Albert Ketèlbey - Knowledge

948:, 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 1120:(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." 534:, 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 517: 310: 328: 1289: 479:, 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. 622: 379:. 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 1238:(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 412:-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. 33: 500:: 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 1383:, 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." 806:, 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 980:, 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." 1244:

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

452:

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.

285:

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

1354:

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

1004:

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,

825:

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

1263:

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

996:

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

613:

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

1080:

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

1067:

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

470:

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

1310:

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

1176:

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

1072:" 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. 1268:" (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 1044:

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

777:

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

1305:

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

1127:(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 816:. 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." 1055:, 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 679:'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". 1201:

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

929:. 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 1009:"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. 924:

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

359:

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

1081:

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

1063:(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: 1114:(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 2388: 718:

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

1490:

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

618:, 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. 222:(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. 225:

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

963:

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

1276:) 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 756:. 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 424:

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

869:; 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 609:"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 200:(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 1421:

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.

218:(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 194:

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,

1650:

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.

1091:. 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 988:

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

3082: 2103: 2010: 3214: 2402: 1953: 1403:

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

1264:

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 "

448:

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

581:. 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 1526:

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.

1020:

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,

1024:'s dances: it is pleasant music, delightfully scored; but it is not so fascinating as that from which it derives—the music of the Viennese writers of dance music, of 3134: 1135:

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

397:

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

3678: 1210:, 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 3923: 896:, 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, 1535:£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 234:, 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 183:, 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 1596: 651:

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

1189:("greatly in favour for uncanny and weird picturizations"), "Agitato Furioso" ("famous for its excellence in playing to riots, storms, wars, etc.") and 1412:

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

3973: 1500:

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.

3683: 3898: 3873: 826:

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

1012:

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

361: 165: 1464:

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

1177:

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

2208: 1047: 1439:

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

706:. At Columbia's request Ketèlbey produced his own version of Gay's original. Austin considered that it copied elements of his, and sued for 3918: 3893: 3724: 1673: 732:

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

3928: 1051:

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

921: 3309: 156:; 9 August 1875 – 26 November 1959) was an English composer, conductor and pianist, best known for his short pieces of 3953: 3903: 3878: 3696: 976:

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

3963: 3958: 3908: 3883: 1016:

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

3913: 3888: 1373:

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

1087:–E. The orchestral players are instructed to sing at two points in the score, a descending motif representing beggars crying for 937:

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

3948: 3692: 3656: 3637: 3598: 3558: 3534: 3513: 3492: 3471: 3450: 1536: 254:, marking the fiftieth anniversary of Ketèlbey's death—the first time his music had been included in the festival's finale. 3933: 830:

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

168:. After a brilliant studentship he did not pursue the classical career predicted for him, becoming musical director of the 3943: 3938: 3147: 496: 494:, which became his first major success. In the following year he won two prizes totalling £200 in a competition held by 368:

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

3968: 3798: 1311:

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

812: 375:

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

1036:

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

2139: 998: 344: 316: 3717: 752:. He undertook annual tours of Britain, conducting his music with municipal orchestras, and also worked with the 577:

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

504:—a new growth industry in Britain from 1910 onwards—and he had great success in the medium until the advent of 348: 905: 800:

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

444: 275:, England. He was the second of five children of George Henry, a jewellery engraver, and his wife Sarah Ann, 3112: 881:

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

2059: 476: 287: 180: 471:

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

309: 3806: 3790: 1116: 956:, Ketèlbey said the exclusion was "a public insult". His music still found an audience: in 1952 and 1953 949: 784: 661:(1922), which the music critic Tim McDonald considers "impressive". In the following year Ketèlbey wrote 393: 214: 3710: 3389: 1834: 838:. For this programme he wrote the theme music, "Sunday Afternoon Reverie", with the melody based on the 736:

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

3782: 1110: 663: 208: 965: 866: 578: 571: 516: 428:

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

760:

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

336:

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

3825: 3774: 3142: 1294: 1265: 1069: 993: 699: 653: 589:, which his publisher considered to be "a work of striking beauty". In the following year he wrote 242: 3414: 2965: 1374: 1357: 1158: 1013: 766:

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

757: 466: 236: 3689:

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

2803: 782:. He spent his time undertaking annual conducting tours and composing, and in 1927 he published 277: 1365:

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

886: 753: 707: 388: 356: 3188: 3750: 3544: 1140: 530: 196: 3548: 3524: 3503: 3482: 3461: 3440: 3276: 3868: 3863: 1315:

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

909: 457: 384: 1288: 8: 3766: 1379: 1166: 882: 627: 567: 202: 3842: 2992: 2825: 2617: 2335: 2302: 2262: 2225: 1076:

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

703: 555: 169: 436:, where he wrote the song "Blow! Blow! Thou Winter Wind", to words from Shakespeare's 172:

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

3652: 3633: 3613: 3594: 3586: 3573: 3554: 3530: 3509: 3488: 3467: 3446: 3220: 3088: 3060: 2394: 2318: 2285: 2245: 2203: 2109: 2016: 1959: 1708: 1332: 1136: 989: 901: 802: 767: 749: 648: 636: 610: 483: 376: 267:

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

3436: 2327: 2294: 2254: 2217: 1601: 1344: 1320: 930: 893: 835: 733: 715: 602: 558:. The appointment led to similar positions at other London theatres, including the 472: 369: 176: 120: 3250: 1620: 547: 2831: 1449: 1355:

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

1273: 1269: 1255:(1907) and two different pieces under the title Valse brillante (1905 and 1911). 1170: 1092: 1052: 839: 821: 683: 563: 559: 380: 3484:

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

246:

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

3463:

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

2836: 2832:"The Annual RPI and Average Earnings for Britain, 1209 to Present (New Series)" 1605: 1430:

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

1336: 878: 874: 745: 711: 582: 438: 364:

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

352: 295: 286:

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

3021: 2283:

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

1025: 771: 464:, which was staged at the Grand Theatre, Fulham in 1900. The reviewer for the 327: 3857: 3758: 3625: 3092: 3064: 2143: 2113: 1963: 1590: 1328: 1021: 953: 941: 831: 807: 729:." After three weeks the case ended with the judge finding against Columbia. 691: 535: 429: 425: 402: 231: 84: 3617: 3224: 2398: 2020: 1712: 1477:, and in the following year sixteen of his piano works for film appeared in 1185:(described by the composer as "suitable for use in dainty, fickle scenes"), 401:

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

3577: 1585: 1324: 1097: 854: 702:; recordings of Austin's work were published by Columbia's main rival, the 501: 365: 282: 175:

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

1473:

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

408:

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

3741: 1123:

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

934: 796:. His works continued to sell well, and in the October 1929 issue of the 421: 333: 184: 157: 3189:"Monastery Garden and Persian Market: The Travels of Albert W Ketèlbey" 1461: 1316: 1153: 846: 614:

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

505: 272: 188: 161: 61: 32: 3363: 2996: 2621: 2491:'Polly' Judgment: Records an Infringement of Mr. Austin's Copyright". 2339: 2306: 2266: 2229: 960:

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

621: 2659:

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

1366: 1162: 1088: 926: 827: 762: 644: 490:. Ketèlbey was the winner of the competition with a new composition, 247: 601:; the latter became one of his more popular works. The musicologist 3673: 2331: 2298: 2258: 2221: 1144: 1032:

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

862: 695: 409: 3702: 908:" speech. Apart from composing and conducting, he also acted as a 1148: 640: 594: 433: 291: 774:. Continental audiences often called him "The English Strauss". 538:

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

420:

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

3584: 3027: 1522:

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

1272:), "The Trumpet Voice of Motherland is Calling" (1914, for the 1029: 1006: 857:). His connection to royalty continued in 1934, when his march 486:

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

453:

The couple married in 1906 but the relationship was childless.

