Albert Ketèlbey - Knowledge (XXG)

959:, where he partly retired, although he composed occasionally. Tastes in popular music had changed during and after the Second World War and his music declined in popularity; his income in 1940 had been £3,493, which dropped to £2,906 in 1950—a particularly steep drop when wartime inflation is considered. McCanna writes that apart from a commission for the National Brass Band competition in 1945, Ketèlbey produced nothing memorable after the war, and his biographer Keith Anderson considers that in the postwar period Ketèlbey's work "... lacked novelty. Of the handful of works published ... most were reworkings of old material, although the composer attempted to disguise the origins". The BBC also began to ignore his work. In their 1949 Festival of Light Music, none of his compositions were played, which he found distressing. In his letter to the 1131:(1931), which, like its Persian predecessor, opens with a vigorous march theme followed by a broad romantic melody. Again, the composer employs unconventional musical devices for colour—in this case a chromatic scale, descending at each appearance until the closing bars, where it is inverted. In 1958, the critic Ronald Ever wrote that Ketèlbey was noted for his use of "every exotic noisemaker known to man—chimes, orchestra bells, gongs (all sizes and nationalities), cymbals, woodblocks, xylophone, drums of every variety". Ever commented that Ketèlbey's exoticism had left an immovable impression of eastern music on western ears, to which "Oriental music is Ketèlbey music: the clashing cymbals; the little pinging bells; the minor modes; the amazingly graphic mincing step created by rapidly reiterated notes; the coy taps on the woodblock." 545:, which was published in the following year both as a piano piece and in full orchestral form. It was his first major success, his most famous piece, and became known all over the world; by 1920 over a million copies of the sheet music had been sold. There are two competing stories detailing the inspiration behind the piece: although Ketèlbey later said that he wrote the work for an old friend, he also stated that he composed it after visiting a monastery. The musicologist Peter Dempsey considers that "this piece ... remains to this day a world-renowned staple of the light-music repertoire, while McCanna opines that from the first bar, listeners "... might sooner expect such a device in the impassioned world of a 528: 321: 339: 490:, and a fourth in 1910, when he worked for Elkin & Co. McCanna considers that "this hack-work may have been tedious, but the experience was invaluable in moulding the composer's fluent writing for both piano and orchestra". Throughout the time working for the companies he continued to compose and publish his own work, comprising organ music, songs, duets, piano pieces and anthems. He worked for Columbia for over twenty years and rose to the position of Musical Director and Adviser, working with leading musicians across a range of musical styles; Columbia released more than 600 recordings with Ketèlbey conducting. 1300: 633: 390:. He held the post for the next five years, during which time he wrote several anthems and hymns, the latter of which included "Every Good Gift", "Behold! Upon the Mountains" and "Be Strong! All ye People". It was around this time he added the accent to his surname, with the aim of moving the stress onto the second syllable, rather than the first. In that year he appeared in a series of concerts in London and provincial cities. In March 1892 at the capital's 1249:(1923). The musical influences on his piano works were on the whole conservative: for the early works McCanna mentions Haydn and Mendelssohn in this context. Much of the piano music published in the years after the First World War was aimed at a domestic audience; it requires only a modest technical proficiency to play and is simple in structure with deft harmonies. The most commercially successful of the Vodorinski works was the Prelude in C 423:-based, compositions. As he still aspired to be a serious composer, he adapted the pseudonym Raoul Clifford in an effort to distance himself from the genre. On leaving the college he became one of its examiners in harmony. He wrote piano pieces as part of his role, and used the pseudonym Anton Vodorinski for the work; he subsequently used the name for more serious works, which he published with French titles. 44: 511:: second place with a song for female voices, and first place with his entry for male voices. The latter song, "My Heart Still Clings to You", is described by Sant as "a typical tragical-love ballad of this time, and its almost Victorian sentimentality comes through in its words". In the early to mid-1910s Ketèlbey began to write music for 1394:, considers that Ketèlbey's work expresses an "ornate, perfumed, genteel Orientalism found expression in miniatures"; he adds that "all of Ketèlbey's music is pretty weird—deeply derivative yet unmistakably personal, tidy in form yet grandiose in execution, amiable and often touching despite its unashamed mawkishness." 817:, the anonymous writer wrote "we sympathise with Mr Ketèlbey in being thus raised to a pinnacle which he himself, we are sure, would be very far from claiming." Sant writes that Ketèlbey subsequently became Britain's first millionaire composer. In February 1930 he began what became an annual series of concerts at the 991:, Phillip Scowcroft writes, "His gifts for melody and sensitive, colourful scoring ensured continuing popularity with light orchestras and bands until after 1945. The most popular of his hundreds of pieces emphasize emotionalism and sometimes exaggerated effects at the expense of structure and harmonic subtlety." 1255:

minor (1907). McCanna comments that not only the title but the material is reminiscent of Rachmaninoff: "the music turns out to copy some of the more illustrious composer's features, notably the final fortissimo statement of the melody in the bass". Ketèlbey followed Chopin's model in several waltzes

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from April, for which Ketèlbey wrote the music and songs. Following poor reviews, the short run of the piece ended in May and the Opera Comique closed because of the losses brought about by the production. There, Ketèlbey began a relationship with the actress and singer Charlotte "Lottie" Siegenberg.

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was Albert's invention: the family name was spelled without it at the time of his birth and there had been several variants of the name in the previous generations. All the children were taught a musical instrument and Ketèlbey's brother, Harold, was later a violinist of note. Albert showed a natural

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Dempsey, writing in 2001, considered that Ketèlbey's "late-Romantic tone miniatures ... are deserving of reappraisal". The composer's reputation has improved over time, and the cultural historian Andrew Blake identifies a "form of 'cult following'" for him. In the 21st century, Ketèlbey's music

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For the chamber repertoire, Ketèlbey composed a string quartet (c. 1896) and a quintet for piano and wind (1896) which won the Costa Prize and the College Gold Medal. His 1894 Romance for violin and piano was praised as "a charming, musicianly work". His other early works include choral pieces,

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and the subsequent growth of the medium had a serious impact on composers and music publishers involved in the film industry as it heralded a decline in the sales of sheet music. Although Ketèlbey's income from this source declined, the period was also marked by a rise in the popularity of the radio

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Throughout his career Ketèlbey composed songs, providing the words for most of those written after 1913. His first, unpublished, song, "Be Still, Sad Heart" dates from 1892, and during the rest of the 1890s he wrote songs for children as well as sentimental ballads like "Believe Me True" (1897) for

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for piano and orchestra (circa 1893) and a piano concerto in G minor (1895). Ketèlbey's piano writing was notable for its brilliance, and the composer's own performance of the solo part of the Concertstück brought out that quality. As a student, Ketèlbey composed a cadenza for the first movement of

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quotes the view of a Russian journal that "the suite ... had its 'immaculate conception' in imperialistic colonial England. The composer's intention is to convince the listener that all's well in the colonies where beautiful women and exotic fruits mature together, where beggars and rulers are

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his synopsis notes "the camel drivers approaching, the cries of beggars, entry of beautiful princess (represented by a languorous theme given at first to clarinet and cello and then full orchestra) ... she watches the jugglers and snake-charmers ... the Caliph passes by, interrupting the

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The first theme represents a poet's reverie in the quietude of the monastery garden amidst beautiful surroundings—the calm serene atmosphere—the leafy trees and the singing birds. The second theme in the minor expresses the more 'personal' note of sadness, of appeal and contrition. Presently, the

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thought Ketèlbey's score was "attractive though conventional ... No originality is shown in conception or treatment, but the conception is appropriate, and the treatment effective." The same year Ketèlbey began undertaking transcription work at the music publisher A. Hammond & Co, making

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lay in its memorable expressive melodies combined with its ability to set the scene by enhanced use of different kinds of colour: local colour in the choice of characteristic settings, often with explicit narrative captions printed above the music; musical colour in the form of exotic scales and

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Much of the music Ketèlbey wrote as accompaniment to silent films between 1915 and 1929, though lucrative at the time, has proved ephemeral, although he reused and rearranged some of it in solo pieces for amateur pianists. With the requirements of cinemas of all sizes in mind, his film music was

