Editing Hubert Parry (section)

===Eton and the youngest Bachelor of Music===
Just as Parry left Twyford for [[Eton College]] in 1861, home life was clouded by Clinton's disgrace: after a promising start at Oxford, studying history and music, Clinton had been sent down for womanising, drinking and indulging in [[opium]]. During Parry's first term at Eton, further news came that his sister, Lucy, had died of consumption on 16 November. That Parry was deeply affected by this is evident in his 1864 diary where he confessed a profound sense of loss. Nonetheless, Parry threw himself into life at Eton with characteristic energy,{{sfn|Dibble|1992|p=19}} and distinguished himself at sport as well as music, despite early signs of the heart trouble that was to dog him for the rest of his life.<ref name=dnb/> Meanwhile, Clinton, despite the intervention of his father to secure his return to Oxford, was sent down a further two times, the last irrevocably for not working; in 1863 Clinton left for Paris under a cloud. Though Parry never mentioned being under family pressure, his biographer, [[Jeremy Dibble]], speculates that since "his interest in music had grown to such a point where it could no longer be ignored or thrown away ... the knowledge of his father’s opposition to a musical career, and having seen how such a denial had contributed to the rebellious nature of his brother's character, the burden of expectation must have seemed enormous."{{sfn|Dibble|1992|p=22}}

Eton was not at that time noted for its music, despite the interest of a number of its pupils. As there was no one at the school competent enough to advance Parry's studies in composition, he turned to [[George Elvey]], the organist of [[St George's Chapel, Windsor Castle]], and began studies with him sometime in 1863.{{sfn|Dibble|1992|pp=22–25}} Elvey was musically conservative, preferring Handel to Mendelssohn, and though Parry initially idolised his teacher,<ref name=dibble24_5>{{harvnb|Dibble|1992|pp=24–25}}</ref> he eventually realised how unadventurous he was compared to S.&nbsp;S. Wesley.{{sfn|Dibble|1992|pp=36–37}} Parry nonetheless benefited from Elvey's tuition and gained the advantage of being able to write anthems for the choir of St George's Chapel, which under Elvey's direction had reached a standard exceptional in English choral singing of that time.<ref name=dibble24_5/> Elvey started his pupil on the contrapuntal disciplines of canon and fugue;{{sfn|Dibble|1992|p=25}} recognising his pupil's talent, he soon became ambitious to train him to a standard sufficient to earn the music degree at Oxford. He therefore introduced his student to the string quartets of [[Joseph Haydn|Haydn]] and [[Wolfgang Amadeus Mozart|Mozart]],<ref name=dibble34>{{harvnb|Dibble|1992|p=34}}</ref> and ultimately to some of the rudiments of orchestration.{{sfn|Dibble|1992|p=37}} Meanwhile, Parry, on his own initiative, explored the orchestral scores of [[Ludwig van Beethoven|Beethoven]], [[Carl Maria von Weber|Weber]], and his beloved Mendelssohn.<ref name=dibble34/> While still at Eton, Parry successfully sat the Oxford [[Bachelor of Music]] examination, the youngest person who had ever done so.<ref name=dnb/> His examination exercise, a cantata, ''O Lord, Thou hast cast us out'', "astonished" the [[Heather Professor of Music]], [[Frederick Ouseley|Sir Frederick Ouseley]], and was triumphantly performed and published in 1867.<ref name=hadow>{{cite journal|last=Hadow|first=Sir William|author-link=William Henry Hadow|jstor=765607|title=Sir Hubert Parry|journal=[[Proceedings of the Musical Association]]|volume=45th session|date=17 June 1919|pages=135–147}}</ref>

In 1867 Parry left Eton and went up to [[Exeter College, Oxford]].<ref name=times/> He did not study music, being intended by his father for a commercial career, and instead read Law and Modern History. His musical concerns took second place during his time at Oxford, though during one summer holiday, acting on the advice of Wesley, he went to Stuttgart and studied with [[Henry Hugh Pierson]].<ref name=dibble52>{{harvnb|Dibble|1992|p=52}}</ref> As Parry recalled, Pierson's prime aim appeared to be "to disabuse me of Bach and Mendelssohn",<ref name=dibble52/> and he set Parry the task of re-orchestrating works by Weber, [[Gioachino Rossini|Rossini]] and Beethoven, as well as some of Parry's own works.{{sfn|Dibble|1992|p=53}} Parry came back to England much more critical of Mendelssohn's music, and discovered more adventurous repertoire through attending concerts at London's [[The Crystal Palace|Crystal Palace]]: he was particularly taken by [[Robert Schumann|Schumann]]'s [[Symphony No. 2 (Schumann)|Second Symphony]], with its "wildly glorious" Scherzo and the slow movement's "delicious" orchestration and "most wonderful ... modulation".{{sfn|Dibble|1992|p=57}} He went into raptures about Beethoven's Sixth and [[Symphony No. 8 (Beethoven)|Eighth]] symphonies, confessing in his diary: "I can hardly bear to hear or smell a large work by Mendelssohn in the same week as a great work of dear old Beet." Yet, as Dibble notes, Mendelssohn's influence on Parry's own music persisted.{{sfn|Dibble|1992|p=58}}