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After retiring to the south of
England, Talbot was ill with bronchial trouble for several years before his death. Nevertheless, he continued to compose musicals for the amateur companies with whom he had worked early in his career. He also wrote the successful march "All Hail Our King". Talbot died
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in 1896, Talbot's name was not yet considered to be a major force in
British musical theatre, and he continued to be asked mainly to supply individual songs that were inserted into works primarily written by others. The most successful shows that he conducted in London during this period were
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commented, "there is a freshness and vivacity in Mr. Talbot's music – particularly in the opening numbers – that as a modern comic opera entitle the work to more than ordinary consideration." See "Opera in the
Provinces",
238:
and other West End theatres and went on to compose or collaborate on two dozen musicals. He commanded a technical proficiency rare among
Edwardian musical theatre composers, and his music is reminiscent of
67:, New York, but moved to London at the age of four. His parents were Alexander Munkittrick (1810–1892) and his wife, Margaret. Originally planning to enter the medical profession, he studied at
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wrote, "the nadir of inanity has at length been reached … a chaotic hotchpotch of stale jokes and trite jests, of forced humour and meaningless fun." The review did not mention the music. See
230:
went on to become the first work of musical theatre in history to run for over 1,000 consecutive performances and found large audiences around the world. Talbot continued to conduct at the
99:, professionally he only succeeded in having a few of his individual songs performed in other people's productions. After a marriage which ended in divorce, he was married in 1910 to
33:(9 March 1865 – 12 September 1928), was an American-born, English-raised conductor and composer of Irish descent. He was best known for writing the music to several hit
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became one of the biggest hits of the wartime era, when audiences sought light, escapist musical comedy. It was also adapted successfully on
Broadway as
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346:, were only modest successes, however, and musical styles began to change. In 1916 Talbot contributed to a reworking of an American musical,
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At this time, Talbot earned the bulk of his living from conducting both in London and for provincial touring productions, such as
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Munkittrick family bible of 1803 showing notations for Talbot's parents, Alexander and
Margaret, and for Talbot and his siblings
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Talbot's christening spoon; the silver plaque shows his name as Howard
Munkittrick and his birth date as 9 March 1865
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Many of Talbot's shows in the first decade of the new century were successes that had international tours, including
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34:
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561:, London, 24 May 1906, pp. 60–61, reprinted at Footlight notes, press clippings for the week ending 22 March 2003
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295:(1908). In addition, he contributed a few songs to other musicals and composed a few unsuccessful musicals.
55:, as well as a number of other successful British musicals during the first two decades of the 20th century.
656:
at the
British Musical Theatre pages of The Gilbert and Sullivan Archive, 3 June 2017, retrieved 1 July 2021
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in 1919 and toured the
English-speaking world. This was followed by another successful musical for Berry by
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score. At the same time, he had been composing music for short musical pieces for variety theatres.
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and has been described as the masterpiece of the genre. The musicals that followed this, such as
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in 1894. The success of this production in King's Lynn led to a transfer of the show to the
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in 1899 and toured extensively before it was finally presented in London in 1901.
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851:
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705:, The Cyber Encyclopedia of Musical Theatre, TV and Film, Musicals101.com (2003)
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205:(1897), which included his song "Someone Ought to Speak to Millie Simpson", and
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Marriage certificate of Howard
Munkittrick (Talbot) to Dorothy Maud Cross, 1910
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when they failed to adopt the new American dance rhythms and styles, such as
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417:(1921), was a flop and proved to be Talbot's final West End theatre score.
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259:(1901, to which he contributed songs including "Mademoiselle Pirouette"),
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The careers of other major composers of the Edwardian era (for example,
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Links to Midi files and other information about a dozen Talbot musicals
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389:, a vehicle for American comedian Bill Berry, who had been the star of
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739:, Musical Theatre Guided Tour (PeoplePlay UK), accessed 3 October 2008
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87:. For some years, although Talbot had had works staged by amateurs in
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589:, Oxford University Press, 2004, accessed 18 September 2008,
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but switched to music and pursued a musical education at the
271:(1903, contributing the concerted music and some lyrics),
831:, Vol. 69, No. 1028, 1 October 1928, pp. 943–44.
322:, which went on to become one of the most successful
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at the Guide to Musical Theatre, accessed 8 May 2010
166:and closed after one month. A follow-up work, the
146:in London. Despite a strong London cast including
476:Royal College of Music Graduation Certificate 1889
63:Of Irish descent, Talbot was born in America in
686:, Oxford Music Online, accessed 4 March 2011
8:
132:Talbot's first full professionally produced
718:, FraserWeb, 2007, accessed 4 December 2020
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510:"Talbot (Real Name, Munkittrick), Howard"
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413:(1919). A third Pinero adaptation,
342:in 1916, and other short works for
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265:(1902, contributing some songs),
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312:In 1909, Talbot teamed up with
209:(1898). In 1899 he conducted
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684:Encyclopedia of Popular Music
75:. There he studied under Sir
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583:"Talbot, Howard (1865–1928)"
123:2nd Anniversary Souvenir of
814:Sullivan and His Satellites
806:The British musical theatre
286:The Girl Behind the Counter
203:Dandy Dan the Lifeguardsman
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856:Internet Broadway Database
776:Liner notes from 2005 CD,
767:, 13 September 1928, p. 21
548:"Chiefs of the Orchestras"
324:Edwardian musical comedies
160:D'Oyly Carte Opera Company
35:Edwardian musical comedies
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614:, 1 February 1894, p. 294
822:Who's who in the theatre
546:Standing, Percy Cross.
784:, Classics for Pleasure
703:"Who's Who in Musicals"
688:(subscription required)
280:The White Chrysanthemum
896:English male composers
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73:Royal College of Music
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827:Talbot's obituary in
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292:The Belle of Brittany
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69:King's College London
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812:Hyman, Alan (1978).
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367:), began to fade by
191:The Sorrows of Satan
842:Biography of Talbot
816:. London: Chappell.
735:4 July 2008 at the
554:14 May 2009 at the
431:A Chinese Honeymoon
399:Good Morning, Judge
228:A Chinese Honeymoon
219:A Chinese Honeymoon
195:Shaftesbury Theatre
126:A Chinese Honeymoon
115:1890s: early career
40:A Chinese Honeymoon
820:Parker, J. (ed.)
765:The New York Times
714:Charlton, Fraser.
356:, which adapted a
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268:Three Little Maids
262:The Girl from Kays
222:, which opened in
171:All My Eye-van-hoe
144:Vaudeville Theatre
139:Wapping Old Stairs
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109:Arthur Harry Cross
103:, the daughter of
101:Dorothy Maud Cross
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27:Howard Munkittrick
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427:Howard Carr
381:, based on
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344:music halls
316:to produce
302:Scene from
185:Monte Carlo
148:Jessie Bond
134:comic opera
97:King's Lynn
865:Categories
792:References
415:My Niece's
391:High Jinks
349:High Jinks
328:The Mousmé
257:Kitty Grey
201:vehicles,
89:Hunstanton
559:The Crown
531:The Times
338:in 1915,
334:in 1913,
330:in 1911,
168:burlesque
158:from the
107:organist
733:Archived
612:The Lute
607:The Lute
552:Archived
352:for the
283:(1905),
277:(1904),
197:and two
164:West End
83:and Sir
854:at the
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666:The Era
437:Gallery
423:Reigate
395:The Boy
378:The Boy
373:ragtime
245:cantata
65:Yonkers
52:The Boy
383:Pinero
308:, 1909
224:Hanley
93:Oxford
79:, Sir
496:Notes
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