1083:" with the organ playing and the chapel bell ringing. The first theme is now heard in a quieter manner as if it had become more ethereal and distant; the singing of the monks is again heard—it becomes louder and more insistent, bringing the piece to a conclusion in a glow of exultation. 1279:" (1907), "My Heart-a-dream" (1909), "I Loved You More Than I Knew" (1912), "My Heart Still Clings to You" (1913), "Will You Forgive?" (1924), and "A Birthday Song" (1933). He wrote patriotic songs for use in three wars: "There's Something in the English After all" (1899, during the 1055:

Ketèlbey, a capable player of the cello, clarinet, oboe, and horn, was a skilled orchestrator. He generally followed the normal style for light music of his day: picturesque and romantic, with colourful orchestral effects. Reviewing a collection of Ketèlbey's music, the authors of

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Ketèlbey was financially successful enough to leave Columbia Records in 1926 to spend more time composing, although he continued to conduct for them on an occasional basis, particularly between 1928 and 1930 when he conducted sixteen of his own works with the company, published as

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wrote that "Ketèlbey's especial fame ... consisted in his phenomenal success as a composer of light music. His remarkable gift for alluring tunes, rich in homely sentiment, was reflected in the immense popularity of pieces". McCanna opines that Ketèlbey's popularity

1138:(1921), redolent, in the words of McDonald, of "rose-entwined thatched cottages standing amidst gardens full of hollyhocks with a gentle brook bubbling on its rustic way and cows grazing peacefully in the pastures beyond". Urban life was evoked in the five-movement 827:. In a review of the 1933 concert, the critic S.R. Nelson wrote that "as a descriptive writer Ketèlbey really does take some beating. He has the happy knack of combining infinitely melodious themes and the cleverly diluted likeness of the authentic atmosphere." 1066:, typically lasting between four and six minutes. His penchant for arranging his works for various combinations of instruments makes them harder to categorise than the works of many other composers. His first two pieces to make a mark with a wide public were 690:'Appy 'Ampstead", which the writers Lewis and Susan Foreman describe as "... a kaleidoscope of passing images, mouth organs, a cornet playing, ... a band, ... shouts of a showman ... with his rattle and a steam engine and roundabout". 1212:

In addition to arrangements for solo instruments of his popular orchestral works, Ketèlbey wrote a range of music for organ and for piano. Some of the more serious of these pieces were published under his "Vodorinski" pen name. Among the organ works are

940:. The couple were taken to the Regent's Park Nursing Home, where Lottie died two days later. He sold his house and moved temporarily to the Hendon Hall Hotel, where he had a nervous breakdown. He spent the remainder of the year staying in hotels in 1020:"Every good Gift"; "Behold upon the mountains", and "Be strong, all ye people" (all 1896). After these works he moved professionally into conducting light opera, and serious music became the exception rather than the rule in his compositions. 935:

was harsh, and in February the sub-zero temperatures burst the water main outside Ketèlbey's Hampstead home. With his house partially flooded, he lost most of his correspondence, manuscripts and papers, and he and his wife both contracted

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in harmony. At the age of thirteen Ketèlbey composed his first serious piece of music, "Sonata for Pianoforte", which, for Tom McCanna, his biographer, "shows a precocious mastery of composition". Ketèlbey competed for a scholarship to

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entertainment ... all depart, their themes heard faintly in the distance, and the marketplace becomes deserted." Ketèlbey establishes the eastern setting in the opening section, employing the distinctive melodic intervals, A–B

1074:(1915), both best known in their orchestral versions, but originally written for cello and piano and for solo piano respectively. For the familiar orchestral version of the second of these pieces the composer published a synopsis: 1125:(1923), described as an "oriental phantasy", with episodes depicting a priestly incantation, two lovers, a wedding procession, a street brawl and the restoration of calm by the beating of the temple gong. Another example is 2399: 729:

thought that the case "... is an awful bore. ... These two good men are good musicians, and they have no business to be fighting over the game. It is not worth the trouble. ... It is rubbish. I am sick of

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McCanna particularly highlights "where a discordant note in the melody resolves on to a chord whose bass note has simultaneously changed from major to minor, thus tingeing the moment of relaxation with a feeling of

629:, the pseudonymous reviewer "Ariel" described the work as "naive and inexpensive pseudo-orientalism", which led to heated correspondence in the journal over the following months between the composer and the critic. 233:(1924) with its scenes of London life, and his ceremonial music for royal events. His works were frequently recorded during his heyday, and a substantial part of his output has been put on CD in more recent years. 236:

Ketèlbey's popularity began to wane during the Second World War and his originality also declined; many of his post-war works were re-workings of older pieces and he increasingly found his music ignored by the

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Ketèlbey died in his Cowes home of heart and renal failure on 26 November 1959. By the time of his death he had slipped into obscurity. Only a handful of mourners attended his funeral, which was held at

1287:) and "Fighting for Freedom" (1941, during the Second World War). His sole Shakespeare setting, "Blow! Blow! Thou Winter Wind" (1898, revised 1951), was written as incidental music for a production of 767:. He was invited to conduct several international orchestras, and spent time in Belgium, Germany, France, Switzerland and particularly in the Netherlands, where he built a strong relationship with the 435:

company; his father, who wanted his son to be a composer of serious music, disapproved of what he saw as a lightweight role. After a two-year tour Ketèlbey was appointed as musical director of the

880:; the king requested that the march should be played again during the interval, and he and the queen stayed in the royal box to listen to the piece. In the following year Ketèlbey wrote the march 620:"immortal", describes it as "an 'intermezzo scene' for band or small orchestra; reprehensibly demeaning or delightfully tacky". The work was not without its critics; the composer and conductor 211:(1915), sold over a million copies and brought him to widespread notice; his later musical depictions of exotic scenes caught the public imagination and established his fortune. Such works as 1432:

In 1890 he won the Turner Pianoforte Medal; in 1892 the college medals for Harmony and Counterpoint and the Gabriel Prize; and in 1895 the Sir Michael Costa Prize and the Tallis Gold Medal.

229:(1931) became best-sellers in print and on records; by the late 1920s he was Britain's first millionaire composer. His celebrations of British scenes were equally popular: examples include 205:

The composer's early works in conventional classical style were well received, but it was for his light orchestral pieces that he became best known. One of his earliest works in the genre,

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Despite several sources claiming the composer's name was William Aston, Ketèlbey's biographer John Sant states that the original birth certificate is in the name Albert William Ketelbey.

1102:. Although one contemporary critic belittled the music as "pseudo-orientalism", McCanna comments that "The princess portrayed by the big romantic theme is a cousin of the princesses in 999:

Ketèlbey's early compositions are classical and orthodox in form, reflecting the training at Trinity College. The first substantial work was a piano sonata (1888); it was followed by a

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These variations included Kettelby, Kettelbey and Ketelby; George's birth certificate had the spelling Kettelbey, although his marriage certificate was in the name Ketelbey.

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their seniors. Many had words by Florence Hoare, whose other lyrics included English words for songs by Tchaikovsky, Gounod and Brahms. Ketèlbey's popular ballads included "

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between December 1898 and March 1899, and according to his biographer John Sant, it is possible that Ketèlbey wrote some of the music. This was followed by the comic opera

592:. Except for a brief interval in 1926 when he resigned over a dispute about the allocation of funds to its members, he remained a lifelong member. In 1919 he composed the 3984: 1537:

as it contained unaccompanied church bells, which (being reserved as a general signal in case of invasion) were not allowed to be broadcast while the conflict continued.

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commented, "There is no need to explain here why his serious music, whether written thirty years ago or as recently as 1927 ... has not won the popularity of, say,

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as "character pieces complete with leering saxophone, cheeky mouth-organ, and some infernally catchy tunes". Ketèlbey depicts successively a royal procession from

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thought the "brilliant" Ketèlbey played "most beautifully". He won several prizes at the college before being awarded his certificate in 1895. During this period,

372: 176: 3689: 2219: 1058: 1221:, both dating from about 1911. The piano works include the early classical pieces such as the 1888 Sonata, and shorter items in a more popular style, such as 3929: 3904: 3735: 907:, but these were on a smaller scale because of travel restrictions. He also continued with his annual concerts at Kingsway Hall, and introduced a new march, 1546:£3,493 in 1940 equates to approximately £170,000 in 2015, while £2,906 in 1950 equates to approximately £89,000 in 2015, according to calculations based on 932: 245:, where he spent his retirement, and he died at home in obscurity. His work has been reappraised since his death; in a 2003 poll by the BBC radio programme 194:, making arrangements for smaller orchestras, a period in which he learned to write fluent and popular music. He also found great success writing music for 3939: 662:

table in the basement, which became his favoured form of relaxation. He produced a series of orchestral pieces in the first half of the 1920s, including

1200:("greatly in favour for uncanny and weird picturizations"), "Agitato Furioso" ("famous for its excellence in playing to riots, storms, wars, etc.") and 1423:

Tom McCanna, Ketèlbey's biographer, reports of rumours of an earlier piano sonata, written at the age of eleven, although this cannot be substantiated.