442:. The Opera Comique staged a successful revival of the musical 3172:

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

2429: 1335:, helping to increase the popularity of British light music. 945: 892:

Ketèlbey continued to conduct on his annual tours during the

853:—in 1932, on the sixth birthday of Princess Elizabeth (later 268: 80: 57: 3320: 1970: 639:, where he had been living for the previous seven years, to 2499: 2316:

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

2157: 144: 135: 126: 915: 3146:. Billboard Publications. pp. 64, 66. Archived from 1523: 1165:; and in the finale, "'Appy 'Ampstead", a picture of the 511: 227: 1001:, judged "clever and effective" in performance in 1890. 3417:(14 July 2002). "Coward's Back. How Very Encouraging". 1750:"The Prince of Wales at the Incorporated Law Society". 1448:

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

2946: 2944: 2887: 2754: 2742: 2589: 2577: 2417: 2349: 2181: 1193:(for "cabaret, orgy and riotous continental scenes"). 792:, while in the following year he wrote another suite, 3033: 2679: 2535: 2523: 2511: 2441: 2206:(Autumn 1950). "The Changing Style of Soviet Music". 2169: 2082: 2080: 2039: 1987: 1985: 1924: 1922: 1880: 1868: 1856: 1797: 1795: 1782: 1780: 1778: 1765: 1763: 1761: 1731: 1151:

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

123: 3332: 2465: 1719: 1653: 1634: 1632: 1630: 262: 141: 138: 132: 3591:

