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chiefly to fulfil his contract with his publisher. Nevertheless, Ponder considers that some of Coates's later songs show him at his finest. He praises "Because I miss you so" and "The Young Lover" (both 1930) for their "rich, glorious melodic vocal line" supported by "subtle piano writing that maintains the unity and intensifies the colour and effect of the vocal line". Almost all the songs, whether from the composer's early, middle or late periods, are in a slow or fairly slow tempo. Ponder comments that Coates's last songs were on a grander scale, perhaps influenced by the big numbers in
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1957:
275:
228:. Coates made it clear to Corder that he was temperamentally drawn to writing music in a light vein rather than symphonies or oratorios. His songs featured in RAM concerts during his years as a student, and although his first press review called his two songs performed in December 1907 "rather obvious", his four Shakespeare settings were praised the following year for the "charm of a sincere melody". and his "Devon to Me" (also 1908) was credited by
644:, Geoffrey Self writes that Coates consistently recognised and accommodated new fashions in music. As contemporary reviewers observed, his early compositions showed the influence of Sullivan and German, but as the 20th century progressed, Coates absorbed and made use of features of the music of Elgar and Richard Strauss. Coates and his wife were keen dancers, and in the 1920s he made use of the new syncopated dance-band styles.
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orchestration and arranging, and from hearing the symphony orchestra from the inside as a viola player. In the works of some composers, orchestral viola parts are frequently uninteresting to play, and having had to do so in
Beecham's and Wood's orchestra, Coates was determined that his own compositions would have interesting and colourful music for every instrument of the orchestra.
560:. At the BBC's request he wrote a report on light music on radio, completed in 1943. Some of his findings and recommendations were accepted but, according to a biographical sketch by Tim McDonald, Coates "failed to bring about any significant lessening of the inherent snobbery within the Corporation which tended to take a rather dismissive view of light music".
848:", was not written specially for the film. With these exceptions, Coates declined the offers from producers in Britain and the US who continually sought to secure his services. He realised that film music is liable to be cut, rearranged, or otherwise changed to meet the requirements of directors, and, mindful of such difficulties encountered by
201:(RAM) in London. They insisted that by the end of his first year there he must have demonstrated that his abilities were equal to a professional career, failing which he was to return to Nottinghamshire and take up a safe and respectable post in a bank. In 1906, aged twenty, Coates auditioned for admission; he was interviewed by the principal,
103:, but Coates's style evolved in step with changes in musical taste, and his later works incorporate elements derived from jazz and dance-band music. His output consists almost wholly of orchestral music and songs. With the exception of one unsuccessful short ballet, he never wrote for the theatre, and only occasionally for the cinema.
408:
In 1919 Coates gave up playing the viola. His contract to lead the section in the Queen's Hall orchestra expired and was not renewed. Some sources ascribe this to Coates's wish to pursue a full-time career as a composer; others say that his neuritis affected his playing; Coates himself said that Wood
818:
urged him to find a librettist and write a comic opera: "He ought to succeed greatly in that line. He is quick-witted, has a gift for lilting melody, deals in spicy and exhilarating harmony, and scores his music with a brilliancy that tells of experienced craftsmanship". Coates did not follow the
809:
lists five such works by Coates, three of which are lost. The two surviving pieces are a minuet for string quartet from 1908, and "First
Meeting" (1941) for viola and piano. Similarly, although he learned a substantial part of his craft while playing in theatre orchestras, Coates wrote no musical
773:
By the mid-1920s the demand for ballads and other traditional types of song was in decline, and Coates's output dropped accordingly. The violist and music scholar
Michael Ponder writes that Coates, who was principally interested in writing orchestral music, found writing songs limiting and did so
765:
Coates's first published works were the "Four Old
English Songs", written while he was still a student at the RAM. By the end of the 20th century his songs had become much less well known than his orchestral music, but when they were written they were an essential and highly popular part of his
353:
In early 1911 Coates met and fell in love with an RAM student, Phyllis (Phyl) Marguerite Black (1894–1982), an aspiring actress, who was studying recitation. His affections were reciprocated but her parents were doubtful of Coates's prospects as a husband and provider. Although he continued to
183:
655:
Self sums up the characteristics of Coates's music as "strong melody, foot-tapping rhythm, brilliant counterpoints, and colourful orchestration". Coates derived the effective orchestration of his scores from his rigorous early training, experience in theatre pits of the practicalities of
294:
Quartet, a leading string ensemble; he arranged for Coates to be invited to fill the vacancy. Coates resigned his scholarship at the academy and joined the tour. At about this time he began to be troubled by pain in his left hand and numbness in his right, which were symptoms of the