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The Performing Rights Society—now the PRS for Music—had been formed in 1914 to collect income for public performance of music on behalf of composers.

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and gramophones and his new compositions were successful with audiences at home. By the early 1930s over 1,500 broadcasts of his work were made on

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Ketèlbey's concert music was less well known in England than in continental Europe, where he conducted many programmes of his own works for the

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orchestras were becoming increasingly popular in Britain, and Ketèlbey's job was to arrange full orchestra works for these smaller ensembles.

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published in the "Bosworth Loose Leaf Film Play Music Series" in versions for solo piano or for small orchestras. The titles offered included

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He also used several other pseudonyms when publishing work, including Geoffrey Kaye, Dennis Charlton, A. William Aston and Andre de Basque.

717:. At Columbia's request Ketèlbey produced his own version of Gay's original. Austin considered that it copied elements of his, and sued for 3944: 1684: 743:

Such was Ketèlbey's popularity that by 1924 his works could be heard several times a day in restaurants and cinemas, and in that year the

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commented in 2008, "when vulgarity is called for it is not shirked—only it's a stylish kind of vulgarity!" Many of Ketèlbey's pieces are

3954: 3949: 507: 3979: 3320: 167:; 9 August 1875 – 26 November 1959) was an English composer, conductor and pianist, best known for his short pieces of 987:

Under his own name and at least six pseudonyms, Ketèlbey composed several hundred works, about 150 of them for the orchestra. In the

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and others. The composer's more avowedly serious music was less widely esteemed by his compatriots. In a 1928 profile the magazine

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to mark the fiftieth anniversary of Ketèlbey's death; it was the first time the tune had been included in the festival's finale.

1098:–E. The orchestral players are instructed to sing at two points in the score, a descending motif representing beggars crying for 1009: 355: 327: 948:

he began a relationship with Mabel Maud Pritchett, a hotel manageress, and the couple married in October in the following year.

3703: 359: 527: 265:, marking the fiftieth anniversary of Ketèlbey's death—the first time his music had been included in the festival's finale. 841:

in a year, and more than 700 on continental radio stations, including a weekly Sunday programme of his music, sponsored by

179:. After a brilliant studentship he did not pursue the classical career predicted for him, becoming musical director of the 916: 455: 3158: 505:, which became his first major success. In the following year he won two prizes totalling £200 in a competition held by 487: 379:

came second. Ketèlbey entered the college in 1889, studying under G. E. Bambridge (piano), Dr G. Saunders (harmony) and

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harmonies; orchestral colour in the novel use of singing by the players and of sound effects executed by the drummer.

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In 1892 Ketèlbey again won the annual scholarship competition and was appointed as the organist at St John's Church,

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type are by far the best that anyone in this country has written, and they represent the end to which he was born."

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Because of the rise in Ketèlbey's popularity, and in sales of his sheet music, in 1918 he became a member of the

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his publisher described him as "Britain's greatest living composer"; when the advertisement was mentioned in

286:, England. He was the second of five children of George Henry, a jewellery engraver, and his wife Sarah Ann, 3425: 3123: 2976: 1385: 1368: 1169: 1024: 892:

before Ketèlbey conducted its first public performance at Kingsway Hall. The work was played at that year's

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arrangements of music for smaller orchestras. In 1904 he also began to work for a second music publisher,

399: 367: 967:, Ketèlbey said the exclusion was "a public insult". His music still found an audience: in 1952 and 1953 672:(1922), which the music critic Tim McDonald considers "impressive". In the following year Ketèlbey wrote 3761: 3555: 3400: 1845: 1151: 849:. For this programme he wrote the theme music, "Sunday Afternoon Reverie", with the melody based on the 747:

spent £150,000 on playing his music in their outlets. He continued to build on his success in 1925 with

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Theatre—at age 22, the youngest theatrical conductor in London at the time. He moved into a house in

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and Kursaal Grand Symphony orchestras. His music was popular on the continent and his obituarist in

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on the current institute building, commemorating Ketèlbey's time as a student of the school of music

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later reported that one Viennese critic considered that Ketèlbey's music was behind only that of

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performed by the Peerless Orchestra and male chorus. From an Edison Phonograph recorded in 1921.

2814: 793:. He spent his time undertaking annual conducting tours and composing, and in 1927 he published 1376:

was voted thirty-sixth most popular tune of all time. The last night of the corporation's 2009

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During his tenure at Columbia, Ketèlbey promoted the works of several composers, including

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Ketèlbey followed the same basic formula for many of his most popular later works. For

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before gaining fame as a composer of light music and as a conductor of his own works.

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Albert William Ketèlbey was born on 9 August 1875 at 41 Alma Street in the

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is still frequently heard on radio and in a 2003 poll by the BBC radio programme

1266:(1907) and two different pieces under the title Valse brillante (1905 and 1911). 3752: 3495:

Swing Troubadours: Brassens, Vian, Gainsbourg: les Trente Glorieuses en 33 tours

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was voted the 36th most popular tune of all time. On the last night of the 2009

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The Land Without Music: Music, Culture and Society in Twentieth-century Britain

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In later years he also became one of the main board examiners for the college.

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in London, and received the highest marks of all entrants; the future composer

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talent for the piano and singing, and he subsequently became head chorister at

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Ketelbey, Albert W (1 December 1926). "'Inexpensive' and Other Counterfeits".

1472: 1327: 1164: 857: 516: 475:, which was staged at the Grand Theatre, Fulham in 1900. The reviewer for the 288: 283: 199: 172: 72: 3103: 3075: 2124: 1974: 1601: 740:." After three weeks the case ended with the judge finding against Columbia. 3628: 3235: 2409: 2031: 1723: 1488:, and in the following year sixteen of his piano works for film appeared in 1377: 1196:(described by the composer as "suitable for use in dainty, fickle scenes"), 1173: 1099: 937: 838: 773: 655: 412:

reports, some critics found likenesses between Ketèlbey's music and that of

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For many years Ketèlbey worked for a series of music publishers, including

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In 1915 Ketèlbey published a collection of his film pieces under the name

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Towards the end of his time at the college Ketèlbey wrote lighter, mostly

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Among Ketèlbey's light orchestral works with a wholly British flavour is

873: 807:. His works continued to sell well, and in the October 1929 issue of the 706: 420: 3200:"Monastery Garden and Persian Market: The Travels of Albert W Ketèlbey" 1159: 651: 625:

friends, where there are no imperialists, no restive proletarians." In

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was again played as a slow march at the Trooping the Colour ceremony.

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Nelson, SR (25 January 1933). "Albert Ketelbey—Specialist in Decor".

1040: 1017: 501:. Ketèlbey was the winner of the competition with a new composition, 612:; the latter became one of his more popular works. The musicologist 3684: 2342: 2309: 2269: 2232: 1043:

and the like." The reviewer added, "Albert Ketèlbey's works of the

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symphony than in a genteel English salon piece". The success of

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In 1896 Ketèlbey took up the post of conductor for a travelling

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During the Second World War the piece was not broadcast by the

1283:), "The Trumpet Voice of Motherland is Calling" (1914, for the 868:). His connection to royalty continued in 1934, when his march 497:

offered a prize for a new work to complement his popular piece

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The couple married in 1906 but the relationship was childless.

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Brown, Geoff (13 May 2003). "Mahler That's worth its Weight".

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Ketèlbey continued to conduct on his annual tours during the

864:—in 1932, on the sixth birthday of Princess Elizabeth (later 650:, where he had been living for the previous seven years, to 2327:

Ketelbey, Albert W (1 January 1927). "Pseudo Orientalism".