The Penguin Guide to Recorded Classical Music, 2009

3529:. New Haven, CT and London: Yale University Press. 3310:"Ronnie Ronalde, virtuoso whistler – obituary" 3290: 3231: 2941: 2899: 2875: 2863: 2851: 2778: 2766: 2730: 2703: 900:, which he had written in a supportive response to 129: 3344: 2691: 2667: 2640: 2565: 2453: 2361: 2120: 2077: 2027: 1982: 1919: 1892: 1792: 1775: 1758: 1589: 3487:(in French). Birmingham, AL: Summa Publications. 2628: 2198: 2196: 1627: 3855: 3649:Albert Ketèlbey: From the Sanctuary of his Heart 1386: 983: 3381: 3302: 3113:"In a Chinese Temple-Garden: oriental phantasy" 2004: 2002: 2000: 1513:. Russian Association of Proletarian Musicians. 940:In 1949 Ketèlbey and his new wife moved to the 819:The introduction of talking films in 1927 with 3522: 3445:. Lebanon, NH: Northeastern University Press. 2435: 2193: 2097: 2095: 1452:(1907–1982) later became famous as a pianist. 877:; the work was played for the royal family at 3718: 3480: 3364:"Prom 76 – Last Night of the Proms 2009" 3326: 3165: 2480: 2209:Journal of the American Musicological Society 1947: 1945: 1943: 1941: 1939: 1937: 1048:The Penguin Guide to Recorded Classical Music 3924:Alumni of the Royal Birmingham Conservatoire 3610:The Music of Albert W. Ketèlbey: A Catalogue 3501: 3206: 2818: 2552: 2550: 2505: 1997: 1600:(online ed.). Oxford University Press. 3589:; Layton, Robert; Czajkowski, Paul (2008). 3466:. Manchester: Manchester University Press. 3356: 2797: 2795: 2793: 2382: 2380: 2378: 2376: 2276: 2243:Ariel (1 November 1926). "Wireless Notes". 2132: 2092: 1509:Slonimsky quotes from Krasnukha, G (1931). 1104:Ketèlbey sought to repeat the exoticism of 885:and at the Jubilee Thanksgiving Service at 550:as the musical director for the 1916 revue 528:In 1914 Ketèlbey wrote the orchestral work 319:(demolished) in Paradise Street, Birmingham 3725: 3711: 3050: 3048: 2051: 1934: 944:, and purchased Rookstone, Egypt Hill, in 675:. The last of these contained the finale " 415: 31: 3697:International Music Score Library Project 3684:Downloadable and streaming recordings of 3651:. Sutton Coldfield: Manifold Publishing. 3508:. New York, NY: Oxford University Press. 3270: 3268: 3243: 3180: 3126: 2956: 2911: 2828:inflation figures are based on data from 2547: 2236: 2202: 1707:: 365–369. November 1926 – January 1929. 780:Ketèlbey Conducting his Concert Orchestra 456:Ketèlbey wrote music in the style of the 343:At the age of eleven Ketèlbey joined the 3974:Musicians from Birmingham, West Midlands 3567: 3387: 3135:"Ketèlbey: 'In a Chinese Temple Garden'" 3099: 3039: 2926: 2790: 2715: 2652: 2386: 2373: 2315: 2282: 1904: 1828: 1826: 1824: 1822: 1820: 1818: 1816: 1814: 1812: 1810: 1287: 1283: 635:In 1921 Ketèlbey moved from his home in 620: 515: 164:and moved to London in 1889 to study at 16:English composer and pianist (1875–1959) 3899:20th-century British conductors (music) 3874:19th-century British conductors (music) 3607: 3543: 3523:Foreman, Lewis; Foreman, Susan (2005). 3502:Brown, Julie; Davison, Annette (2013). 3435: 3274: 3212: 3110: 3080: 3076: 3074: 3054: 3045: 2893: 2447: 2187: 2101: 2008: 1951: 1597:Oxford Dictionary of National Biography 1584: 1108:in several later pieces. Among them is 978:Grove Dictionary of Music and Musicians 916:Post-war; retirement and death, 1946–59 861:was played to accompany the arrival of 294:. His younger sister was the historian 3856: 3612:. Sheffield: University of Sheffield. 3388:Clements, Andrew (13 September 2009). 3265: 2658: 1591:"Ketèlbey, Albert William (1875–1959)" 1580: 1578: 1576: 1574: 512:Rising reputation and success, 1914–46 3706: 3459: 3407: 3338: 3251:"Search results for 'Florence Hoare'" 3186: 3171: 2978: 2976: 2829: 2242: 1832: 1807: 1572: 1570: 1568: 1566: 1564: 1562: 1560: 1558: 1556: 1554: 1351:for his 1977 song "My Lady Héroïne". 1196: 276: 3646: 3553:. Plymouth, Devon: Scarecrow Press. 3505:The Sounds of the Silents in Britain 3413: 3296: 3237: 3132: 3071: 2950: 2905: 2881: 2869: 2857: 2801: 2784: 2772: 2760: 2748: 2736: 2709: 2697: 2685: 2673: 2646: 2634: 2595: 2583: 2571: 2541: 2529: 2517: 2459: 2423: 2367: 2355: 2175: 2163: 2126: 2086: 2045: 2033: 1991: 1976: 1928: 1898: 1886: 1874: 1862: 1801: 1786: 1769: 1737: 1725: 1698: 1696: 1694: 1671: 1659: 1638: 1511:"Innocent" Propaganda of Imperialism 1343:his signature tune from 1958, while 1147:pub, with a main theme based on the 647:, north west London. He installed a 3919:20th-century English male musicians 3894:19th-century English male musicians 3732: 3624: 3350: 2472:"Famous Musicians in Witness-Box". 2390:In a Monastery Garden / Chal Romano 1743: 1039: 250:season the orchestra performed his 13: 3929:Alumni of Trinity College of Music 3219:(liner notes). Naxos, Marco Polo. 2973: 2057: 1551: 992:for piano and orchestra (1892), a 742:In the Camp of the Ancient Britons 389:Scherzo No. 2 in B-flat minor 14: 3985: 3799:The Clock and the Dresden Figures 3667: 1691: 813:The Clock and the Dresden Figures 482:In 1912 the composer and cellist 263:Early life and education, 1875–95 3954:English male classical composers 3904:20th-century classical composers 3879:19th-century classical composers 546:led to Ketèlbey's engagement by 345:Birmingham and Midland Institute 326: 317:Birmingham and Midland Institute 308: 119: 3964:English male conductors (music) 3959:English male classical pianists 3909:20th-century classical pianists 3884:19th-century classical pianists 3632:. London: Music Sales Limited. 3550:Operas in English: A Dictionary 3481:Bourderionnet, Olivier (2011). 3133:Ever, Ronald (September 1958). 3006: 2969:. 