PARRY, SIR CHARLES HUBERT HASTINGS, 1ST BART. cr. 1902 (1848-1928), English musical composer, second son of Thomas Gambier Parry, of Highnam Court, Gloucester, was born at Bournemouth on Feb. 27, 1848. He was educated at Malvern, Twyford, near Winchester, Eton (from 1860, and Exeter College, Oxford. While still at Eton he wrote music, two anthems being published in 1865. He studied music successively with H. H. Pierson (at Stuttgart), Sterndale Bennett and Mac farren; but the most important part of his artistic development was due to Edward Dannreuther. Among the larger works of this early period may be mentioned an overture, Guillem de Cabes tanh (Crystal Palace, 1879) ; a pianoforte concerto in F sharp minor, played by Dannreuther at the Crystal Palace and Richter concerts in 188o; his first choral work, Scenes from Prometheus Unbound, produced at the Gloucester Festival, 288o, and a sym phony in G given at the Birmingham Festival in 1882. A setting of Shirley's ode, The Glories of our Blood and State, brought out at Gloucester, in 1883, attracted general attention and laid the foundation of his reputation. After this with a noble eight-part set ting of Milton's Blest Pair of Sirens (Bach Choir, 1887) began a fine series of compositions set to sacred or semi-sacred words. These include Judith (Birmingham, 1888), Ode on St. Cecilia's Day (Leeds, 1889), L'Allegro ed it penseroso (Norwich, 1890), De Profundis (Hereford, 1891), The Lotus Eaters (Cambridge, 1892), Job (Gloucester, 2892), King Saul (Birmingham, 1894), Invoca tion to Music (Leeds, 1895), Magnificat (Hereford, 2897), A Song of Darkness and of Light (Gloucester, 1898), and a Te Deum (Hereford, 1900). In his Symphonic Variations (1897), he dis
played his power as an instrumental composer, while his incidental music to The Birds of Aristophanes (Cambridge, 1883) and The Frogs (Oxford, 1892) afforded opportunity for the display of that abounding sense of humour which was such an essential part of his genial and engaging disposition. He also wrote much admirable chamber music and many beautiful songs and part songs including a setting of Blake's "Milton" which under the title "Jerusalem" has become universally known and loved.
Parry's writings include : the popular Studies of Great Com posers, The Evolution of the Art of Music (1896), a volume (The Seventeenth Century) of the Oxford History of Music, Johann Sebastian Bach (1909) and Style in Musical Art (292i). At the opening of the Royal College of Music in 1883 he was appointed professor of composition and of musical history, and in 1894, on the retirement of Sir George Grove, Parry succeeded him as prin cipal. He was appointed Choragus of Oxford University in 1883, succeeding Stainer in the musical professorship of the university in 1900. Parry retired from his professorship in 1908 and died at Rustington, Sussex, on Oct. 7, 1918.
See C. L. Graves, Hubert Parry (2 vols., 1926).