742:. The suites generally follow a pattern of robust outer movements with a more reflective inner movement. Of the seven stand-alone waltzes, the best known, "By the Sleepy Lagoon" (1930), is described as a "valse-serenade", although over the years it has been rendered as a
673:
for what they were rather than condemning them for what they were not: "better to write second-class masterpieces than fail to be a second
Beethoven". One of Coates's most important musical gifts was the ability to write memorable tunes – "a genuine lyrical impulse" as
581:, asked Coates's publishers if he would be willing to provide a march for the film. The new piece was incorporated in the soundtrack and was a considerable success. In a 2003 study of the music for war films, Stuart Jeffries commented that the closing credits of
459:
What Coates's biographer
Geoffrey Self describes as "a not-too-onerous contract with his publisher" stipulated an annual output of two orchestral pieces – one of fifteen minutes' duration and one of five – and three ballads. Coates was a founder-member of the
171:, supposedly for a single performance; he found the deeper sound of the instrument to his liking and changed permanently from violinist to violist. In that capacity he joined a local string orchestra, for which he wrote his first surviving music, the
80:
While still working as a violist, Coates composed songs and other light musical works. In 1919 he gave up the viola permanently and from then until his death he made his living as a composer and occasional conductor. His prolific output includes the
401:, and continued his musical career. The war brought about a severe reduction in work, and the couple's income received a welcome boost from Phyllis's acting engagements. As her career progressed she appeared with other rising performers including
575:, was published in 1953. The following year one of his last works became one of his best known. A march theme occurred to him, and he wrote it out and scored it with no particular end in view. Within days the producers of a forthcoming film,
139:. His musicality became clear when he was very young, and asked to be taught to play the violin. His first lessons, from age six, were with a local violin teacher, and from thirteen he studied with George Ellenberger, who was once a pupil of
939:
Another reviewer wrote in the same year: "The Dam
Busters March is undeniably a masterpiece of British light music flying high and proud. It is sung on football terraces, particularly when England plays Germany. It echoes repeatedly through
535:(1930), an orchestral piece that made little initial impression, but with an added lyric became a hit song in the US in 1940, and in its original instrumental version became familiar in Britain as the title music of the BBC radio series
249:
ranks him as the foremost player of the viola. He was also regarded as a great teacher, and under his tutelage Coates developed into a first-rate viola player. While still a student he earned money playing in theatre orchestras in the
22:
213:" to suggest that Coates should take composition as his principal study, with the viola as subsidiary. Coates was adamant that his first concern was the viola. Mackenzie's enthusiasm did not extend to offering a
553:
depot where she was a volunteer worker. The result, the march "Calling All
Workers" became one of his best known pieces, benefiting from use as another BBC signature tune, this time for the popular series
702:
Coates's orchestral works are the core of his output, and are the best known. He wrote a few works outside his normal genre – a rhapsody for saxophone and orchestra in 1936 and a "symphonic rhapsody" on
483:, which then maintained substantial orchestras devoted to light music. But it was in the studio that he made the most impact as a composer-conductor. Beginning in 1923 he made records of his music for
805:
Coates always conceived his music in orchestral terms, even when writing for solo voice and piano. Despite his background as a member of three string quartets, he composed little chamber music.
757:
markings and accents. When conducting his music, he tended to set fairly brisk tempi, and disliked it when other conductors took his works at slower speeds that, to his mind, made them drag.
433:(1926). The latter, one of three of Coates's most substantial works, labelled "Phantasies", was inspired by the children's stories that Phyllis Coates read to their son; the others were
707:'s "With a song in my heart" – his only treatment of music by another composer. The most extended of his orchestral works (at just under 20 minutes in length) is the tone poem
464:, and was among the first composers whose main income came from broadcasts and recordings, after the demand for sheet music of popular songs declined in the 1920s and 1930s.
770:
lists 155 songs, beginning with the three Burns settings (1903) that favourably impressed
Mackenzie, and ending with "The Scent of Lilac" (1954) to words by Winifred May.
819:
paper's advice. His biographer
Geoffrey Self suggests that he simply lacked the stamina, the aggressiveness or possibly the inclination to write for the musical theatre.
49:
Coates was born into a musical family, but, despite his wishes and obvious talent, his parents only reluctantly allowed him to pursue a musical career. He studied at the
663:
characterised his music as "fundamentally commonplace … but well written, easy on the ear and lightly sentimental … superficial but sincere". In its obituary notice,
417:
Whether or not Wood had lost patience with Coates as a violist, he regarded him well enough as a composer to invite him to conduct the first performance of his suite
715:. But in the main his orchestral works fall into categories: suites, phantasies, marches and waltzes, plus a stand-alone overture and other short orchestral items.
