Though today a composer whose works are scarcely seen on
concert and recital programs, William Boyce was nevertheless one of the most
important English-born composers of the 18th century. Born in London
in 1711, he received his initial training in music as a choirboy at St. Paul's
Cathedral. After his voice broke and thus necessarily forcing him out of the
choir, he began to study with Maurice Greene, the church's organist and composer.
In 1734, he was appointed to his first professional post: organist at the
Oxford Chapel. He remained there for two years before moving on to serve in the
same position at St. Michael's. He also became a court composer at the Chapel
Royal and director of England's Three Choirs Festival, an annual celebration
which is still held in London today.
Boyce's career began to approach its zenith around 1750. The
year prior, he was employed at the All Hallows Church as organist and began a
fruitful relationship with Drury Lane Theater. Over the next few years, he
composed a sizeable amount of incidental music, including music for
Shakespeare's The Tempest, Cymbeline, and
Romeo and Juliet. In 1755, on the
death of his former teacher, he was appointed "Master of the King's Musick,"
and three years later, chief organist of Chapel Royal.
Despite his growing prominence in the musical scene of
London, Boyce's career as a musician fell victim to a growing deafness that had
plagued him since early life. No longer able to fulfill
his duties because of his malady, he was ushered into forced retirement.
However, Boyce did not wholly abandon music. Instead, he took up a project
begun by his former teacher, Greene—a collection of English church scores
entitled Cathedral Music. Among the
composer's whose music appeared in the collection where William Byrd and Henry
Purcell, and much of it is still in use in the Anglican Church repertoire
today. Following Boyce's death on February 7, 1779, his music, save for his
contributions to church music, were largely neglected and forgotten over the
next 150 years. A sort of revival of Boyce's music began in the 1930s, aided by
the efforts of Constant Lambert who edited and conducted some of his works.
Today he is best known for his eight symphonies, anthems, and odes.
William Boyce
Biography
Though today a composer whose works are scarcely seen on concert and recital programs, William Boyce was nevertheless one of the most important English-born composers of the 18th century. Born in London in 1711, he received his initial training in music as a choirboy at St. Paul's Cathedral. After his voice broke and thus necessarily forcing him out of the choir, he began to study with Maurice Greene, the church's organist and composer. In 1734, he was appointed to his first professional post: organist at the Oxford Chapel. He remained there for two years before moving on to serve in the same position at St. Michael's. He also became a court composer at the Chapel Royal and director of England's Three Choirs Festival, an annual celebration which is still held in London today.
Boyce's career began to approach its zenith around 1750. The year prior, he was employed at the All Hallows Church as organist and began a fruitful relationship with Drury Lane Theater. Over the next few years, he composed a sizeable amount of incidental music, including music for Shakespeare's The Tempest, Cymbeline, and Romeo and Juliet. In 1755, on the death of his former teacher, he was appointed "Master of the King's Musick," and three years later, chief organist of Chapel Royal.
Despite his growing prominence in the musical scene of London, Boyce's career as a musician fell victim to a growing deafness that had plagued him since early life. No longer able to fulfill his duties because of his malady, he was ushered into forced retirement. However, Boyce did not wholly abandon music. Instead, he took up a project begun by his former teacher, Greene—a collection of English church scores entitled Cathedral Music. Among the composer's whose music appeared in the collection where William Byrd and Henry Purcell, and much of it is still in use in the Anglican Church repertoire today. Following Boyce's death on February 7, 1779, his music, save for his contributions to church music, were largely neglected and forgotten over the next 150 years. A sort of revival of Boyce's music began in the 1930s, aided by the efforts of Constant Lambert who edited and conducted some of his works. Today he is best known for his eight symphonies, anthems, and odes.