-1919), brother of Fred, studied at the RAM with George MacFarren and Lazarus and played the clarinet in Jullien's orchestra. At the age of twenty he became Bandmaster of the Scots Fusiliers, moving in 1868 to be Bandmaster of the Royal Horse Guards, where he remained until 1904, from 1899 as a commissioned officer. At various times he was Professor of Military Music at the RCM and the Guildhall School. He adjudicated at the British Open Brass Band Championships in Manchester for many years prior to the Great War (his brass band arrangements of Coleridge-Taylor's Hiawatha and Gems of Mendelssohn were the respective test pieces at the 1902 and 1904 National Championships). He edited the Army Military Band Journal and founded the Orpheus Band Journal.

Mr. Otto Goldschmidt :

Otto Goldschmidt (1829-1907) was born in Hamburg and studied piano and composition at the Leipzig Conservatorium under Bülow and Mendelssohn. He married the great Swedish soprano Jenny Lind in 1852 and settled in London in 1858. A distinguished figure in Victorian music, Goldschmidt was Vice-Principal of the RAM under Sterndale Bennett and founded the Bach Choir in 1875. His Two Pieces for clarinet and piano were published in 1900 with a dedication to my friend Oscar W. Street. The first piece is in fact a straight transcription of a song published nearly fifty years earlier as the second of Goldschmidt's Sechs Lieder, Op. 9, a setting of a poem by Hölty entitled Gruss an den Abend. The quotation in the Rondo Caprice is presumably from another early song, as yet unidentified. Oscar Street (1869-1923) studied with George Clinton and combined a career as solicitor and Lloyds underwriter with solo and orchestral clarinet playing. He is joint dedicatee with Charles Draper of Stanford's Clarinet Sonata.

Professor Thomas Minchin Goodeve, author of Principles of Mechanics, born 26 Nov 1820 in Privet, Alverstoke, Hants, England. He was married to Geraldine Sophia WEIGALL on 16 Jun 1873 in Dieppe, France.  He was the first professor in the Department of Mathematics at Imperial College, London (1869-1894).  His mother's surname was Minchin, his father's Goodeve.

Mr. J. Goss :

probably Sir John Goss composer/organist, who died at the age of 79 on May 10th 1880. See :  SIR JOHN GOSS AND THE ORGAN IN ST PAUL'S CATHEDRAL

On 27 March 1840 John Goss, organist of St. Paul's wrote to John Watts, Secretary of the Royal Society of Musicians, of which he was a member, from his home in Chelsea. The Festival he refers to is probably the one known as 'Sons of the Clergy' which took place annually and for which the Society provided the orchestra in return for £50 to be donated to the Society's funds:

Dear Sir,

The second letter is dated 'Chelsea April 4 / 40 :

It is an interesting point that whereas strings tend to flatten in pitch in the warmth, organs tend to rise, and the whole system of tuning at St. Paul's seems to have been rather slap-happy. I have not been able to find out what is meant by the 'peculiar temperament' of the instrument*. Perhaps Goss is referring to its character, rather than its tuning !

Mr. Henry Griesbach :

John Henry Griesbach (1798-1875), musician and composer: treatises on The acoustical laws of harmony 1870 and Fundamental elements of counterpoint

Mr. Halle: probably Charles Halle (1819-1895)

Sir Charles Halle [whose original name was Carl Halle], born in Germany, was a conductor and pianist. He married violinist Wilhelmine Norman-Neruda (b.1838)

Mr. Harper :

There were a number of brass-playing Harpers. Waterhouse mentions two, Thomas Harper Sr. (1786-1853) and Thomas John Harper Jr. (1816-1898), who both received royalties from J. Köhler for the use of their innovations, and for the use of the "Harper" name on their instruments (Waterhouse 1993, 161)

Although no patents can be traced to the Harpers, Thomas Harper, Sr. was responsible for improvements to the keyed bugle and the slide trumpet. "T. Harper Improved" instruments were made under license by Clementi & Co., Collard & Collard, and by J. Köhler. In c.1840, Thomas, Sr. invented the "Patent Walking Stick Trumpet." We can, however, discount him from membership of this committee. He died in 1853.