155: 146: 137: 3157:. Billboard Publications. pp. 64, 66. Archived from 1176:; and in the finale, "'Appy 'Ampstead", a picture of the 1012:, judged "clever and effective" in performance in 1890. 3428:(14 July 2002). "Coward's Back. How Very Encouraging". 1761:"The Prince of Wales at the Incorporated Law Society". 1459:

Lottie's fraternal nephew—and therefore Ketèlbey's too—

2957: 2955: 1204:(for "cabaret, orgy and riotous continental scenes"). 803:, while in the following year he wrote another suite, 2217:(Autumn 1950). "The Changing Style of Soviet Music". 2093: 2091: 1998: 1996: 1935: 1933: 1808: 1806: 1793: 1791: 1789: 1776: 1774: 1772: 1162:

ditty "'Arf a pint of mild and bitter"; a waltz at a

134: 1645: 1643: 1641: 152: 149: 143: 3846: 3828: 3751: 3602:

The Penguin Guide to Recorded Classical Music, 2009

3540:. New Haven, CT and London: Yale University Press. 3321:"Ronnie Ronalde, virtuoso whistler – obituary" 911:, which he had written in a supportive response to 140: 103: 80: 50: 34: 1600: 3498:(in French). Birmingham, AL: Summa Publications. 2209: 2207: 3660:Albert Ketèlbey: From the Sanctuary of his Heart 3124:"In a Chinese Temple-Garden: oriental phantasy" 2015: 2013: 2011: 1524:. Russian Association of Proletarian Musicians. 1076: 951:In 1949 Ketèlbey and his new wife moved to the 830:The introduction of talking films in 1927 with 3456:. Lebanon, NH: Northeastern University Press. 2446: 2108: 2106: 1463:(1907–1982) later became famous as a pianist. 888:; the work was played for the royal family at 3729: 3375:"Prom 76 – Last Night of the Proms 2009" 3337: 2220:Journal of the American Musicological Society 1958: 1956: 1954: 1952: 1950: 1948: 1059:The Penguin Guide to Recorded Classical Music 8: 3935:Alumni of the Royal Birmingham Conservatoire 3621:The Music of Albert W. Ketèlbey: A Catalogue 2563: 2561: 2516: 1611:(online ed.). Oxford University Press. 3600:; Layton, Robert; Czajkowski, Paul (2008). 3477:. Manchester: Manchester University Press. 2808: 2806: 2804: 2393: 2391: 2389: 2387: 2254:Ariel (1 November 1926). "Wireless Notes". 1520:Slonimsky quotes from Krasnukha, G (1931). 1115:Ketèlbey sought to repeat the exoticism of 896:and at the Jubilee Thanksgiving Service at 561:as the musical director for the 1916 revue 539:In 1914 Ketèlbey wrote the orchestral work 330:(demolished) in Paradise Street, Birmingham 3736: 3722: 3714: 3061: 3059: 955:, and purchased Rookstone, Egypt Hill, in 686:. The last of these contained the finale " 42: 31: 3708:International Music Score Library Project 3695:Downloadable and streaming recordings of 3662:. Sutton Coldfield: Manifold Publishing. 3519:. New York, NY: Oxford University Press. 3281: 3279: 2839:inflation figures are based on data from 1718:: 365–369. November 1926 – January 1929. 791:Ketèlbey Conducting his Concert Orchestra 467:Ketèlbey wrote music in the style of the 354:At the age of eleven Ketèlbey joined the 3985:Musicians from Birmingham, West Midlands 3146:"Ketèlbey: 'In a Chinese Temple Garden'" 3050: 1839: 1837: 1835: 1833: 1831: 1829: 1827: 1825: 1823: 1821: 646:In 1921 Ketèlbey moved from his home in 175:and moved to London in 1889 to study at 27:English composer and pianist (1875–1959) 3910:20th-century British conductors (music) 3885:19th-century British conductors (music) 3534:Foreman, Lewis; Foreman, Susan (2005). 3513:Brown, Julie; Davison, Annette (2013). 3087: 3085: 2904: 2458: 2198: 1608:Oxford Dictionary of National Biography 1561: 1407: 1119:in several later pieces. Among them is 989:Grove Dictionary of Music and Musicians 927:Post-war; retirement and death, 1946–59 872:was played to accompany the arrival of 305:. His younger sister was the historian 3623:. Sheffield: University of Sheffield. 3399:Clements, Andrew (13 September 2009). 1602:"Ketèlbey, Albert William (1875–1959)" 1591: 1589: 1587: 1585: 523:Rising reputation and success, 1914–46 3349: 3262:"Search results for 'Florence Hoare'" 2989: 2987: 1583: 1581: 1579: 1577: 1575: 1573: 1571: 1569: 1567: 1565: 1362:for his 1977 song "My Lady Héroïne". 287: 7: 3564:. Plymouth, Devon: Scarecrow Press. 3516:The Sounds of the Silents in Britain 3307: 3248: 2961: 2916: 2892: 2880: 2868: 2795: 2783: 2771: 2759: 2747: 2720: 2708: 2696: 2684: 2657: 2645: 2606: 2594: 2582: 2552: 2540: 2528: 2470: 2434: 2378: 2366: 2186: 2174: 2137: 2097: 2056: 2044: 2002: 1987: 1939: 1909: 1897: 1885: 1873: 1812: 1797: 1780: 1748: 1736: 1709: 1707: 1705: 1670: 1649: 1522:"Innocent" Propaganda of Imperialism 1354:his signature tune from 1958, while 1158:pub, with a main theme based on the 658:, north west London. He installed a 3930:20th-century English male musicians 3905:19th-century English male musicians 3361: 2483:"Famous Musicians in Witness-Box". 2401:In a Monastery Garden / Chal Romano 261:season the orchestra performed his 3940:Alumni of Trinity College of Music 3230:(liner notes). Naxos, Marco Polo. 1003:for piano and orchestra (1892), a 753:In the Camp of the Ancient Britons 400:Scherzo No. 2 in B-flat minor 25: 3810:The Clock and the Dresden Figures 824:The Clock and the Dresden Figures 493:In 1912 the composer and cellist 274:Early life and education, 1875–95 3965:English male classical composers 3915:20th-century classical composers 3890:19th-century classical composers 557:led to Ketèlbey's engagement by 356:Birmingham and Midland Institute 337: 328:Birmingham and Midland Institute 319: 130: 3975:English male conductors (music) 3970:English male classical pianists 3920:20th-century classical pianists 3895:19th-century classical pianists 3643:. London: Music Sales Limited. 3561:Operas in English: A Dictionary 3492:Bourderionnet, Olivier (2011). 3144:Ever, Ronald (September 1958). 2980:. 3 February 1894. p. 287. 2627:(1042): 1097. 1 December 1929. 755:—inspired by a trip he took to 3925:20th-century English composers 3900:19th-century English composers 3704:Free scores by Albert Ketèlbey 2948:. 