3 February 1894. p. 287. 2616:(1042): 1097. 1 December 1929. 2601: 1529: 1516: 1503: 1494: 1484: 1467: 1455: 1442: 1433: 1424: 1415: 744:—inspired by a trip he took to 3914:20th-century English composers 3889:19th-century English composers 3693:Free scores by Albert Ketèlbey 2937:. 13 December 1890. p. 7. 2561:. 27 November 1959. p. 4. 1678:Women Historians of St Andrews 1665: 1644: 1406: 1397: 1068:monks are heard chanting the " 692:the 1729 work of the same name 349:Royal Birmingham Conservatoire 1: 3949:English light music composers 3674:Website dedicated to Ketèlbey 3316:. 23 January 2015. p. 6. 2557:"Obituary: Albert Ketelbey". 1754:. 25 March 1893. p. 378. 1672:Fyfe, Aileen (5 April 2022). 1545: 1387:Notes, references and sources 984:Early works and serious music 906:We shall fight on the beaches 3059:(liner notes). EMI Records. 2922:. 4 March 1897. p. 654. 1915:. 9 October 1900. p. 3. 1835:"Ketèlbey, Albert W(illiam)" 1621:UK public library membership 477:Columbia Graphophone Company 257: 181:Columbia Graphophone Company 7: 3934:English classical composers 3807:In the Mystic Land of Egypt 3791:By the Blue Hawaiian Waters 3568:Ketèlbey, Albert W (1915). 3526:London: A Musical Gazetteer 3442:The Exotic in Western Music 2983:"Albert William Ketèlbey". 2495:. 25 July 1923. p. 10. 1958:(liner notes). Marco Polo. 1752:The Illustrated London News 1674:"Doris Ketelbey, 1896-1990" 1117:In the Mystic Land of Egypt 950:Director-General of the BBC 785:By the Blue Hawaiian Waters 394:The Illustrated London News 215:In the Mystic Land of Egypt 10: 3990: 3944:English conductors (music) 3939:English classical pianists 3783:In a Chinese Temple Garden 3630:100 Years of British Music 3428: 2991:(1403): 40. January 1960. 2476:. 14 July 1923. p. 6. 2436:Foreman & Foreman 2005 2401:. 8.223442. Archived from 1157:; a sombre glimpse of the 1111:In a Chinese Temple Garden 664:In a Chinese Temple Garden 351:) where he was tutored by 230:. In 1949 he moved to the 209:In a Chinese Temple Garden 3969:Golders Green Crematorium 3835: 3817: 3740: 3390:"Last night of the Proms" 3017:: 193–95. September 1928. 2933:"The Sarasate Concerts". 2804:"Albert William Ketelbey" 2012:Tangled Tunes (1913–1938) 1911:"Grand Theatre, Fulham". 1841:. Oxford University Press 966:Golders Green Crematorium 867:Royal Command Performance 810:, conducting a new work, 579:Performing Rights Society 347:school of music (now the 92: 69: 39: 30: 23: 3775:Bells Across the Meadows 2963:"Notices of New Music". 2726:. 9 May 1934. p. 8. 2506:Brown & Davison 2013 1979:, pp. 33–35, 38–39. 1391: 1363:Bells across the Meadows 1295:Bells Across the Meadows 1258: 1191:Bacchanale de Montmartre 1125:Bells Across the Meadows 971: 798:Performing Right Gazette 700:Johann Christoph Pepusch 654:Bells Across the Meadows 460:works for a comic opera 362:Trinity College of Music 243:Bells Across the Meadows 166:Trinity College of Music 3572:. London: J.H. Larway. 3055:Gammond, Peter (2002). 3002:(subscription required) 2830:Clark, Gregory (2017). 2493:The Manchester Guardian 2345:(subscription required) 2312:(subscription required) 2272:(subscription required) 2166:, pp. 51, 80, 135. 2102:Dempsey, Peter (2004). 1913:London Evening Standard 1852:(subscription required) 1479:New Moving Picture Book 1377:, the music critic for 1358:Your Hundred Best Tunes 1014:Concertgebouw Orchestra 794:Three Fanciful Etchings 475:, a third in 1907, the 467:London Evening Standard 416:Early career, 1896–1914 237:Your Hundred Best Tunes 115:Albert William Ketèlbey 44:Albert William Ketelbey 3545:Griffel, Margaret Ross 3460:Blake, Andrew (1997). 3087:(liner notes). Naxos. 3013:"Albert W. Ketèlbey". 2724:Yorkshire Evening Post 2393:(liner notes). Naxos. 2387:McDonald, Tim (1993). 2108:(liner notes). Naxos. 2015:(liner notes). Naxos. 1703:"Albert W. Ketelbey". 1606:10.1093/ref:odnb/34306 1539:measure of inflation. 1313: 1298: 1074: 754:BBC Wireless Orchestra 708:copyright infringement 669:Sanctuary of the Heart 667:, followed in 1924 by 657:released in 1921, and 632: 525: 158:light orchestral music 3826:The Heart's Awakening 3751:In a Monastery Garden 3686:In a Monastery Garden 3608:McCanna, Tom (2000). 3570:In a Monastery Garden 3275:McCanna, Tom (2013). 3213:McCanna, Tom (1995). 3187:Scowcroft, Philip L. 3111:McCanna, Tom (2013). 3105:Ketèlbey's synopsis, 3081:McCanna, Tom (2002). 3057:In a Monastery Garden 2105:In a Monastery Garden 2009:McCanna, Tom (2004). 1952:McCanna, Tom (1995). 1833:Scowcroft, Philip L. 1371:In a Monastery Garden 1341:In a Monastery Garden 1308: 1291: 1284:Reputation and legacy 1266:The Heart's Awakening 1131:(1924), described by 1065: 1061:In a Monastery Garden 682:In 1923 the composer 624: 544:In a Monastery Garden 531:In a Monastery Garden 522:In a Monastery Garden 519: 252:In a Monastery Garden 197:In a Monastery Garden 3015:The British Musician 2966:The Girl's Own Paper 2722:"A Happy Composer". 2608:"Occasional Notes". 1705:The British Musician 1537:Consumer Price Index 1141:Houses of Parliament 1018:The British Musician 999:First Piano Concerto 898:Fighting for Freedom 716:Sir Frederick Bridge 710:. Acting as a court 458:Gilbert and Sullivan 399:The British Musician 187:until the advent of 3767:In a Persian Market 3647:Sant, John (2001). 3593:. London: Penguin. 