490:
Although he and his wife maintained a country house in Sussex, Coates found city life more stimulating, and was more productive when at the family's London flat in
299:
that affected him throughout the remaining eleven years of his career as a violist. After working with the Hambourg Quartet, Coates was violist of the Cathie and
197:
Coates wanted to pursue a career as a professional musician; his parents were not in favour of it, but eventually agreed that he could seek admission to the
884:
article (2001) is headed "Coates, Eric "; a later biography, by Michael Payne (2012) records that Coates's birth certificate contains all three given names.
487:, which attracted a substantial following. Among those who bought his records was Elgar, who made a point of buying all Coates's discs as they came out.
425:
in October 1919, and to engage him for repeat performances of the piece in 1920, 1924 and 1925, and for more of his orchestral works including the suite
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1154:
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During the early part of the Second World War, Coates composed little until his wife suggested he might write something for the staff at the
77:. Coates's experience as a player added to the rigorous training he had received at the academy and contributed to his skill as a composer.
2088:
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valued reliability more than virtuosity, and had become exasperated by Coates's frequent absences conducting his compositions elsewhere.
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Coates was a director of the Performing Right Society, which he represented at international conferences after the war in company with
290:
In 1908 Coates's studies at the RAM came to an unexpected end when Tertis had to drop out of a tour of South Africa as a member of the
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Coates's parents originally intended to christen him "Francis Harrison", and changed their minds to add the first name. The
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652:(1926) show this distantly jazz-derived aspect of Coates's music, with chromatic counter-melodies and use of muted brass.
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began with "Stonecracker John" (1909), the first of a succession of highly popular ballads. Wood was the dedicatee of the
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633:
2123:
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world wars, Coates was in demand as a conductor of his own works, appearing in London and seaside resorts such as
120:, Nottinghamshire, the only son, and youngest of five children, of William Harrison Coates (1851–1935), a medical
350:, the last movement of which was encored when he conducted its first performance, at the Proms, in October 1911.
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2093:
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compose, he was concentrating for the time being on playing the viola for his principal income, first with the
202:
2128:
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The few ventures Coates made into drama were for the cinema rather than the theatre. His orchestral phantasy
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390:. This work gave him the necessary financial security to marry Phyllis in February 1913. They had one child,
217:, and Dr Coates had to pay the tuition fees for his son's first year, after which a scholarship was granted.
164:
175:, op. 2, dedicated to Ellenberger. It was completed on 23 October 1904 and performed later that year at the
585:, with the march as a valedictory anthem, would make later composers of such music despair of matching it.
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448:
300:
1871:
The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961
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1962:
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2001:
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On 28 November 1957 Coates made one of his final public appearances at a fund-raising dinner for the
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1971:
711:(1938), derived from an abortive ballet on the theme of the Seven Dwarfs, originally composed for
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828:
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176:
1976:
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978:
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512:. The work transformed Coates's status from moderate prominence to national celebrity when the
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50:
2045:
2037:
1943:
845:
609:
496:
92:
83:
793:; among those whose words he set most often were Weatherly, Phyllis Black (Mrs Coates), and
87:(1932), of which the well-known "Knightsbridge March" is the concluding section; the waltz "
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1994:
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8:
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Alongside his busy playing career, Coates had several early successes as a composer. The
1061:, Manitoba Historical Society. Retrieved 27 September 2018; and Rollins and Witts, p. 30
259:
1446:
965:
840:
790:
786:
343:
239:
917:, Coates's biographer Michael Payne, and Coates in his memoirs, give the year as 1919.
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Another work written at the Baker Street flat that enhanced the composer's fame was
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54:
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took issue with such a dismissal, and preferred the French attitude of cherishing
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in the word-setting. The songs were taken up by other prominent singers including
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Barrie was a pen name used by Rodney Bennett (1890–1948), father of the composer
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As a child, Coates did not go to school, but was educated with his sisters by a
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Blower (1850–1928). It was a musical household: Dr Coates was a capable amateur
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while at the family's Sussex house and died in the Royal West Sussex Hospital,
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738:(the then queen consort), and finally the latter's elder daughter, the future
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Lace, Ian. "John Wilson – Conductor, Arranger, and Eric Coates Archivist",
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148:
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Plaque dedicated to Coates, his wife and son at Golders Green Crematorium
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39:
1948:
1939:
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1930:
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said, "You are the man who writes tunes", and asked him how he did it.
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Coates chose texts by a wide range of authors, including Shakespeare,
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797:. On one occasion he wrote his own words: "A Bird's Lullaby" (1911).