13 December 1890. p. 7. 2572:. 27 November 1959. p. 4. 1689:Women Historians of St Andrews 1079:monks are heard chanting the " 703:the 1729 work of the same name 360:Royal Birmingham Conservatoire 1: 3960:English light music composers 3685:Website dedicated to Ketèlbey 3327:. 23 January 2015. p. 6. 2568:"Obituary: Albert Ketelbey". 1765:. 25 March 1893. p. 378. 1683:Fyfe, Aileen (5 April 2022). 1398:Notes, references and sources 995:Early works and serious music 917:We shall fight on the beaches 3070:(liner notes). EMI Records. 2933:. 4 March 1897. p. 654. 1926:. 9 October 1900. p. 3. 1846:"Ketèlbey, Albert W(illiam)" 1632:UK public library membership 488:Columbia Graphophone Company 192:Columbia Graphophone Company 3945:English classical composers 3818:In the Mystic Land of Egypt 3802:By the Blue Hawaiian Waters 3579:Ketèlbey, Albert W (1915). 3537:London: A Musical Gazetteer 3453:The Exotic in Western Music 2994:"Albert William Ketèlbey". 2506:. 25 July 1923. p. 10. 1969:(liner notes). Marco Polo. 1763:The Illustrated London News 1685:"Doris Ketelbey, 1896-1990" 1128:In the Mystic Land of Egypt 961:Director-General of the BBC 796:By the Blue Hawaiian Waters 405:The Illustrated London News 226:In the Mystic Land of Egypt 4001: 3955:English conductors (music) 3950:English classical pianists 3794:In a Chinese Temple Garden 3641:100 Years of British Music 3002:(1403): 40. January 1960. 2487:. 14 July 1923. p. 6. 2447:Foreman & Foreman 2005 2412:. 8.223442. Archived from 1168:; a sombre glimpse of the 1122:In a Chinese Temple Garden 675:In a Chinese Temple Garden 362:) where he was tutored by 241:. In 1949 he moved to the 220:In a Chinese Temple Garden 3980:Golders Green Crematorium 3401:"Last night of the Proms" 3028:: 193–95. September 1928. 2944:"The Sarasate Concerts". 2815:"Albert William Ketelbey" 2023:Tangled Tunes (1913–1938) 1922:"Grand Theatre, Fulham". 1852:. Oxford University Press 977:Golders Green Crematorium 878:Royal Command Performance 821:, conducting a new work, 590:Performing Rights Society 358:school of music (now the 41: 3786:Bells Across the Meadows 2974:"Notices of New Music". 2737:. 9 May 1934. p. 8. 2517:Brown & Davison 2013 1990:, pp. 33–35, 38–39. 1374:Bells across the Meadows 1306:Bells Across the Meadows 1202:Bacchanale de Montmartre 1136:Bells Across the Meadows 809:Performing Right Gazette 711:Johann Christoph Pepusch 665:Bells Across the Meadows 471:works for a comic opera 373:Trinity College of Music 254:Bells Across the Meadows 177:Trinity College of Music 3583:. London: J.H. Larway. 3066:Gammond, Peter (2002). 3013:(subscription required) 2841:Clark, Gregory (2017). 2504:The Manchester Guardian 2356:(subscription required) 2323:(subscription required) 2283:(subscription required) 2177:, pp. 51, 80, 135. 2113:Dempsey, Peter (2004). 1924:London Evening Standard 1863:(subscription required) 1490:New Moving Picture Book 1388:, the music critic for 1369:Your Hundred Best Tunes 1025:Concertgebouw Orchestra 805:Three Fanciful Etchings 486:, a third in 1907, the 478:London Evening Standard 427:Early career, 1896–1914 248:Your Hundred Best Tunes 126:Albert William Ketèlbey 55:Albert William Ketelbey 3556:Griffel, Margaret Ross 3471:Blake, Andrew (1997). 3098:(liner notes). Naxos. 3024:"Albert W. Ketèlbey". 2735:Yorkshire Evening Post 2404:(liner notes). Naxos. 2398:McDonald, Tim (1993). 2119:(liner notes). Naxos. 2026:(liner notes). Naxos. 1714:"Albert W. Ketelbey". 1617:10.1093/ref:odnb/34306 1550:measure of inflation. 1324: 1309: 1085: 765:BBC Wireless Orchestra 719:copyright infringement 680:Sanctuary of the Heart 678:, followed in 1924 by 668:released in 1921, and 643: 536: 169:light orchestral music 3837:The Heart's Awakening 3762:In a Monastery Garden 3697:In a Monastery Garden 3619:McCanna, Tom (2000). 3581:In a Monastery Garden 3286:McCanna, Tom (2013). 3224:McCanna, Tom (1995). 3198:Scowcroft, Philip L. 3122:McCanna, Tom (2013). 3116:Ketèlbey's synopsis, 3092:McCanna, Tom (2002). 3068:In a Monastery Garden 2116:In a Monastery Garden 2020:McCanna, Tom (2004). 1963:McCanna, Tom (1995). 1844:Scowcroft, Philip L. 1382:In a Monastery Garden 1352:In a Monastery Garden 1319: 1302: 1295:Reputation and legacy 1277:The Heart's Awakening 1142:(1924), described by 1072:In a Monastery Garden 693:In 1923 the composer 635: 555:In a Monastery Garden 542:In a Monastery Garden 533:In a Monastery Garden 530: 263:In a Monastery Garden 208:In a Monastery Garden 3026:The British Musician 2977:The Girl's Own Paper 2733:"A Happy Composer". 2619:"Occasional Notes". 1716:The British Musician 1548:Consumer Price Index 1152:Houses of Parliament 1029:The British Musician 1010:First Piano Concerto 909:Fighting for Freedom 727:Sir Frederick Bridge 721:. Acting as a court 469:Gilbert and Sullivan 410:The British Musician 198:until the advent of 3778:In a Persian Market 3658:Sant, John (2001). 3604:. London: Penguin. 3430:The Washington Post 3325:The Daily Telegraph 3095:In a Persian Market 2485:The Hartlepool Mail 2416:on 22 December 2015 1461:Sir Clifford Curzon 1391:The Washington Post 1360:In a Persian Market 1312:The obituarist for 1178:August Bank Holiday 1117:In a Persian Market 1089:In a Persian Market 969:With Honour Crowned 898:St Paul's Cathedral 894:Trooping the Colour 882:With Honour Crowned 862:A Birthday Greeting 749:In a Lovers' Garden 701:, closely based on 639:In a Persian Market 618:In a Persian Market 610:In a Persian Market 519:in the late 1920s. 456:Alice in Wonderland 402:; the reviewer for 366:in composition and 214:In a Persian Market 202:in the late 1920s. 3854:Vaudeville Theatre 3598:Greenfield, Edward 3338:Bourderionnet 2011 3227:Piano Music Vol. 2 2837:Retail Price Index 2774:, pp. 116–19. 2762:, pp. 112–13. 2609:, pp. 90, 96. 2597:, pp. 84, 87. 2437:, pp. 173–75. 2369:, pp. 60, 78. 