A distinguished English pianist of the mid-19^th century, Kate Loder was born into a celebrated musical family in Bath, her training included lessons with Bath native Henry Field who prepared her for her audition to the Royal Academy of Music. When she entered the Academy in January 1839 she became another family member at the school: her uncle, John David Loder, was professor of violin.

Loder’s first public appearance occurred the following year at the Assembly Rooms in Bath when she performed an Andante by Sigismund Thalberg at a concert on 13 January 1840. The performance received positive comments that described the fourteen-year-old as a pianist “of first rate ability”.

Three months later, on 11 April, Loder performed the Thalberg Andante in D flat at the Royal Academy of Music concert that took place in the Hanover-square Rooms.

Following her graduation in June 1844, Loder maintained a busy performance schedule in London where she appeared at benefit concerts, at the Philharmonic Society, the Society of British Musicians and various chamber series. She was scheduled to perform at a Philharmonic Society concert on 14 May 1849, though a hand injury delayed her appearance until the following concert on 28 May. Her rendering of Mendelssohn’s Serenade and Allegro giojoso in D received enthusiastic applause from the Philharmonic audience.

Loder maintained a busy performance schedule typical of pianists in the late 1840s and 1850s. Although centered chiefly in London, she also appeared in venues outside the British capital. On 5 December 1849, she participated in a Reading Town Hall concert sponsored by A. H. Tull, a flute professor at the RAM.  She chose Beethoven’s Sonata Pathétique as her solo and partnered with Tull in a “Grand Potpouri” composed jointly by flutist Theophile Boucher and pianist Julius Benedict.

Although Loder retired from the public concert stage in March 1854, two years after her marriage to surgeon Henry Thompson, she continued to teach and occasionally compose.

An obituary of 1 October 1904 emphasized Loder’s performance career, mentioned her work as an organist and commended her personal courage and generosity.

Therese Ellsworth, 2025.

The Musical Times, 1 October 1904:

“LADY THOMPSON has not long outlived her distinguished husband, the late Sir Henry Thompson, Bart., the eminent surgeon.  She died, we regret to record, at Headley, Surrey, on August 30, aged seventy-nine.  As Kate Fanny Loder – born at Bath, August 21, 1826, and the only daughter of George and Fanny Loder – she showed great musical talent at a very tender age.  She studied the pianoforte under Henry Field, and from January, 1839 to March, 1844, was a student at the Royal Academy of Music, she being twice elected a King’s Scholar (in 1839 and 1841), and holding a professorship of harmony at that Institution.  In 1840, at the age fourteen, Kate Loder appeared at concerts at Bath, and in 1844, at an important concert given by Mrs. Anderson in London, she played two movements of Mendelssohn’s G minor Concerto, the composer himself being present on that occasion.  ‘Little Kate Loder,’ recorded the Musical World, ‘executed the Adagio and Rondo from Mendelssohn’s first Concerto with surprising energy and neatness.’  The performers at that concert included Grisi, Mario, Lablache, Staudigl, Sivori, Joachim (then a boy of fifteen), Piatti, and John Parry, while Costa conducted – a veritable galaxy of talent.  Miss Loder’s first appearance at the Philharmonic Concerts was on March 15, 1847, in Weber’s Pianoforte Concerto in E flat, and on March 6, 1854, she played Mendelssohn’s Concerto in D minor, this being her last performance in public ; but she continued her connection with the Academy after she had retired from the concert platform.  On December 16, 1851, she married Sir (then Mr.) Henry Thompson above referred to, who died in the spring of this year.

It may not be generally known that Lady Thompson was at one time (1853) organist of St. Peter’s Church, Vere Street, an appointment which doubtless caused her to compose two sets of organ pieces which have been published.  According to Messrs. Brown and Stratton’s ‘British Musical Biography’ there must also be placed to her creative credit an opera, (L’Elisir d’Amore), an overture, two string quartets, a pianoforte trio, sonatas for pianoforte and violin, solos for violin, &c.

In recent years Lady Thompson was afflicted with paralysis.  One who knew her wrote recently of her as ‘the beloved centre of her home to children and friends.  Her spirit rose superior to bodily ailments.’  The writer continues : ‘She kept up a lively interest in everything concerning her husband and children and the good of mankind.  She worked heartily for the poor, as well as entertaining friends in Wimpole Street ; her talent and accomplishments always kept her in touch with musicians, and not only did she give excellent musical parties, but with her large-hearted benevolence Lady Thompson herself gave lessons in music to young students who were too poor to pay fees to ordinary teachers.  Altogether Lady Thompson is an example to all who had the privilege of her friendship, of patience, utter unselfishness, and bright endeavour to make the best of trials.’  The memory of the just is blessed.”