Steggall, Reginald



English organist and composer; born at Bayswater, a suburb of London. Received his early education at Westminster School, and on leaving there in 1884 entered the Royal Academy of m Music, studying the organ under his father, the late Charles Steggall, the piano under Eyers and Beringer, and harmony and composition under Macfarren and Prout. During his studentship Steggall appeared at most of the school concerts in the role of either pianist, composer or organist, and several orchestral works written during that period have since been accorded a public hearing. In 1886 Steggall was appointed organist of the Church of St. Anne, at Soho; two years later he was made an associate of the Philharmonic Society, and was also made an associate of the Royal College of Organists. The same year he gained the Balfe scholarship for composition at the Royal Academy, being the last holder of that valuable scholarship. Leaving the Royal Academy in 1893 Steggall devoted himself chiefly to composition, but in addition gave a large number of organ recitals in various parts of England. In 1895 he received the appointment of professor of the organ at the Royal Academy of Music, a post he still holds. In 1907 he was made an associate of the institution. Steggall has composed a number of orchestral works which have been produced at the Crystal Palace Saturday concerts, among others the suite in E major; the dramatic scena, Alcestis; and Elaine, a dramatic prelude. In 1901 Vreittigia, a symphonic poem, was given for the first time at a concert in Queen's Hall, London, with striking success. In 1905, upon the death of his father, Reginald Steggall was appointed organist and director of the choir to the Honorable Societies of Lincoln's Inn and has there performed many important works. In 1906 the directors of the Royal Academy of Music conferred upon the composer the honor of a fellowship and placed him on the board of examiners. His works include suites; symphonic poems; dramatic prelude; variations; Te Deums, and numerous other pieces for the orchestra; several pieces for the piano; a suite; fantasias and other works for the organ; several sacred compositions for mixed voices; a quintet for flute, oboe, clarinet, bassoon and horn; and many songs; besides a song-cycle, The Seven Ages of Man.