3419:The Washington Post 3314:The Daily Telegraph 3084:In a Persian Market 2474:The Hartlepool Mail 2405:on 22 December 2015 1450:Sir Clifford Curzon 1380:The Washington Post 1349:In a Persian Market 1301:The obituarist for 1167:August Bank Holiday 1106:In a Persian Market 1078:In a Persian Market 958:With Honour Crowned 887:St Paul's Cathedral 883:Trooping the Colour 871:With Honour Crowned 851:A Birthday Greeting 738:In a Lovers' Garden 690:, closely based on 628:In a Persian Market 607:In a Persian Market 599:In a Persian Market 508:in the late 1920s. 445:Alice in Wonderland 391:; the reviewer for 355:in composition and 203:In a Persian Market 191:in the late 1920s. 3843:Vaudeville Theatre 3587:Greenfield, Edward 3327:Bourderionnet 2011 3216:Piano Music Vol. 2 2826:Retail Price Index 2763:, pp. 116–19. 2751:, pp. 112–13. 2598:, pp. 90, 96. 2586:, pp. 84, 87. 2426:, pp. 173–75. 2358:, pp. 60, 78. 2204:Slonimsky, Nicolas 1955:Piano music Vol. 1 1839:Grove Music Online 1347:used the theme of 1299: 1218:(1925), by way of 1208:Rêverie dramatique 1197:Instrumental works 1057:The Phantom Melody 859:A State Procession 855:Queen Elizabeth II 845:Ketèlbey wrote an 704:Gramophone Company 633: 556:Vaudeville Theatre 540:The Phantom Melody 526: 492:The Phantom Melody 170:Vaudeville Theatre 3851: 3850: 3658:978-0-9538058-0-8 3639:978-1-78323-565-0 3600:978-0-14-103335-8 3560:978-0-8108-8325-3 3536:978-0-300-10402-8 3515:978-0-19-979761-5 3494:978-1-883479-64-0 3473:978-0-7190-4299-7 3452:978-1-55553-319-9 3437:Bellman, Jonathan 3028:March et al. 2008 2985:The Musical Times 2918:"Music and Art". 2802:Anderson, Keith. 2688:, pp. 95–96. 2610:The Musical Times 2544:, pp. 76–77. 2532:, pp. 64–65. 2520:, pp. 62–63. 2319:The Musical Times 2286:The Musical Times 2246:The Musical Times 2178:, pp. 53–54. 2060:"Albert Ketèlbey" 2058:Burton, Anthony. 2048:, pp. 45–46. 1889:, pp. 29–30. 1877:, pp. 28–29. 1865:, pp. 92–93. 1740:, pp. 25–26. 1728:, pp. 22–24. 1662:, pp. 20–21. 1619:(Subscription or 1333:Kenneth J. Alford 1303:The Musical Times 1251:major, including 1220:A Romantic Melody 1137:Buckingham Palace 954:Sir William Haley 922:winter of 1946–47 910:Special Constable 902:Winston Churchill 803:The Musical Times 750:Weston-super-Mare 616:The Musical Times 611:Nicolas Slonimsky 488:The Broken Melody 484:Auguste van Biene 473:Chappell & Co 462:The Wonder Worker 377:Wimbledon, London 177:Chappell & Co 160:. He was born in 112: 111: 3981: 3836:Related articles 3742:Light orchestral 3727: 3720: 3713: 3704: 3703: 3662: 3643: 3621: 3604: 3581: 3564: 3540: 3519: 3498: 3477: 3456: 3423: 3422: 3411: 3405: 3404: 3402: 3400: 3385: 3379: 3378: 3376: 3374: 3360: 3354: 3348: 3342: 3336: 3330: 3324: 3318: 3317: 3306: 3300: 3294: 3288: 3287: 3285: 3283: 3272: 3263: 3262: 3260: 3258: 3247: 3241: 3235: 3229: 3228: 3210: 3204: 3203: 3201: 3199: 3184: 3178: 3177: 3169: 3163: 3162: 3160: 3158: 3152: 3139: 3130: 3124: 3123: 3121: 3119: 3103: 3097: 3096: 3078: 3069: 3068: 3052: 3043: 3037: 3031: 3025: 3019: 3018: 3010: 3004: 3003: 3000: 2980: 2971: 2970: 2960: 2954: 2948: 2939: 2938: 2930: 2924: 2923: 2915: 2909: 2903: 2897: 2891: 2885: 2879: 2873: 2867: 2861: 2855: 2849: 2848: 2846: 2844: 2822: 2816: 2815: 2813: 2811: 2799: 2788: 2782: 2776: 2770: 2764: 2758: 2752: 2746: 2740: 2734: 2728: 2727: 2719: 2713: 2707: 2701: 2695: 2689: 2683: 2677: 2671: 2665: 2664: 2656: 2650: 2644: 2638: 2632: 2626: 2625: 2605: 2599: 2593: 2587: 2581: 2575: 2569: 2563: 2562: 2554: 2545: 2539: 2533: 2527: 2521: 2515: 2509: 2503: 2497: 2496: 2490: 2484: 2478: 2477: 2469: 2463: 2457: 2451: 2445: 2439: 2433: 2427: 2421: 2415: 2414: 2412: 2410: 2384: 2371: 2365: 2359: 2353: 2347: 2346: 2343: 2313: 2310: 2280: 2274: 2273: 2270: 2240: 2234: 2233: 2200: 2191: 2185: 2179: 2173: 2167: 2161: 2155: 2154: 2152: 2150: 2136: 2130: 2124: 2118: 2117: 2099: 2090: 2084: 2075: 2074: 2072: 2070: 2055: 2049: 2043: 2037: 2031: 2025: 2024: 2006: 1995: 1989: 1980: 1974: 1968: 1967: 1949: 1932: 1926: 1917: 1916: 1908: 1902: 1896: 1890: 1884: 1878: 1872: 1866: 1860: 1854: 1853: 1850: 1848: 1846: 1830: 1805: 1799: 1790: 1784: 1773: 1767: 1756: 1755: 1747: 1741: 1735: 1729: 1723: 1717: 1716: 1700: 1689: 1688: 1686: 1684: 1669: 1663: 1657: 1651: 1648: 1642: 1636: 1625: 1624: 1616: 1614: 1612: 1593: 1582: 1540: 1533: 1527: 1520: 1514: 1507: 1501: 1498: 1492: 1488: 1482: 1471: 1465: 1459: 1453: 1446: 1440: 1437: 1431: 1428: 1422: 1419: 1413: 1410: 1404: 1401: 1369:season included 1345:Serge Gainsbourg 1321:Charles Ancliffe 1292:Sheet music for 1250: 1249: 1243: 1242: 1232:A Song of Summer 1228:In the Woodlands 1224:Pensées joyeuses 1179:Dramatic Agitato 1086: 1085: 1040:Light orchestral 1034:Monastery Garden 931:southern England 912:during the war. 894:Second World War 836:Radio Luxembourg 790:In a Fairy Realm 728: 722: 686:wrote the opera 678: 659:Suite Romantique 625:Sheet music for 603:Jonathan Bellman 587:In the Moonlight 497:The Evening News 370:Frederick Corder 357:Dr H. W. Wareing 330: 312: 288:St Silas' Church 280: 151: 150: 147: 146: 143: 140: 137: 134: 131: 128: 125: 76: 73:26 November 1959 53: 51: 35: 21: 20: 3989: 3988: 3984: 3983: 3982: 3980: 3979: 3978: 3854: 3853: 3852: 3847: 3831: 3813: 3736: 3734:Albert Ketèlbey 3731: 3670: 3665: 3659: 3640: 3601: 3561: 3537: 3516: 3495: 3474: 3453: 3431: 3426: 3412: 3408: 3398: 3396: 3386: 3382: 3372: 3370: 3362: 3361: 3357: 3349: 3345: 3337: 3333: 3325: 3321: 3308: 3307: 3303: 3295: 3291: 3281: 3279: 3273: 3266: 3256: 3254: 3249: 3248: 3244: 3236: 3232: 3211: 3207: 3197: 3195: 3185: 3181: 3170: 3166: 3156: 3154: 3153:on 4 March 2016 3150: 3137: 3131: 3127: 3117: 3115: 3104: 3100: 3079: 3072: 3053: 3046: 3038: 3034: 3026: 3022: 3012: 3011: 3007: 3001: 2982: 2981: 2974: 2962: 2961: 2957: 2949: 2942: 2932: 2931: 2927: 2920:Hearth and Home 2917: 2916: 2912: 2904: 2900: 2896:, pp. 3–7. 