A Dictionary of Music and Musicians/Gauntlett, Henry
GAUNTLETT, Henry John, eldest son of the Rev. Henry Gauntlett, was born in 1806 at Wellington, Salop. He was educated by his father, and at an early age evinced an aptitude for music, especially for playing on the organ. His father was presented to the vicarage of Olney, Bucks, and there, at the age of nine, young Gauntlett entered on the duties of his first organist appointment. In 1826 he was articled to a solicitor. During his clerkship he pursued the study of law and music with equal assiduity, and in 1827 obtained the post of organist of St. Olave's, Southwark, which he held for upwards of 20 years. In 1831 he was admitted a solicitor, and commenced practice in the City of London in partnership with a brother. About 1836, having attained a high reputation as an organist, he commenced his advocacy of a reform in organ building by the adoption of the C organ in the place of the old F and G instruments. He met with the strongest opposition, but finding a valuable auxiliary in William Hill, the organ builder (who, under his superintendence constructed the organs in St. Luke's, Cheetham, Manchester; St. Peter's, Cornhill; Ashton-under-Lyne church; Dr. Raffles' chapel, Liverpool; and St. John's, Calcutta; and reconstructed the large organs in Birmingham Town Hall, and Christ Church, Newgate Street), he attained his aim, and through his exertions the C organ was firmly settled in England. In 1836 he became organist of Christ Church, Newgate Street. In 1842 Dr. Howley, Archbishop of Canterbury, conferred on him the degree of Doctor of Music. About the same time he gave up the law and devoted himself wholly to music. In the year 1844 Gauntlett, in conjunction with Charles Child Spencer, drew attention to the subject of Gregorian music by the publication of the Hymnal for Matins and Evensong (Bell & Daldy). He took an active part in promoting the extension of choral worship, and composed many chants and anthems. With equal ardour he laboured to increase the study of the works of Handel, Bach, Beethoven, Spohr and Mendelssohn, publishing arrangements of the choral and instrumental fugues of Bach; Beethoven's choral works; Cherubini's ditto; the Overtures and Choruses in Spohr's 'Crucifixion,' etc., for the organ, with pedals. But it is as a composer and editor of psalm and hymn tunes that he will be best remembered. For upwards of 40 years he worked in that field with unwearied enthusiasm, and there was scarcely a publication of any note issued during that period in which he was not engaged as editor, assistant, or contributor. Gauntlett also appeared as a lecturer on music and as a critic and reviewer, and able articles from his pen, abounding in learning and spirit (the opinions confidently expressed), will be found in the first 6 volumes of 'The Musical World,' in 'The Morning Post,' 'The Orchestra,' and 'The Church Musician.' After quitting St. Olave's and Christ Church, Gauntlett was successively organist of a church at Kensington Park, of Union Chapel, Islington (for 13 years), and of St. Bartholomew the Great, Smithfield. He was chosen by Mendelssohn to play the organ part in his oratorio, 'Elijah,' on its production at Birmingham, Aug. 26, 1846. He died suddenly, from heart disease, Feb. 21, 1876.
Gauntlett's principal publications, besides those mentioned, were 'The Church Hymn and Tune Book' (with Rev. W. J. Blew), 1844–51; Cantus Melodici, 1845; 'The Comprehensive Tune Book' (with Kearns), 1846–7; 'The Hallelujah' (with Rev. J. J. Waite), 1848–55; 'The Congregational Psalmist' (with Dr. Allon), 1851; Carlyle's 'Manual of Psalmody,' 1860; Tunes, New and Old,' and Harland's 'Church Psalter and Hymnal,' 1868; 'Specimens of a Cathedral Psalter'; 'The Encyclopaedia of the Chant'; 'Hymns and Glorias'; 'St. Mark's Tune Book'; 'Hymns for Little Children,' and several collections of Christmas Carols, Anthems, Songs, etc., and some organ arrangements.