2215:Slonimsky, Nicolas 1966:Piano music Vol. 1 1850:Grove Music Online 1358:used the theme of 1310: 1229:(1925), by way of 1219:Rêverie dramatique 1208:Instrumental works 1068:The Phantom Melody 870:A State Procession 866:Queen Elizabeth II 856:Ketèlbey wrote an 715:Gramophone Company 644: 567:Vaudeville Theatre 551:The Phantom Melody 537: 503:The Phantom Melody 181:Vaudeville Theatre 18:Albert W. Ketelbey 3862: 3861: 3669:978-0-9538058-0-8 3650:978-1-78323-565-0 3611:978-0-14-103335-8 3571:978-0-8108-8325-3 3547:978-0-300-10402-8 3526:978-0-19-979761-5 3505:978-1-883479-64-0 3484:978-0-7190-4299-7 3463:978-1-55553-319-9 3448:Bellman, Jonathan 3039:March et al. 2008 2996:The Musical Times 2929:"Music and Art". 2813:Anderson, Keith. 2699:, pp. 95–96. 2621:The Musical Times 2555:, pp. 76–77. 2543:, pp. 64–65. 2531:, pp. 62–63. 2330:The Musical Times 2297:The Musical Times 2257:The Musical Times 2189:, pp. 53–54. 2071:"Albert Ketèlbey" 2069:Burton, Anthony. 2059:, pp. 45–46. 1900:, pp. 29–30. 1888:, pp. 28–29. 1876:, pp. 92–93. 1751:, pp. 25–26. 1739:, pp. 22–24. 1673:, pp. 20–21. 1630:(Subscription or 1344:Kenneth J. Alford 1314:The Musical Times 1262:major, including 1231:A Romantic Melody 1148:Buckingham Palace 965:Sir William Haley 933:winter of 1946–47 921:Special Constable 913:Winston Churchill 814:The Musical Times 761:Weston-super-Mare 627:The Musical Times 622:Nicolas Slonimsky 499:The Broken Melody 495:Auguste van Biene 484:Chappell & Co 473:The Wonder Worker 388:Wimbledon, London 188:Chappell & Co 171:. 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W. Wareing 341: 323: 299:St Silas' Church 291: 162: 161: 158: 157: 154: 151: 148: 145: 142: 139: 136: 87: 84:26 November 1959 64: 62: 46: 32: 21: 4000: 3999: 3995: 3994: 3993: 3991: 3990: 3989: 3865: 3864: 3863: 3858: 3842: 3824: 3747: 3745:Albert Ketèlbey 3742: 3681: 3676: 3670: 3657: 3651: 3635: 3618: 3612: 3595: 3578: 3572: 3554: 3548: 3533: 3527: 3512: 3506: 3491: 3485: 3470: 3464: 3446: 3442: 3437: 3424: 3423: 3419: 3409: 3407: 3398: 3397: 3393: 3383: 3381: 3373: 3372: 3368: 3360: 3356: 3348: 3344: 3336: 3332: 3319: 3318: 3314: 3306: 3302: 3292: 3290: 3285: 3284: 3277: 3267: 3265: 3260: 3259: 3255: 3247: 3243: 3223: 3222: 3218: 3208: 3206: 3197: 3196: 3192: 3182: 3181: 3177: 3167: 3165: 3164:on 4 March 2016 3161: 3148: 3143: 3142: 3138: 3128: 3126: 3121: 3115: 3111: 3091: 3090: 3083: 3065: 3064: 3057: 3049: 3045: 3037: 3033: 3023: 3022: 3018: 3012: 2993: 2992: 2985: 2973: 2972: 2968: 2960: 2953: 2943: 2942: 2938: 2931:Hearth and Home 2928: 2927: 2923: 2915: 2911: 2907:, pp. 3–7. 2903: 2899: 2891: 2887: 2879: 2875: 2867: 2863: 2853: 2851: 2840: 2834: 2830: 2820: 2818: 2812: 2811: 2802: 2794: 2790: 2782: 2778: 2770: 2766: 2758: 2754: 2746: 2742: 2732: 2731: 2727: 2719: 2715: 2707: 2703: 2695: 2691: 2683: 2679: 2669: 2668: 2664: 2656: 2652: 2644: 2640: 2618: 2617: 2613: 2605: 2601: 2593: 2589: 2581: 2577: 2567: 2566: 2559: 2551: 2547: 2539: 2535: 2527: 2523: 2515: 2511: 2499: 2497: 2496: 2492: 2482: 2481: 2477: 2469: 2465: 2457: 2453: 2445: 2441: 2433: 2429: 2419: 2417: 2397: 2396: 2385: 2377: 2373: 2365: 2361: 2355: 2337:(1007): 63–64. 2326: 2322: 2293: 2292: 2288: 2282: 2253: 2252: 2248: 2213: 2212: 2205: 2197: 2193: 2185: 2181: 2173: 2169: 2159: 2157: 2149: 2148: 2144: 2136: 2132: 2112: 2111: 2104: 2096: 2089: 2079: 2077: 2068: 2067: 2063: 2055: 2051: 2043: 2039: 2019: 2018: 2009: 2001: 1994: 1986: 1982: 1962: 1961: 1946: 1938: 1931: 1921: 1920: 1916: 1908: 1904: 1896: 1892: 1884: 1880: 1872: 1868: 1862: 1855: 1853: 1843: 1842: 1819: 1811: 1804: 1796: 1787: 1779: 1770: 1760: 1759: 1755: 1747: 1743: 1735: 1731: 1713: 1712: 1703: 1693: 1691: 1682: 1681: 1677: 1669: 1665: 1660: 1656: 1648: 1639: 1629: 1621: 1619: 1597:Lubbock, Mark H 1595: 1594: 1563: 1559: 1554: 1545: 1541: 1532: 1528: 1519: 1515: 1510: 1506: 1500: 1496: 1483: 1479: 1471: 1467: 1458: 1454: 1449: 1445: 1440: 1436: 1431: 1427: 1422: 1418: 1413: 1409: 1405: 1400: 1297: 1285:First World War 1272: 1258: 1257: 1256:in the key of A 1251: 1250: 1210: 1182:Hampstead Heath 1165:palais de danse 1094: 1093: 1053: 997: 985: 929: 884:for the King's 833:The Jazz Singer 745:Lyons tea shops 737: 731: 725:, the composer 695:Frederic Austin 687: 525: 429: 396:Frédéric Chopin 383:(composition). 352: 351: 350: 349: 348: 342: 333: 332: 331: 324: 312: 276: 271: 133: 129: 119: 99: 89: 85: 76: 66: 60: 58: 57: 56: 37: 36:Albert Ketèlbey 28: 23: 22: 15: 12: 11: 5: 3998: 3996: 3988: 3987: 3982: 3977: 3972: 3967: 3962: 3957: 3952: 3947: 3942: 3937: 3932: 3927: 3922: 3917: 3912: 3907: 3902: 3897: 3892: 3887: 3882: 3877: 3867: 3866: 3860: 3859: 3857: 3856: 3850: 3848: 3844: 3843: 3841: 3840: 3832: 3830: 3826: 3825: 3823: 3822: 3814: 3806: 3798: 3790: 3782: 3774: 3766: 3757: 3755: 3749: 3748: 3743: 3741: 3740: 3733: 3726: 3718: 3712: 3711: 3701: 3692: 3687: 3680: 3679:External links 3677: 3675: 3674: 3668: 3655: 3649: 3633: 3616: 3610: 3593: 3576: 3570: 3552: 3546: 3531: 3525: 3510: 3504: 3489: 3483: 3468: 3462: 3443: 3441: 3438: 3436: 3435: 3432:. p. G02. 3417: 3391: 3366: 3354: 3342: 3330: 3312: 3300: 3275: 3253: 3241: 3216: 3190: 3175: 3136: 3109: 3081: 3055: 3043: 3041:, p. 635. 3031: 3016: 2983: 2966: 2964:, p. 310. 2951: 2936: 2921: 2919:, p. 309. 2909: 2897: 2895:, p. 130. 2885: 2883:, p. 144. 2873: 2871:, p. 125. 2861: 2848:MeasuringWorth 2828: 2800: 2798:, p. 113. 2788: 2786:, p. 121. 2776: 2764: 2752: 2750:, p. 103. 2740: 2725: 2723:, p. 100. 2713: 2701: 2689: 2677: 2662: 2650: 2638: 2611: 2599: 2587: 2575: 2557: 2545: 2533: 2521: 2519:, p. 254. 2509: 2490: 2475: 2463: 2451: 2449:, p. 342. 2439: 2427: 2383: 2371: 2359: 2343:10.2307/913600 2310:10.2307/912627 2304:(1006): 1117. 2286: 2270:10.2307/913489 2264:(1005): 1018. 2246: 2233:10.2307/829735 2203: 2201:, p. 134. 