2892: 2888: 2880: 2876: 2868: 2864: 2856: 2852: 2842: 2840: 2823: 2819: 2809: 2807: 2800: 2791: 2783: 2779: 2771: 2767: 2759: 2755: 2747: 2743: 2735: 2731: 2721: 2720: 2716: 2708: 2704: 2696: 2692: 2684: 2680: 2672: 2668: 2657: 2653: 2645: 2641: 2633: 2629: 2607: 2606: 2602: 2594: 2590: 2582: 2578: 2570: 2566: 2556: 2555: 2548: 2540: 2536: 2528: 2524: 2516: 2512: 2504: 2500: 2488: 2486: 2485: 2481: 2471: 2470: 2466: 2458: 2454: 2446: 2442: 2434: 2430: 2422: 2418: 2408: 2406: 2385: 2374: 2366: 2362: 2354: 2350: 2344: 2326:(1007): 63–64. 2311: 2281: 2277: 2271: 2241: 2237: 2201: 2194: 2186: 2182: 2174: 2170: 2162: 2158: 2148: 2146: 2138: 2137: 2133: 2125: 2121: 2100: 2093: 2085: 2078: 2068: 2066: 2056: 2052: 2044: 2040: 2032: 2028: 2007: 1998: 1990: 1983: 1975: 1971: 1950: 1935: 1927: 1920: 1910: 1909: 1905: 1897: 1893: 1885: 1881: 1873: 1869: 1861: 1857: 1851: 1844: 1842: 1831: 1808: 1800: 1793: 1785: 1776: 1768: 1759: 1749: 1748: 1744: 1736: 1732: 1724: 1720: 1702: 1701: 1692: 1682: 1680: 1670: 1666: 1658: 1654: 1649: 1645: 1637: 1628: 1618: 1610: 1608: 1586:Lubbock, Mark H 1583: 1552: 1548: 1543: 1534: 1530: 1521: 1517: 1508: 1504: 1499: 1495: 1489: 1485: 1472: 1468: 1460: 1456: 1447: 1443: 1438: 1434: 1429: 1425: 1420: 1416: 1411: 1407: 1402: 1398: 1394: 1389: 1286: 1274:First World War 1261: 1247: 1246: 1245:in the key of A 1240: 1239: 1199: 1171:Hampstead Heath 1154:palais de danse 1083: 1082: 1042: 986: 974: 918: 873:for the King's 822:The Jazz Singer 734:Lyons tea shops 726: 720: 714:, the composer 684:Frederic Austin 676: 514: 418: 385:Frédéric Chopin 372:(composition). 341: 340: 339: 338: 337: 331: 322: 321: 320: 313: 301: 265: 260: 122: 118: 108: 88: 78: 74: 65: 55: 49: 47: 46: 45: 26: 25:Albert Ketèlbey 17: 12: 11: 5: 3987: 3977: 3976: 3971: 3966: 3961: 3956: 3951: 3946: 3941: 3936: 3931: 3926: 3921: 3916: 3911: 3906: 3901: 3896: 3891: 3886: 3881: 3876: 3871: 3866: 3849: 3848: 3846: 3845: 3839: 3837: 3833: 3832: 3830: 3829: 3821: 3819: 3815: 3814: 3812: 3811: 3803: 3795: 3787: 3779: 3771: 3763: 3755: 3746: 3744: 3738: 3737: 3730: 3729: 3722: 3715: 3707: 3701: 3700: 3690: 3681: 3676: 3669: 3668:External links 3666: 3664: 3663: 3657: 3644: 3638: 3622: 3605: 3599: 3582: 3565: 3559: 3541: 3535: 3520: 3514: 3499: 3493: 3478: 3472: 3457: 3451: 3432: 3430: 3427: 3425: 3424: 3421:. p. G02. 3406: 3380: 3355: 3343: 3331: 3319: 3301: 3289: 3264: 3242: 3230: 3205: 3179: 3164: 3125: 3098: 3070: 3044: 3032: 3030:, p. 635. 3020: 3005: 2972: 2955: 2953:, p. 310. 2940: 2925: 2910: 2908:, p. 309. 2898: 2886: 2884:, p. 130. 2874: 2872:, p. 144. 2862: 2860:, p. 125. 2850: 2837:MeasuringWorth 2817: 2789: 2787:, p. 113. 2777: 2775:, p. 121. 2765: 2753: 2741: 2739:, p. 103. 2729: 2714: 2712:, p. 100. 2702: 2690: 2678: 2666: 2651: 2639: 2627: 2600: 2588: 2576: 2564: 2546: 2534: 2522: 2510: 2508:, p. 254. 2498: 2479: 2464: 2452: 2440: 2438:, p. 342. 2428: 2416: 2372: 2360: 2348: 2332:10.2307/913600 2299:10.2307/912627 2293:(1006): 1117. 2275: 2259:10.2307/913489 2253:(1005): 1018. 2235: 2222:10.2307/829735 2192: 2190:, p. 134. 2180: 2168: 2156: 2131: 2119: 2091: 2076: 2050: 2038: 2026: 1996: 1981: 1969: 1933: 1918: 1903: 1891: 1879: 1867: 1855: 1806: 1791: 1774: 1757: 1742: 1730: 1718: 1690: 1664: 1652: 1643: 1626: 1549: 1547: 1544: 1542: 1541: 1528: 1515: 1502: 1493: 1483: 1466: 1454: 1441: 1432: 1423: 1414: 1405: 1395: 1393: 1390: 1388: 1385: 1337:Ronnie Ronalde 1285: 1282: 1278:As You Like It 1260: 1257: 1236:Légende triste 1198: 1195: 1041: 1038: 1005:including the 985: 982: 973: 970: 917: 914: 879:Windsor Castle 875:silver jubilee 788:and the suite 768:Johann Strauss 746:Worlebury Camp 712:expert witness 637:St John's Wood 520:The cover for 513: 510: 439:As You Like It 432:, in London's 417: 414: 353:Dr Alfred Gaul 332: 325: 324: 323: 314: 307: 306: 305: 304: 303: 296:Doris Ketelbey 264: 261: 259: 256: 110: 109: 107: 106: 103: 100: 96: 94: 90: 89: 79: 77:(aged 84) 71: 67: 66: 56: 43: 41: 37: 36: 28: 27: 24: 15: 9: 6: 4: 3: 2: 3986: 3975: 3972: 3970: 3967: 3965: 3962: 3960: 3957: 3955: 3952: 3950: 3947: 3945: 3942: 3940: 3937: 3935: 3932: 3930: 3927: 3925: 3922: 3920: 3917: 3915: 3912: 3910: 3907: 3905: 3902: 3900: 3897: 3895: 3892: 3890: 3887: 3885: 3882: 3880: 3877: 3875: 3872: 3870: 3867: 3865: 3862: 3861: 3859: 3844: 3841: 3840: 3838: 3834: 3827: 3823: 3822: 3820: 3816: 3809: 3808: 3804: 3801: 3800: 3796: 3793: 3792: 3788: 3785: 3784: 3780: 3777: 3776: 3772: 3769: 3768: 3764: 3761: 3760: 3759:Tangled Tunes 3756: 3753: 3752: 3748: 3747: 3745: 3743: 3739: 3735: 3728: 3723: 3721: 3716: 3714: 3709: 3708: 3705: 3698: 3694: 3691: 3688: 3687: 3682: 3680: 3679:BBC news clip 3677: 3675: 3672: 3671: 3660: 3654: 3650: 3645: 3641: 3635: 3631: 3627: 3626:PRS for Music 3623: 3619: 3615: 3611: 3606: 3602: 3596: 3592: 3588: 3585:March, Ivan; 3583: 3579: 3575: 3571: 3566: 3562: 3556: 3552: 3551: 3546: 3542: 3538: 3532: 3528: 3527: 3521: 3517: 3511: 3507: 3506: 3500: 3496: 3490: 3486: 3485: 3479: 3475: 3469: 3465: 3464: 3458: 3454: 3448: 3444: 3443: 3438: 3434: 3433: 3420: 3416: 3410: 3395: 3391: 3384: 3369: 3365: 3359: 3353:, p. 33. 3352: 3347: 3341:, p. 82. 3340: 3335: 3329:, p. 37. 3328: 3323: 3315: 3311: 3305: 3299:, p. 87. 3298: 3293: 3278: 3271: 3269: 3252: 3246: 3240:, p. 29. 3239: 3234: 3226: 3222: 3218: 3217: 3209: 3194: 3190: 3183: 3176:. p. 18. 3175: 3168: 3149: 3145: 3144: 3143:High Fidelity 3136: 3129: 3114: 3108: 3102: 3094: 3090: 3086: 3085: 3077: 3075: 3066: 3062: 3058: 3051: 3049: 3041: 3040:Ketèlbey 1915 3036: 3029: 3024: 3016: 3009: 2998: 2994: 2990: 2986: 2979: 2977: 2968: 2967: 2959: 2952: 2947: 2945: 2936: 2929: 2921: 2914: 2907: 2902: 2895: 2890: 2883: 2878: 2871: 2866: 2859: 2854: 2839: 2838: 2833: 2827: 2821: 2805: 2798: 2796: 2794: 2786: 2781: 2774: 2769: 2762: 2757: 2750: 2745: 2738: 2733: 2725: 2718: 2711: 2706: 2700:, p. 96. 