NEWCASTLE'S MUSICAL HERITAGE AN INTRODUCTION By ...

Richter (1808-79), Cantor of the Thomas School and a master on harmonic
theory. It was here he achieved the highest estimation of his art, which for the
rest of his life remained one of his most prominent characteristics. From Leipzig
Rea went to Prague and studied under Alexander Dreyschock (1818-69), pianist,
teacher and composer and considered a rival of Liszt in technical dexterity. In all
Rea spent three years on the Continent. On his return to London he gave a
series of chamber concerts in the Beethoven Rooms and in 1853 was appointed
organist to the Harmonic Union, which had Julius Benedict (1804-85) as its
conductor. In 1856 Rea founded the London Polyhymnian Choir, comprising all
male voices on the same lines as the Cologne Minnersanger Verein in Germany,
which was a great success. Around this time he was also conductor of an
amateur orchestra. In 1858 he took up what was to be his last London
appointment as organist at St Michael’s in Stockwell. In 1860 the Newcastle
Council advertised a post for Council Organist and Rea applied. Although there
were many applicants for the post Rea was so outstanding the others were
immediately dismissed and he got the job.
A brief summary of Rea’s contribution to the history of music in Newcastle,
such as that given in his obituary notice (see below) does not do full justice to the
man but it is impressive nevertheless. As council organist he gave weekly organ
and piano recitals in the Town hall. In 1867 he began a series of choral and
orchestral concerts – over a month at a time- every season for nine years.
Eminent artists were engaged and the most famous works were well performed.
After the collapse of these concerts he gave three subscription concerts annually
that were well supported by leading musical amateurs. At various times he was
organist at St Andrews, St Mary’s (Tyne Dock) and Elswick Road Chapel. He
published a few compositions but they were said to show reserve. His life’s work
was principally educational; he had a music academy on Pilgrim Street where he
taught piano, organ and harmony. In 1886 Durham University conferred upon
him a FCO & Musical Doctorate and in May 1889 he received a public testimonial
in recognition of his services in the cultivation and spread of music in the North of
England. The idea originated with members of Newcastle Amateur Vocal Society
in recognition of his many years as their conductor but it afterwards assumed a
more widely representative character owing to a desire of many friends outside
the circle of the Society to participate in doing honour to an eminent musician
who had done so much for musical culture in the district of his adoption. The
presentation was made by Alderman Jonathan Barker Ellis, who had worked
closely with Dr Rea, as Chairman of the People’s Concerts Committee.
William Rea must have met with some opposition when he first came to
Newcastle from London, not least perhaps from the Phil-Harmonic Society. I can
find no evidence of this but its members would not have taken kindly to this
Londoner with his preference for German music hustling in on their territory,
giving lectures at the Literary and Philosophical Society on Mozart, Beethoven
and Weber, and recitals of modern piano music. The thought of Wagner ringing
out over the Bigg Market must have filled them with horror. Their concerts were
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