His son, Thomas John Harper Jnr., was a virtuoso on the valve trumpet, professor at the Royal Academy of Music and would become trumpeter to the Queen Victoria between 1884 and 1898. He also improved the slide trumpet, devising the elastic cord model.

Mr. W. Hawes : (Member of the Council of the Society of Arts)

Mr. W. Hill : possibly a member of the violin dealing and making family who, at this time, had been working in this field already for 250 years

 

Mr. Hobbs : unidentified

Edward John Hopkins was a chorister at the Chapel Royal from 1826 to 1833. He became organist of Mitcham church, Surrey,  in 1834 and after other church posts he was elected organist at the Temple in 1843. Here he soon acquired a notable reputation, not only as organist but even more as choirmaster.

Hopkins was one of the founders of the College of Organists in 1869. He was awarded the Lambeth Mus.D in 1882. A prolific composer, his anthems and services were once in great demand and are worthy of resurrection. Only one hymn tune 'Ellers' (1869) remains in general use. His reputation as a writer was made by his work on his excellent treatise 'The Organ; its History and Construction’.

On the occasion of the Queen's Diamond Jubilee in 1897 the Temple choristers led the procession onto the steps of St. Paul's. Dr Hopkins at 79 was among the tenors. This proved to be one of his last engagements, and his farewell services were sung on Sunday, 8th May 1898 when all the music played and sung was of his own composition. David Lewer writes that 'a great crowd gathered in the porch and beyond to salute Dr Hopkins as he proceeded from the church to the Inner Temple gate'.

On New Year's Day 1901, Dr Hopkins was taken ill, and he passed peacefully away on 4th February.

Mr. Charles Horsley :

maybe Charles Edward Horsley (1822-1876), son of William Horsley (1774-1858). CE enjoyed a certain reputation as a musician. He studied in Germany under Hauptmann and Mendelssohn, and on his return to England composed several oratorios and other pieces, none of which had permanent success. In 1868 he emigrated to Australia, and in 1872 went to America; he died in New York.

Mr. John Hullah :

John Hullah (1812-1884) was a composer and Professor of Vocal Music at King's College from 1843 until 1874. He trained at the Royal Academy of Music and achieved an early success co-writing a comic opera with Charles Dickens entitled The Village Coquettes, which ran from 1836-1837. Hullah composed numerous songs and operas but achieved lasting distinction as a leading advocate of the reform of music teaching, in particular by popularising Wilhem's method of teaching song in which the untutored and groups could easily participate.

Hullah lectured on the method in Battersea, Manchester at several leading public schools including Winchester and Eton and was instrumental, in conjunction with other King's luminaries including Frederick Maurice, in the foundation of Queen's College in Harley Street in 1848, one of the earliest such educational institutions for women. He was organist at Charterhouse from 1858 and from 1872 was musical inspector of training schools for the Royal Academy of Music. He died in 1884.

Mr. Henry Leslie :

taken from St. Martin's Music Hall - The Builder, February 16th 1850

We must mention that the principle feature of the concert with which the new hall was opened was a festival anthem, composed by Mr. Henry Leslie, son of Mr. John Leslie, one of the late Commission of Sewers, and inventor of several improvements in lighting and ventilation. The anthem is a masterly composition, indicating the possession of powers of very high order, - and suffices, with other works previously submitted to public ordeal, to place Mr. Leslie in the foremost rank of those on whom the reputation which England has to achieve in musical science depends.

Mr. H. C. Lunn :

Henry Charles Lunn from 1863 to 1887 developed The Musical Times into a periodical of considerable importance.