2699: 2694: 2687: 2682: 2676:, p. 95. 2675: 2670: 2662: 2655: 2649:, p. 93. 2648: 2643: 2636: 2631: 2623: 2619: 2615: 2611: 2604: 2597: 2592: 2585: 2580: 2574:, p. 76. 2573: 2568: 2560: 2553: 2551: 2543: 2538: 2531: 2526: 2519: 2514: 2507: 2502: 2494: 2483: 2475: 2468: 2462:, p. 79. 2461: 2456: 2450:, p. 45. 2449: 2444: 2437: 2432: 2425: 2420: 2404: 2400: 2396: 2392: 2391: 2383: 2381: 2379: 2377: 2370:, p. 56. 2369: 2364: 2357: 2352: 2341: 2337: 2333: 2329: 2325: 2321: 2320: 2308: 2304: 2300: 2296: 2292: 2288: 2287: 2279: 2268: 2264: 2260: 2256: 2252: 2248: 2247: 2239: 2231: 2227: 2223: 2219: 2216:(3): 236–55. 2215: 2211: 2210: 2205: 2199: 2197: 2189: 2184: 2177: 2172: 2165: 2160: 2145: 2144:PRS for Music 2141: 2140:"Our History" 2135: 2129:, p. 51. 2128: 2123: 2115: 2111: 2107: 2106: 2098: 2096: 2089:, p. 52. 2088: 2083: 2081: 2065: 2061: 2054: 2047: 2042: 2036:, p. 42. 2035: 2030: 2022: 2018: 2014: 2013: 2005: 2003: 2001: 1994:, p. 41. 1993: 1988: 1986: 1978: 1973: 1965: 1961: 1957: 1956: 1948: 1946: 1944: 1942: 1940: 1938: 1931:, p. 33. 1930: 1925: 1923: 1914: 1907: 1901:, p. 30. 1900: 1895: 1888: 1883: 1876: 1871: 1864: 1859: 1840: 1836: 1829: 1827: 1825: 1823: 1821: 1819: 1817: 1815: 1813: 1811: 1804:, p. 28. 1803: 1798: 1796: 1789:, p. 92. 1788: 1783: 1781: 1779: 1772:, p. 25. 1771: 1766: 1764: 1762: 1753: 1746: 1739: 1734: 1727: 1722: 1714: 1710: 1706: 1699: 1697: 1695: 1679: 1675: 1668: 1661: 1656: 1647: 1641:, p. 11. 1640: 1635: 1633: 1631: 1622: 1607: 1603: 1599: 1598: 1592: 1587: 1581: 1579: 1577: 1575: 1573: 1571: 1569: 1567: 1565: 1563: 1561: 1559: 1557: 1555: 1550: 1538: 1532: 1525: 1519: 1512: 1506: 1497: 1487: 1480: 1476: 1470: 1463: 1458: 1451: 1445: 1436: 1427: 1418: 1409: 1400: 1396: 1384: 1382: 1381: 1376: 1372: 1368: 1364: 1360: 1359: 1352: 1350: 1346: 1342: 1338: 1334: 1330: 1329:James W. Tate 1326: 1322: 1318: 1312: 1307: 1304: 1297: 1296: 1290: 1281: 1279: 1275: 1271: 1267: 1256: 1254: 1237: 1233: 1229: 1225: 1221: 1217: 1213: 1209: 1205: 1194: 1192: 1188: 1184: 1180: 1174: 1172: 1168: 1164: 1160: 1156: 1155: 1150: 1146: 1142: 1138: 1134: 1130: 1129:Cockney Suite 1126: 1121: 1119: 1118: 1113: 1112: 1107: 1102: 1100: 1099: 1094: 1090: 1079: 1073: 1071: 1070:Kyrie Eleison 1064: 1062: 1058: 1054: 1050: 1049: 1037: 1035: 1031: 1027: 1023: 1022:Edward German 1019: 1015: 1010: 1008: 1002: 1000: 995: 991: 981: 979: 969: 967: 961: 959: 955: 951: 947: 943: 942:Isle of Wight 938: 936: 932: 928: 923: 913: 911: 907: 903: 899: 895: 890: 888: 884: 880: 876: 872: 868: 864: 863:King George V 860: 856: 852: 848: 843: 841: 840:musical notes 837: 833: 832:Decca Records 829: 824: 823: 817: 815: 814: 809: 808:Kingsway Hall 805: 804: 799: 795: 791: 787: 786: 781: 775: 773: 769: 765: 764: 759: 758:Concertgebouw 755: 751: 747: 743: 739: 735: 730: 725: 717: 713: 709: 705: 701: 697: 693: 689: 685: 680: 674: 673:Cockney Suite 670: 666: 665: 660: 656: 655: 650: 646: 643:, an area of 642: 638: 630: 629: 623: 619: 617: 612: 608: 604: 600: 596: 592: 591:Wedgwood Blue 588: 584: 580: 575: 573: 569: 565: 561: 557: 553: 549: 548:André Charlot 545: 541: 537: 533: 532: 523: 518: 509: 507: 506:talking films 503: 499: 498: 493: 489: 485: 480: 478: 474: 469: 468: 463: 459: 454: 451: 447: 446: 441: 440: 435: 431: 430:Bruton Street 427: 426:Opera Comique 423: 413: 411: 406: 404: 403:Edward German 400: 396: 395: 390: 386: 382: 378: 373: 371: 367: 363: 358: 354: 350: 346: 335: 329: 318: 311: 302: 299: 297: 293: 289: 284: 279: 274: 270: 255: 253: 249: 245: 244: 239: 238: 233: 232:Isle of Wight 229: 223: 221: 220:Cockney Suite 217: 216: 211: 210: 205: 204: 199: 198: 192: 190: 189:talking films 186: 182: 178: 173: 171: 167: 163: 159: 155: 149: 116: 104: 101: 98: 97: 95: 91: 86: 85:Isle of Wight 82: 72: 68: 63: 59: 54:9 August 1875 42: 38: 34: 29: 22: 19: 3805: 3797: 3789: 3781: 3773: 3765: 3757: 3749: 3733: 3685: 3648: 3629: 3609: 3590: 3569: 3549: 3525: 3504: 3483: 3462: 3441: 3418: 3409: 3397:. Retrieved 3394:The Guardian 3393: 3383: 3371:. Retrieved 3367: 3358: 3346: 3334: 3322: 3313: 3304: 3292: 3280:. Retrieved 3255:. Retrieved 3245: 3233: 3215: 3208: 3196:. Retrieved 3192: 3182: 3173: 3167: 3155:. Retrieved 3148:the original 3141: 3128: 3116:. Retrieved 3106: 3101: 3083: 3056: 3042:, p. 2. 3035: 3023: 3014: 3008: 2988: 2984: 2964: 2958: 2934: 2928: 2919: 2913: 2901: 2894:McCanna 2000 2889: 2877: 2865: 2853: 2841:. Retrieved 2835: 2820: 2808:. Retrieved 2780: 2768: 2756: 2744: 2732: 2723: 2717: 2705: 2693: 2681: 2669: 2663:. p. 3. 2660: 2654: 2642: 2637:, p. 2. 