We have arrived at the gates of Holy Week during the reign of Queen Victoria (reg. 1837-1901). The crowd has gathered to hear a selection from John Stainer's Crucifixion. They are waiting to hear an example of the style of music which has become popular.  Music characterized by affectation and exaggerations. Music committed to four measure phrases and stage-like directions such as "Andante Religioso" (at a walking speed in a religious manner).  Lengthy compositions with much repetition were in vogue.  Words were set to music in a trivial way.  "This was a time of easy music: easy to write, easy to sing, easy to play." (From: The Singing Church, C.H. Phillips. Lowe and Brydone Printers Ltd. 1979.)   Composers were prolific in writing music during the Victorian Era.  The music filled a need created by the Evangelical Movement.  The people wanted to sing.

 Between 1850 and 1860 forty-three hymn books were printed.  The Oxford Movement responded with Hymns Ancient and Modern published in 1861.  It contained 273 hymns including 132 Latin, ten German, twelve original and 119 English hymns already in use.  It represented the goals of the Oxford Movement and became representative of the High Church atmosphere.  An Appendix followed in 1868; then was revised in 1875, 1889, 1904 and most recently, 1983.  Although not used exclusively, it may be said that Hymns Ancient and Modern was the cornerstone for the hymnals which followed in the Anglican tradition.

By the end of the Nineteenth century, a new and creative vitality was about to emerge. Two English composers who gave this movement a shove were Charles Stanford (1852-1924) and Hubert Parry (1848-1918).