 

Mr. G. A. Macfarren :

Sir George Alexander Macfarren (1813-1887) one of the most fascinating ‘lost masters’ of nineteenth-century British music. A cultured musician in every sense, he brought formidable energies to bear upon almost all aspects of mid-Victorian musical life, being at various stages Principal of the Royal Academy of Music, Professor at Cambridge, conductor at Covent Garden, programme-note writer for the Philharmonic Society and editor of Handel and Purcell. He was knighted in 1883. As a composer he was technically superior to most of his British contemporaries and, in view of the total blindness which struck him in 1860, extraordinarily productive. An output which includes eighteen operas, thirteen oratorios and cantatas, nine symphonies and one hundred and sixty-two songs might well be thought impressive by any standards. These two obbligato songs were commissioned by the great clarinetist Henry Lazarus and first performed at a Monday Popular Concert at St. James’s Hall on 4 March 1867, the singer being the Welsh soprano Edith Wynne and the pianist Julius (later Sir Julius) Benedict. The Musical World’s review of this concert, which also included the British première of Schubert’s Octet (led by Joachim) described Pack Clouds Away as ‘a true inspiration’  it earned an encore ‘as unanimous as it was hearty’ and reported that both obbligati were ‘played in perfection by Mr. Lazarus.’

Mr. Alfred Mellon :

conductor and founder of a society called "The Orchestral Union", the named suggested by Robert Sidney Pratten

Prof. De Morgan : Augustus De Morgan (1806-1871)

 

Augustus De Morgan, often known as a mathematician, English algebraist, and logician, was born in southern India in June 1806. His father, a colonel in the Indian army, died when De Morgan was ten years old.    

De Morgan studied as a child in numerous private schools before entering Trinity College in 1823.  After his graduation, he continued his education by studying law at the Inns of Court.  He found that he was not interested in a legal career and was appointed to be the chair of mathematics at University College in London.

 

His main accomplishments were in the field of logic, although he studied both probability and algebra.  He wrote a series of textbooks on arithmetic, algebra, trigonometry, calculus, complex numbers, probability, and logic.  He is known for the development of De Morgan’s Laws, which deal with the logic of relations.

He died in 1871, having created new ideas for other mathematicians to examine and ponder.           

Mr. A. Nicholson : possibly associated with organ builders Nicholson's

The Rev. Sir F. Gore Ouseley, Bart :

Frederick Arthur Gore Ouseley (1825-1889) was born into a family that had social standing, wealth, and privilege. It was almost unthinkable that an heir to a baronetcy would consider music a career; and yet that is the path Sir Frederick followed. Following completion of a BA degree from Oxford and ordination into the Church of England, Sir Frederick became assistant curate of St. Barnabas' Church, Pimlico. There he began a lifelong pattern of seemingly boundless generosity in the cause of church music by presenting the church an organ and contributing towards the cost of the choir. Unfortunately, St. Barnabas became embroiled in controversy. The sensitive Ouseley was ill-equipped for such events and he left St. Barnabas, but not without providing for the care and training of the boy choristers of the disbanded choir school.

While away in Europe Ouseley began to consider just what he was going to do with the rest of his life and what was to be done with the boy choristers his associates were training. Through a series of letters Shaw traces the germination of the idea to build his own church and college to train the boy choristers to form a "model choir." Upon his return to England, Ouseley bought land just outside of Tenbury and erected a parish church and college buildings. St. Michael's College was consecrated 29 September 1856.

During his years as Warden of St. Michael's College and Vicar of St. Michael's Parish Church continued his lifelong accumulation of antiquarian music and books and thus amassed one of the most extraordinary collections of Reformation and Tudor music. Some of these works found their way into musical collections Ouseley edited. He also composed a large body of now mostly forgotten anthems and canticle settings, some of which were included in collections of contemporary works Ouseley edited. As Precentor of Hereford Cathedral and Professor of Music at Oxford Sir Frederick's influence was far-reaching.