2191: 2179: 2167: 2142: 2130: 2102: 2087: 2061: 2049: 2037: 2007: 1992: 1980: 1944: 1929: 1914: 1902: 1890: 1878: 1866: 1817: 1802: 1785: 1768: 1753: 1741: 1729: 1701: 1675: 1663: 1654: 1637: 1560: 1558: 1555: 1553: 1552: 1539: 1526: 1513: 1504: 1494: 1477: 1465: 1452: 1443: 1434: 1425: 1416: 1406: 1404: 1401: 1399: 1396: 1348:Ronnie Ronalde 1296: 1293: 1289:As You Like It 1271: 1268: 1247:Légende triste 1209: 1206: 1052: 1049: 1016:including the 996: 993: 984: 981: 928: 925: 890:Windsor Castle 886:silver jubilee 799:and the suite 779:Johann Strauss 757:Worlebury Camp 723:expert witness 648:St John's Wood 531:The cover for 524: 521: 450:As You Like It 443:, in London's 428: 425: 364:Dr Alfred Gaul 343: 336: 335: 334: 325: 318: 317: 316: 315: 314: 307:Doris Ketelbey 275: 272: 270: 267: 121: 120: 118: 117: 114: 111: 107: 105: 101: 100: 90: 88:(aged 84) 82: 78: 77: 67: 54: 52: 48: 47: 39: 38: 35: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 3997: 3986: 3983: 3981: 3978: 3976: 3973: 3971: 3968: 3966: 3963: 3961: 3958: 3956: 3953: 3951: 3948: 3946: 3943: 3941: 3938: 3936: 3933: 3931: 3928: 3926: 3923: 3921: 3918: 3916: 3913: 3911: 3908: 3906: 3903: 3901: 3898: 3896: 3893: 3891: 3888: 3886: 3883: 3881: 3878: 3876: 3873: 3872: 3870: 3855: 3852: 3851: 3849: 3845: 3838: 3834: 3833: 3831: 3827: 3820: 3819: 3815: 3812: 3811: 3807: 3804: 3803: 3799: 3796: 3795: 3791: 3788: 3787: 3783: 3780: 3779: 3775: 3772: 3771: 3770:Tangled Tunes 3767: 3764: 3763: 3759: 3758: 3756: 3754: 3750: 3746: 3739: 3734: 3732: 3727: 3725: 3720: 3719: 3716: 3709: 3705: 3702: 3699: 3698: 3693: 3691: 3690:BBC news clip 3688: 3686: 3683: 3682: 3678: 3671: 3665: 3661: 3656: 3652: 3646: 3642: 3638: 3637:PRS for Music 3634: 3630: 3626: 3622: 3617: 3613: 3607: 3603: 3599: 3596:March, Ivan; 3594: 3590: 3586: 3582: 3577: 3573: 3567: 3563: 3562: 3557: 3553: 3549: 3543: 3539: 3538: 3532: 3528: 3522: 3518: 3517: 3511: 3507: 3501: 3497: 3496: 3490: 3486: 3480: 3476: 3475: 3469: 3465: 3459: 3455: 3454: 3449: 3445: 3444: 3439: 3431: 3427: 3421: 3418: 3406: 3402: 3395: 3392: 3380: 3376: 3370: 3367: 3364:, p. 33. 3363: 3358: 3355: 3352:, p. 82. 3351: 3346: 3343: 3340:, p. 37. 3339: 3334: 3331: 3326: 3322: 3316: 3313: 3310:, p. 87. 3309: 3304: 3301: 3289: 3282: 3280: 3276: 3263: 3257: 3254: 3251:, p. 29. 3250: 3245: 3242: 3237: 3233: 3229: 3228: 3220: 3217: 3205: 3201: 3194: 3191: 3187:. p. 18. 3186: 3179: 3176: 3160: 3156: 3155: 3154:High Fidelity 3147: 3140: 3137: 3125: 3119: 3113: 3110: 3105: 3101: 3097: 3096: 3088: 3086: 3082: 3077: 3073: 3069: 3062: 3060: 3056: 3052: 3051:Ketèlbey 1915 3047: 3044: 3040: 3035: 3032: 3027: 3020: 3017: 3009: 3005: 3001: 2997: 2990: 2988: 2984: 2979: 2978: 2970: 2967: 2963: 2958: 2956: 2952: 2947: 2940: 2937: 2932: 2925: 2922: 2918: 2913: 2910: 2906: 2901: 2898: 2894: 2889: 2886: 2882: 2877: 2874: 2870: 2865: 2862: 2850: 2849: 2844: 2838: 2832: 2829: 2816: 2809: 2807: 2805: 2801: 2797: 2792: 2789: 2785: 2780: 2777: 2773: 2768: 2765: 2761: 2756: 2753: 2749: 2744: 2741: 2736: 2729: 2726: 2722: 2717: 2714: 2711:, p. 96. 2710: 2705: 2702: 2698: 2693: 2690: 2687:, p. 95. 2686: 2681: 2678: 2673: 2666: 2663: 2660:, p. 93. 2659: 2654: 2651: 2647: 2642: 2639: 2634: 2630: 2626: 2622: 2615: 2612: 2608: 2603: 2600: 2596: 2591: 2588: 2585:, p. 76. 2584: 2579: 2576: 2571: 2564: 2562: 2558: 2554: 2549: 2546: 2542: 2537: 2534: 2530: 2525: 2522: 2518: 2513: 2510: 2505: 2494: 2491: 2486: 2479: 2476: 2473:, p. 79. 2472: 2467: 2464: 2461:, p. 45. 2460: 2455: 2452: 2448: 2443: 2440: 2436: 2431: 2428: 2415: 2411: 2407: 2403: 2402: 2394: 2392: 2390: 2388: 2384: 2381:, p. 56. 2380: 2375: 2372: 2368: 2363: 2360: 2352: 2348: 2344: 2340: 2336: 2332: 2331: 2319: 2315: 2311: 2307: 2303: 2299: 2298: 2290: 2287: 2279: 2275: 2271: 2267: 2263: 2259: 2258: 2250: 2247: 2242: 2238: 2234: 2230: 2227:(3): 236–55. 2226: 2222: 2221: 2216: 2210: 2208: 2204: 2200: 2195: 2192: 2188: 2183: 2180: 2176: 2171: 2168: 2156: 2155:PRS for Music 2152: 2151:"Our History" 2146: 2143: 2140:, p. 51. 2139: 2134: 2131: 2126: 2122: 2118: 2117: 2109: 2107: 2103: 2100:, p. 52. 2099: 2094: 2092: 2088: 2076: 2072: 2065: 2062: 2058: 2053: 2050: 2047:, p. 42. 2046: 2041: 2038: 2033: 2029: 2025: 2024: 2016: 2014: 2012: 2008: 2005:, p. 41. 2004: 1999: 1997: 1993: 1989: 1984: 1981: 1976: 1972: 1968: 1967: 1959: 1957: 1955: 1953: 1951: 1949: 1945: 1942:, p. 33. 1941: 1936: 1934: 1930: 1925: 1918: 1915: 1912:, p. 30. 1911: 1906: 1903: 1899: 1894: 1891: 1887: 1882: 1879: 1875: 1870: 1867: 1851: 1847: 1840: 1838: 1836: 1834: 1832: 1830: 1828: 1826: 1824: 1822: 1818: 1815:, p. 28. 1814: 1809: 1807: 1803: 1800:, p. 92. 1799: 1794: 1792: 1790: 1786: 1783:, p. 25. 1782: 1777: 1775: 1773: 1769: 1764: 1757: 1754: 1750: 1745: 1742: 1738: 1733: 1730: 1725: 1721: 1717: 1710: 1708: 1706: 1702: 1690: 1686: 1679: 1676: 1672: 1667: 1664: 1658: 1655: 1652:, p. 11. 1651: 1646: 1644: 1642: 1638: 1633: 1618: 1614: 1610: 1609: 1603: 1598: 1592: 1590: 1588: 1586: 1584: 1582: 1580: 1578: 1576: 1574: 1572: 1570: 1568: 1566: 1562: 1556: 1549: 1543: 1540: 1536: 1530: 1527: 1523: 1517: 1514: 1508: 1505: 1498: 1495: 1491: 1487: 1481: 1478: 1474: 1469: 1466: 1462: 1456: 1453: 1447: 1444: 1438: 1435: 1429: 1426: 1420: 1417: 1411: 1408: 1402: 1397: 1395: 1393: 1392: 1387: 1383: 1379: 1375: 1371: 1370: 1363: 1361: 1357: 1353: 1349: 1345: 1341: 1340:James W. Tate 1337: 1333: 1329: 1323: 1318: 1315: 1308: 1307: 1301: 1294: 1292: 1290: 1286: 1282: 1278: 1269: 1267: 1265: 1248: 1244: 1240: 1236: 1232: 1228: 1224: 1220: 1216: 1207: 1205: 1203: 1199: 1195: 1191: 1185: 1183: 1179: 1175: 1171: 1167: 1166: 1161: 1157: 1153: 1149: 1145: 1141: 1140:Cockney Suite 1137: 1132: 1130: 1129: 1124: 1123: 1118: 1113: 1111: 1110: 1105: 1101: 1090: 1084: 1082: 1081:Kyrie Eleison 1075: 1073: 1069: 1065: 1061: 1060: 1050: 1048: 1046: 1042: 1038: 1034: 1033:Edward German 1030: 1026: 1021: 1019: 1013: 1011: 1006: 1002: 994: 992: 990: 982: 980: 978: 972: 970: 966: 962: 958: 954: 953:Isle of Wight 949: 947: 943: 939: 934: 926: 924: 922: 918: 914: 910: 906: 901: 899: 895: 891: 887: 883: 879: 875: 874:King George V 871: 867: 863: 