754:
550:
422:
315:
136:
38:(27 August 1886 – 21 December 1957) was an English composer of
844:(1957). As noted above, his most celebrated piece of cinema music, "
182:
951:
747:
480:
296:
117:
858:, he did not wish his music to be subjected to similar treatment.
832:, and he contributed the "Eighth Army March" to the 1941 war film
1952:
307:
243:
called Tertis the first great protagonist of the instrument, and
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95:" (1954). His early compositions were influenced by the music of
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Coates was declared medically unfit for military service in the
1453:
archive, Oxford University Press. Retrieved 29 September 2018.
695:
613:
269:
205:, who was sufficiently impressed by the applicant's setting of
1986:
1686:
Meredith and Harris, fifth page of Chapter 2 in Kindle edition
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Pratt and Grove, p. 246; Jones, Keith and Gordon Goldsborough
21:
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Coates and his music attracted a certain amount of snobbery:
362:
Orchestra. He played under the batons of composers including
322:
wrote that they were "tuneful, somewhat in the manner of Mr.
168:
129:
43:
1407:, BBC Proms performance archive. Retrieved 29 September 2018
1391:, BBC Proms performance archive. Retrieved 29 September 2018
494:. The views from there across the roofscapes prompted his
954:
album. It can be heard, reiterated, during the climax of
698:, commemorating the composition of "By the Sleepy Lagoon"
513:
620:
after four days there, aged 71. He was cremated at the
342:. The composer's many collaborations with the lyricist
718:
Of the thirteen suites, the most often played are the
516:
chose the "Knightsbridge" march from the suite as the
412:
234:
as "a robust and manly ditty, worthy of publication".
1740:, British Film Institute. Retrieved 30 September 2018
814:, conducting his own music, in 1940, the reviewer in
753:
In his orchestral scores Coates was particular about
520:
for its new and prodigiously popular radio programme
1907:
Lionel Tertis: The First Great Virtuoso of the Viola
1868:
541:
which began in 1942 and (in 2023) is still running.
1809:
907:give the year as 1918, but later sources including
167:. At Ellenberger's request, Coates switched to the
1255:Ponder, Michael (1995). Notes to Naxos CD 8.223806
604:, playing dulcimer in the premiere performance of
69:, before joining symphony orchestras conducted by
1888:In Town Tonight: A Centenary Study of Eric Coates
1849:
2060:
861:
358:Symphony Orchestra, and, from 1910, with Wood's
1035:"Coates, Eric (formerly Frank Harrison Coates)"
964:. It is at once rousing and as cosy as an old
2002:
1813:Richard Rodney Bennett: The Complete Musician
237:Coates was fortunate in his viola professor.
179:, with Coates playing in the viola section.
132:and singer, and his wife was a fine pianist.
1416:Kay, Brian (2002). Notes to Chandos CD 9869
1199:McDonald, p. 5; and Rollins and Witts, p. 21
314:, sang Coates's "Four Old English Songs" at
270:Professional violist and composer: 1908–1919
1142:, Vol. 49, No. 779 (9 January 1908), p. 31
2009:
1995:
1955:
1850:Pratt, Waldo Selden; George Grove (1920).
1677:Vol. 21, Issue. 6, (July 1998), pp. 44-49
1442:
1440:
1438:
258:, where he played for several weeks under
1981:International Music Score Library Project
1773:Suite in Four Movements: An Autobiography
1725:, Vol. 129, No. 1745 (July 1988), p. 348
1263:
1261:
1251:
1249:
1247:
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641:Grove's Dictionary of Music and Musicians
544:
246:Grove's Dictionary of Music and Musicians
220:At the RAM Coates studied the viola with
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151:from Ralph Horner, lecturer in music at
20:
1810:Meredith, Anthony; Paul Harris (2010).
1435:
1039:Oxford Dictionary of National Biography
915:Oxford Dictionary of National Biography
881:Oxford Dictionary of National Biography
2061:
1972:Biography at the Robert Farnon Society
1869:Rollins, Cyril; R. John Witts (1962).
1770:
1258:
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1990:
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730:(1944), alluding musically first to
278:The Hambourg Quartet, 1908: l. to r.