Sir Thos. Phillips, FGS : Chairman of the Council (Member of the Council of the Society of Arts)

Professor Pole :

William Pole (1814-1900), English engineer, was a man of many accomplishments. Having spent his earlier years in various engineering occupations in England, he went out to India in 1844 as professor of engineering at Elphinstone College, Bombay,, where he had to first organize the course of instruction for native students, but his health obliged him to return to England in 1848. For the next ten years he worked in London under James Simpson and J. M. Rendel, and the high reputation he achieved as a scientific engineer gained his appointment in 1859 to the chair of civil engineering in University College, London. He obtained a considerable amount of official work from the government. He served on the committees which considered the application of armour to ships and fortifications (1861-1864), and the comparative advantages of Whitworth and Armstrong guns (1863-1865). He was secretary to the Royal Commission on Railways (1865-1867), the duke of Richmond's Commission on London Water (1867-1869), also taking part in the subsequent proceedings for establishing a constant supply, the Royal Commission on the Disposal of London Sewage (1882-1884), and the departmental committee on the science museums at South Kensington in 1885. In 1871 he was employed by the War Office to report on the Martini-Henry rifle, and in the same year was appointed consulting engineer in London to the Japanese government, a position through which he exercised considerable influence on the development of the Japanese railway system. He was elected a fellow of the Royal Society in 1861, in recognition of some investigations on colour-blindness. Music was also one of his chief interests.

At the age of twenty-two he was appointed organist of St Mark's, North Audley Street, in open competition, the next selected candidate being Dr E. J. Hopkins (1818-1901), who subsequently was for fifty years organist of the Temple Church. He took the degree of Bachelor of Music at Oxford in 1860, proceeding to his doctor's degree in 1867, and in 1879 published his Philosophy of Music.

He was largely concerned in the institution of musical degrees. by the University of London in 1877, and for many years acted as one of the examiners. His mathematical tastes found congenial occupation in the study of whist, and as an exponent of the scientific principles of that game he was even earlier in the field than " Cavendish." His literary work included treatises on the steam-engine and on iron construction, biographical studies of famous engineers, including Robert Stephenson and I. K. Brunel, Sir William Fairbairn and Sir W. Siemens, several books on musical subjects and on whist, and many papers for reviews and scientific periodicals.

His son, William Pole became known as an actor and writer under the stage-name of William Poel, more especially for his studies in Shakespearian drama and. his work in connexion with the Elizabethan Stage Society.

Mr. Cipriani Potter :

Philip Cipriani Hambly Potter (1792-1871), Principal of Royal Academy of Music (1832-1859), pianist and eminent composer, as well as being the grandson of the famous flutemaker Richard Potter by virtue of being the son of the elder Potter's flutemaking son Richard Huddleston Potter

Rev. F. R. Sandford : unidentified

Sir George Smart :

Sir George Thomas Smart (1776-February 23, 1867) was an English musician, who was born in London, his father being a music-seller. He was a choir-boy at the Chapel Royal, and was educated in music, becoming an expert violinist, organist, teacher of singing and conductor. In 1811 he was knighted by the Lord Lieutenant of Ireland, having conducted a number of successful concerts in Dublin.

Sir George Smart was, from that time onwards, one of the chief musical leaders and organizers in England, conducting at the Royal Philharmonic Society, Covent Garden, the provincial festivals, etc., and in 1838 being appointed composer to the Chapel Royal. He was a master of the Handelian traditions, was personally acquainted with Beethoven and a close friend of Weber, who died in his house. Some of his church music and glees became well-known. He died in London.