859: 854: 852: 851:musical notes 848: 844: 843:Decca Records 840: 835: 834: 828: 826: 825: 820: 819:Kingsway Hall 816: 815: 810: 806: 802: 798: 797: 792: 786: 784: 780: 776: 775: 770: 769:Concertgebouw 766: 762: 758: 754: 750: 746: 741: 736: 728: 724: 720: 716: 712: 708: 704: 700: 696: 691: 685: 684:Cockney Suite 681: 677: 676: 671: 667: 666: 661: 657: 654:, an area of 653: 649: 641: 640: 634: 630: 628: 623: 619: 615: 611: 607: 603: 602:Wedgwood Blue 599: 595: 591: 586: 584: 580: 576: 572: 568: 564: 560: 559:André Charlot 556: 552: 548: 544: 543: 534: 529: 522: 520: 518: 517:talking films 514: 510: 509: 504: 500: 496: 491: 489: 485: 480: 479: 474: 470: 465: 462: 458: 457: 452: 451: 446: 442: 441:Bruton Street 438: 437:Opera Comique 434: 426: 424: 422: 417: 415: 414:Edward German 411: 407: 406: 401: 397: 393: 389: 384: 382: 378: 374: 369: 365: 361: 357: 346: 340: 329: 322: 313: 310: 308: 304: 300: 295: 290: 285: 281: 273: 268: 266: 264: 260: 256: 255: 250: 249: 244: 243:Isle of Wight 240: 234: 232: 231:Cockney Suite 228: 227: 222: 221: 216: 215: 210: 209: 203: 201: 200:talking films 197: 193: 189: 184: 182: 178: 174: 170: 166: 160: 127: 115: 112: 109: 108: 106: 102: 97: 96:Isle of Wight 93: 83: 79: 74: 70: 65:9 August 1875 53: 49: 45: 40: 33: 30: 19: 3816: 3808: 3800: 3792: 3784: 3776: 3768: 3760: 3744: 3696: 3659: 3640: 3620: 3601: 3580: 3560: 3536: 3515: 3494: 3473: 3452: 3429: 3420: 3408:. Retrieved 3405:The Guardian 3404: 3394: 3382:. Retrieved 3378: 3369: 3357: 3345: 3333: 3324: 3315: 3303: 3291:. Retrieved 3266:. Retrieved 3256: 3244: 3226: 3219: 3207:. Retrieved 3203: 3193: 3184: 3178: 3166:. Retrieved 3159:the original 3152: 3139: 3127:. Retrieved 3117: 3112: 3094: 3067: 3053:, p. 2. 3046: 3034: 3025: 3019: 2999: 2995: 2975: 2969: 2945: 2939: 2930: 2924: 2912: 2905:McCanna 2000 2900: 2888: 2876: 2864: 2852:. Retrieved 2846: 2831: 2819:. Retrieved 2791: 2779: 2767: 2755: 2743: 2734: 2728: 2716: 2704: 2692: 2680: 2674:. p. 3. 2671: 2665: 2653: 2648:, p. 2. 2641: 2624: 2620: 2614: 2602: 2590: 2578: 2569: 2548: 2536: 2524: 2512: 2503: 2493: 2484: 2478: 2466: 2459:Griffel 2012 2454: 2442: 2430: 2418:. Retrieved 2414:the original 2400: 2374: 2362: 2334: 2328: 2301: 2295: 2289: 2261: 2255: 2249: 2224: 2218: 2199:Bellman 1998 2194: 2182: 2170: 2158:. Retrieved 2145: 2133: 2115: 2078:. 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Retrieved 1606: 1542: 1529: 1521: 1516: 1507: 1497: 1489: 1486:Kinema Music 1485: 1480: 1468: 1455: 1446: 1437: 1428: 1419: 1410: 1389: 1381: 1373: 1367: 1364: 1359: 1351: 1336:Ivor Novello 1325: 1320: 1313: 1311: 1304: 1288: 1273: 1264:La grâcieuse 1263: 1246: 1245:(1922), and 1242: 1238: 1234: 1230: 1227:Les pèlerins 1226: 1222: 1218: 1214: 1211: 1201: 1197: 1193: 1189: 1186: 1163: 1143: 1139: 1135: 1133: 1126: 1120: 1116: 1114: 1107: 1088: 1086: 1077: 1071: 1067: 1064:programmatic 1057: 1054: 1044: 1028: 1022: 1014: 1008:Beethoven's 1005:Concertstück 998: 988: 986: 973: 968: 950: 930: 908: 902: 881: 869: 861: 855: 831: 829: 822: 812: 808: 804: 800: 794: 790: 787: 772: 752: 748: 742: 734: 698: 692: 683: 679: 673: 669: 663: 645: 637: 626: 617: 609: 601: 597: 587: 562: 554: 550: 540: 538: 532: 513:silent films 506: 502: 498: 492: 476: 472: 466: 460: 454: 448: 430: 418: 409: 403: 392:Queen's Hall 385: 377:Gustav Holst 353: 311: 294:grave accent 277: 262: 252: 246: 235: 230: 224: 223:(1923), and 218: 212: 206: 204: 196:silent films 185: 164: 125: 124: 86:(1959-11-26) 29: 3880:1959 deaths 3875:1875 births 3410:20 December 3384:20 December 3293:20 December 3268:20 December 3238:. 8.223700. 3209:20 December 3168:20 December 3129:20 December 3106:. 8.110848. 3078:. 8.110848. 2821:19 December 2420:19 December 2160:19 December 2127:. 8.110174. 2080:19 December 2034:. 8.110870. 1977:. 8.223699. 1694:20 December 1622:19 December 1225:(1894) and 1070:(1911) and 979:in London. 946:Bournemouth 853:D E C C A. 783:Franz Lehár 579:Shaftesbury 461:A Good Time 433:light opera 345:Blue plaque 292:Aston. The 104:Occupations 3869:Categories 3350:Blake 1997 3264:. WorldCat 1634:required.) 1557:References 1473:Palm court 1328:Haydn Wood 1104:Stravinsky 858:intermezzo 616:, calling 585:theatres. 583:Drury Lane 394:he played 301:in nearby 284:Birmingham 173:Birmingham 73:Birmingham 61:1875-08-09 3426:Page, Tim 3308:Sant 2001 3249:Sant 2001 3185:The Times 3104:732723839 3076:844724738 2962:Sant 2001 2917:Sant 2001 2893:Sant 2001 2881:Sant 2001 2869:Sant 2001 2796:Sant 2001 2784:Sant 2001 2772:Sant 2001 2760:Sant 2001 2748:Sant 2001 2721:Sant 2001 2709:Sant 2001 2697:Sant 2001 2685:Sant 2001 2658:Sant 2001 2646:Sant 2001 2607:Sant 2001 2595:Sant 2001 2583:Sant 2001 2570:The Times 2553:Sant 2001 2541:Sant 2001 2529:Sant 2001 2471:Sant 2001 2435:Sant 2001 2379:Sant 2001 2367:Sant 2001 2187:Sant 2001 2175:Sant 2001 2138:Sant 2001 2125:885036899 2098:Sant 2001 2075:BBC Music 2057:Sant 2001 2045:Sant 2001 2003:Sant 2001 1988:Sant 2001 1975:811254249 1940:Sant 2001 1910:Sant 2001 1898:Sant 2001 1886:Sant 2001 1874:Sant 2001 1856:2 October 1813:Sant 2001 1798:Sant 2001 1781:Sant 2001 1749:Sant 2001 1737:Sant 2001 1671:Sant 2001 1650:Sant 2001 1215:Pastorale 1194:Amaryllis 1174:Whitehall 1144:The Times 1100:baksheesh 938:pneumonia 839:BBC Radio 774:The Times 660:billiards 656:Hampstead 269:Biography 113:Conductor 98:, England 75:, England 3839:" (1907) 3639:(2014). 3629:48092577 3558:(2012). 3450:(1998). 3362:PRS 2014 3236:34475280 3204:MusicWeb 2410:77925846 2032:55095129 1724:10449784 1599:(2004). 1502:sorrow." 1386:Tim Page 1281:Boer War 1259:♭ 1252:♯ 1241:(1921), 1237:(1888), 1233:(1898), 1180:fair on 1170:Cenotaph 1156:East End 1109:Firebird 1095:♭ 707:John Gay 594:romantic 563:Samples! 421:mandolin 282:area of 217:(1920), 190:and the 165:Ketelbey 110:Composer 3710:(IMSLP) 3706:at the 3589:6203274 3440:Sources 3288:"Songs" 2946:The Era 2817:. 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