2630: 2613: 2609: 2603: 2591: 2579: 2567: 2558: 2537: 2525: 2513: 2501: 2492: 2482: 2473: 2467: 2455: 2448:Griffel 2012 2443: 2431: 2419: 2407:. Retrieved 2403:the original 2389: 2363: 2351: 2323: 2317: 2290: 2284: 2278: 2250: 2244: 2238: 2213: 2207: 2188:Bellman 1998 2183: 2171: 2159: 2147:. Retrieved 2134: 2122: 2104: 2067:. Retrieved 2063: 2053: 2041: 2029: 2011: 1972: 1954: 1912: 1906: 1894: 1882: 1870: 1858: 1843:. Retrieved 1838: 1751: 1745: 1733: 1721: 1704: 1681:. Retrieved 1677: 1667: 1655: 1646: 1609:. Retrieved 1595: 1531: 1518: 1510: 1505: 1496: 1486: 1478: 1475:Kinema Music 1474: 1469: 1457: 1444: 1435: 1426: 1417: 1408: 1399: 1378: 1370: 1362: 1356: 1353: 1348: 1340: 1325:Ivor Novello 1314: 1309: 1302: 1300: 1293: 1277: 1262: 1253:La grâcieuse 1252: 1235: 1234:(1922), and 1231: 1227: 1223: 1219: 1216:Les pèlerins 1215: 1211: 1207: 1203: 1200: 1190: 1186: 1182: 1178: 1175: 1152: 1132: 1128: 1124: 1122: 1115: 1109: 1105: 1103: 1096: 1077: 1075: 1066: 1060: 1056: 1053:programmatic 1046: 1043: 1033: 1017: 1011: 1003: 997:Beethoven's 994:Concertstück 987: 977: 975: 962: 957: 939: 919: 897: 891: 870: 858: 850: 844: 820: 818: 811: 801: 797: 793: 789: 783: 779: 776: 761: 741: 737: 731: 723: 687: 681: 672: 668: 662: 658: 652: 634: 626: 615: 606: 598: 590: 586: 576: 551: 543: 539: 529: 527: 521: 502:silent films 495: 491: 487: 481: 465: 461: 455: 449: 443: 437: 419: 407: 398: 392: 381:Queen's Hall 374: 366:Gustav Holst 342: 300: 283:grave accent 266: 251: 241: 235: 224: 219: 213: 212:(1923), and 207: 201: 195: 193: 185:silent films 174: 153: 114: 113: 75:(1959-11-26) 18: 3869:1959 deaths 3864:1875 births 3399:20 December 3373:20 December 3282:20 December 3257:20 December 3227:. 8.223700. 3198:20 December 3157:20 December 3118:20 December 3095:. 8.110848. 3067:. 8.110848. 2810:19 December 2409:19 December 2149:19 December 2116:. 8.110174. 2069:19 December 2023:. 8.110870. 1966:. 8.223699. 1683:20 December 1611:19 December 1214:(1894) and 1059:(1911) and 968:in London. 935:Bournemouth 842:D E C C A. 772:Franz Lehár 568:Shaftesbury 450:A Good Time 422:light opera 334:Blue plaque 281:Aston. The 93:Occupations 3858:Categories 3339:Blake 1997 3253:. WorldCat 1623:required.) 1546:References 1462:Palm court 1317:Haydn Wood 1093:Stravinsky 847:intermezzo 605:, calling 574:theatres. 572:Drury Lane 383:he played 290:in nearby 273:Birmingham 162:Birmingham 62:Birmingham 50:1875-08-09 3415:Page, Tim 3297:Sant 2001 3238:Sant 2001 3174:The Times 3093:732723839 3065:844724738 2951:Sant 2001 2906:Sant 2001 2882:Sant 2001 2870:Sant 2001 2858:Sant 2001 2785:Sant 2001 2773:Sant 2001 2761:Sant 2001 2749:Sant 2001 2737:Sant 2001 2710:Sant 2001 2698:Sant 2001 2686:Sant 2001 2674:Sant 2001 2647:Sant 2001 2635:Sant 2001 2596:Sant 2001 2584:Sant 2001 2572:Sant 2001 2559:The Times 2542:Sant 2001 2530:Sant 2001 2518:Sant 2001 2460:Sant 2001 2424:Sant 2001 2368:Sant 2001 2356:Sant 2001 2176:Sant 2001 2164:Sant 2001 2127:Sant 2001 2114:885036899 2087:Sant 2001 2064:BBC Music 2046:Sant 2001 2034:Sant 2001 1992:Sant 2001 1977:Sant 2001 1964:811254249 1929:Sant 2001 1899:Sant 2001 1887:Sant 2001 1875:Sant 2001 1863:Sant 2001 1845:2 October 1802:Sant 2001 1787:Sant 2001 1770:Sant 2001 1738:Sant 2001 1726:Sant 2001 1660:Sant 2001 1639:Sant 2001 1204:Pastorale 1183:Amaryllis 1163:Whitehall 1133:The Times 1089:baksheesh 927:pneumonia 828:BBC Radio 763:The Times 649:billiards 645:Hampstead 258:Biography 102:Conductor 87:, England 64:, England 3828:" (1907) 3628:(2014). 3618:48092577 3547:(2012). 3439:(1998). 3351:PRS 2014 3225:34475280 3193:MusicWeb 2399:77925846 2021:55095129 1713:10449784 1588:(2004). 1491:sorrow." 1375:Tim Page 1270:Boer War 1248:♭ 1241:♯ 1230:(1921), 1226:(1888), 1222:(1898), 1169:fair on 1159:Cenotaph 1145:East End 1098:Firebird 1084:♭ 696:John Gay 583:romantic 552:Samples! 410:mandolin 271:area of 206:(1920), 179:and the 154:Ketelbey 99:Composer 3699:(IMSLP) 3695:at the 3578:6203274 3429:Sources 3277:"Songs" 2935:The Era 2806:. Naxos 2661:The Era 2489: 1212:Rêverie 1187:Mystery 1149:Cockney 1139:to the 1026:Delibes 1007:anthems 990:Caprice 748:, near 677: 641:Frognal 595:gavotte 564:Garrick 560:Adelphi 554:at the 434:Mayfair 292:Lozells 152:; born 105:Pianist 3810:(1931) 3802:(1930) 3794:(1927) 3786:(1923) 3778:(1921) 3770:(1920) 3762:(1915) 3754:(1915) 3655: 3636: 3616: 3597: 3576: 3557: 3533: 3512: 3491: 3470: 3449: 3223: 3107:quoted 3091: 3063: 2997:948211 2995: 2622:915059 2620: 2397: 2340:913600 2338: 2314:; and 2307:912627 2305: 2267:913489 2265: 2230:829735 2228: 2112: 2019: 1962: 1711: 1617: 1030:Gounod 631:(1920) 536:Mahler 524:(1915) 3818:Songs 3151:(PDF) 3138:(PDF) 2993:JSTOR 2843:7 May 2618:JSTOR 2336:JSTOR 2303:JSTOR 2263:JSTOR 2226:JSTOR 1392:Notes 1367:Proms 1339:made 1259:Songs 1143:; an 972:Music 946:Cowes 933:; in 865:at a 727:' 724:Polly 721:' 688:Polly 597:—and 585:work 269:Aston 248:Proms 81:Cowes 58:Aston 3653:ISBN 3634:ISBN 3614:OCLC 3595:ISBN 3574:OCLC 3555:ISBN 3531:ISBN 3510:ISBN 3489:ISBN 3468:ISBN 3447:ISBN 3401:2015 3375:2015 3284:2015 3259:2015 3221:OCLC 3200:2015 3159:2015 3120:2015 3089:OCLC 3061:OCLC 2845:2024 2812:2015 2411:2015 2395:OCLC 2151:2015 2110:OCLC 2071:2015 2017:OCLC 1960:OCLC 1847:2015 1709:OCLC 1685:2023 1613:2015 1331:and 1206:and 1028:and 920:The 904:'s " 770:and 740:and 698:and 671:and 570:and 542:and 315:The 70:Died 40:Born 3368:BBC 3109:at 2989:101 2824:UK 2328:doi 2295:doi 2255:doi 2218:doi 1602:doi 1524:BBC 1161:in 1101:". 1095:'s 834:on 694:by 593:—a 387:'s 278:née 228:BBC 3860:: 3392:. 3366:. 3312:. 3267:^ 3191:. 3140:. 3073:^ 3047:^ 2987:. 2975:^ 2943:^ 2834:. 2792:^ 2614:70 2612:. 2549:^ 2375:^ 2334:. 2324:68 2322:. 2301:. 2291:67 2289:. 2261:. 2251:67 2249:. 2224:. 2212:. 2195:^ 2142:. 2094:^ 2079:^ 2062:. 1999:^ 1984:^ 1936:^ 1921:^ 1837:. 1809:^ 1794:^ 1777:^ 1760:^ 1693:^ 1676:. 1629:^ 1594:. 1553:^ 1361:, 1327:, 1323:, 1319:, 1280:. 1181:, 1173:. 952:, 889:. 566:, 562:, 405:. 298:. 240:, 83:, 60:, 3824:" 3726:e 3719:t 3712:v 3661:. 3642:. 3620:. 3603:. 3580:. 3563:. 3539:. 3518:. 3497:. 3476:. 3455:. 3403:. 3377:. 3286:. 3261:. 3202:. 3161:. 3122:. 2999:. 2847:. 2814:. 2624:. 2487:" 2413:. 2342:. 2330:: 2309:. 2297:: 2269:. 2257:: 2232:. 2220:: 2214:3 2153:. 2073:. 1849:. 1715:. 1687:. 1615:. 1604:: 1481:. 849:— 148:/ 145:i 142:b 139:l 136:ɛ 133:t 130:ˈ 127:ə 124:k 121:/ 117:( 52:) 48:(

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.