Mr. Thomas Sopwith, FRS : probably Thomas Sopwith FRS FGS (1803-1879)

Sopwith was born in Newcastle-upon-Tyne, the son of a cabinetmaker. Originally following his father’s trade, he became involved in practical aspects of the geology of the Newcastle coalfield and the lead mines of the Northern Pennines. In terms of the geological structure these mining areas were relatively simple, but a thorough understanding of the geometry of the beds was essential when estimating coal reserves and the extent of coal seams or mineral lodes, which were affected by faulting. Miners often struggled to predict the structural geology in three-dimensions, but by 1833 Sopwith developed a method using isometric projections to aid this process. In 1838 he began working on a series of three-dimensional wooden models of geological structures, using his original skills as a cabinetmaker. In 1841 he issued a set of twelve models designed to help geologists, or engineers, understand geological structures they might encounter in mines. Sopwith re-issued the models as a set of six in 1875, and in both sets the individual layers of strata are depicted using different types and colours of wood.

Mr. James Turle : composer and organist of Westminster Abbey (1831-1882)

Turle (1802-1882) was a great organist in his day, and composed a good deal of church music which was well known.

His son Henry Frederic Turle (1835-1883) was editor of Notes and Queries.

James' daughter Sophia Adelaide (between Jul 1841 and Sep 1841 - 5th Oct 1923) although outwardly very quiet and retired, was governed by a dominant passion - the passion for helping women. From the first she was inwardly a rebel against the restrictions which then governed the lives of women, and all her sympathies were with the pioneers who began the work of breaking them down - with Mrs. Elizabeth Garrett Anderson and the pioneers of medical education, and with the founders of Girton. Miss Turle gave a small donation from her dress allowance to Girton in very early days. Though not rich, she was generous and gave money unasked and without ostentation to women's causes. These causes included the London Royal Free Hospital School of Medicine for Women and the New Hospital for Women. From very early years she was interested in the Women's Suffrage movement and joined the London Society for Women's Suffrage in 1878. In 1910 she joined the Women's Social and Political Union. In 1914 she turned again to educational objects and founded a music scholarship of £80 a year at Girton. From 1914 her benefactions to Girton were many and generous including an unconditional gift of £500 in 1923. The College was a residuary legatee under her will and received among other things a grand piano. The money left by her was to be devoted to scholarships. Sophia Turle died in 1923

Mr. Tutton :

Between 1805 and its amalgamation in 1969, the Blues were to have just ten Bandmasters and Directors of Music. Herr Stowasser was followed by James Tutton, one of the founders of the Society of British Musicians. The records show that in the period 1848-1859 the bandmaster was James Rufus Tutton.

Mr. Waddell :

In 1832 James Waddell was appointed Bandmaster of the 1st Life Guards. Under his direction, the Band soon became renowned for its high standard of musical efficiency, due partly to Waddell's prowess as a band trainer, and partly to the special arrangements he made of classical works. Waddell finally retired in 1863.

Mr. Walker : possibly Joseph William Walker of the organ builders J. W. Walker & Sons Ltd.

Prof. Wheatstone FRS : presumably Charles Wheatstone of concertina fame

Wheatstone was also a flute maker.  For more information on Wheatstone (1802-1875) :

The Rev. Dr. Whewell, FRS :

(1794-1866) geologist, later Master of Trinity College Cambridge who was President of the British Association in 1841.

Professor Willis, FRS : possibly The Rev. Professor Willis FRS (1800-1875)

Willis was President of the British Association in 1862 - sometime Jacksonian Professor, Cambridge.

http://www-g.eng.cam.ac.uk/125/noflash/1875-1900/milestones_02.html

The Jacksonian Professorship of Natural Philosophy is one of the senior chairs in Natural and Experimental philosophy at Cambridge University, and was founded in 1782 by a bequest from the Reverend Richard Jackson.

In 1782 the Reverend Richard Jackson of Torrington, Herefordshire, and a former fellow of Trinity College died, leaving a fifth of the income from his estate to the head gardener of the university's physic garden and the remainder to found the Professorship of Natural and Experimental Philosophy that now bears his name. His will specified the details of the professor with much precision, including that preference should be given to candidates from Trinity and men from Staffordshire, Warwickshire,  Derbyshire and Cheshire, and that any holder must search for a cure for gout!

Mr. Henry Willis : possibly Henry Willis (1821-1901) English organ builder