2099:Alumni of the Royal Academy of Music
1885:
1654:, reviewed at MusicWeb International
451:, Coates's London home 1930–1936. A
42:and, early in his career, a leading
2089:20th-century English male musicians
1401:"Prom 43, 30 Sep 1922 Queen's Hall"
1379:Coates, p. 194; and McDonald, p. 10
634:List of compositions by Eric Coates
413:Full-time composer: 1920s and 1930s
163:and was a former conductor for the
13:
1509:, BBC. Retrieved 29 September 2018
1405:"Prom 47, 7 Oct 1926 Queen's Hall"
1308:
1290:
1014:
993:
382:, and virtuoso conductors such as
106:
14:
2140:
2119:English male film score composers
1924:
1059:"Ralph Joseph Horner (1848-1926)"
1041:, Oxford University Press, 2004.
310:Olga Wood, wife of the conductor
2079:20th-century classical composers
1909:. Woodbridge, Suffolk: Boydell.
1451:Dictionary of National Biography
1178:, Oxford University Press, 2001
612:. On 17 December, he suffered a
526:, which ran from 1933 to 1960.
124:, and his wife, Mary Jane Gwyn,
2016:
1752:
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1410:
1394:
1382:
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1370:Payne, p. 52; and Coates, p. 75
1364:
1358:, Oxford University Press 2001
1277:
1229:
1202:
1193:
1184:
1164:
1148:
1129:
1116:
1103:
971:
933:
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838:and the "High Flight March" to
810:shows. When he toured with the
571:and others. His autobiography,
500:(1933), with its depictions of
326:", and showed the influence of
2084:20th-century English composers
1094:
1082:
1073:
1064:
1051:
1005:
872:
800:
286:, Orry Corjeac and Eric Coates
143:. Coates also took lessons in
111:
1:
2114:English light music composers
1833:Life and Music of Eric Coates
1274:. Retrieved 29 September 2018
987:
862:Notes, references and sources
812:London Philharmonic Orchestra
685:
678:put it. On first meeting him
455:by the door commemorates him.
318:in 1909; the music critic of
153:University College Nottingham
26:
2109:English film score composers
1853:American Music and Musicians
1582:"Funeral: Mr. Eric Coates",
1457:UK public library membership
1324:, 99, no. 1380 (1958), p. 99
1155:"Obituary: William Primrose"
1045:UK public library membership
893:The obituaries of Coates in
826:was first heard in the film
449:Chiltern Court, Baker Street
36:Eric Francis Harrison Coates
16:English composer (1886–1957)
7:
852:in composing the score for
746:, a slow waltz and a slow
429:(1922) and the premiere of
10:
2145:
2104:English classical violists
1977:Free scores by Eric Coates
1873:. London: Michael Joseph.
1764:
1122:"Royal Academy of Music",
1100:Payne, pp. 17–18 and 19–20
631:
165:D'Oyly Carte Opera Company
2124:Golders Green Crematorium
2024:
1797:. Hong Kong: Marco Polo.
1652:Orchestral Works Volume 2
1544:, 31 January 2003, p. B14
1287:, 21 September 1922, p. 8
1239:, 17 September 1909, p. 9
1126:, 16 December 1908, p. 11
1113:, 13 December 1907, p. 12
1090:Notes to Chandos CD 20036
926:The lyric was written by
726:(1936) and a later work,
622:Golders Green Crematorium
598:Musicians Benevolent Fund
1719:"Coates of Many Colours"
1708:, 20 November 1940, p. 6
1586:, 27 December 1957, p. 8
1305:, 23 December 1957, p. 8
1226:, 23 December 1957, p. 8
1136:"Royal Academy of Music"
866:
760:
627:
462:Performing Right Society
155:, who had studied under
1886:Self, Geoffrey (1986).
1856:. New York: Macmillan.
1831:Payne, Michael (2016).
1727:(subscription required)
1706:The Manchester Guardian
1538:"Listen with prejudice"
1478:McDonald, pp. 13 and 20
1360:(subscription required)
1303:The Manchester Guardian
1180:(subscription required)
1144:(subscription required)
1088:Bratby, Richard (2019)
900:The Manchester Guardian
829:A Symphony in Two Flats
816:The Manchester Guardian
676:The Manchester Guardian
666:The Manchester Guardian
573:Suite in Four Movements
203:Sir Alexander Mackenzie
177:Albert Hall, Nottingham
61:(viola), and played in
1790:McDonald, Tim (1993).
1771:Coates, Eric (1986) .
979:Richard Rodney Bennett
699:
593:
545:Later years: 1940–1957
467:Between the First and
456:
287:
199:Royal Academy of Music
194:
51:Royal Academy of Music
32:
2094:20th-century violists
2046:The Dam Busters March
1905:White, John (2012) .
1835:. London: Routledge.
1507:"Desert Island Discs"
846:The Dam Busters March
693:
591:
447:
277:
224:and composition with
186:Coates's professors:
185:
93:The Dam Busters March
24:
2129:People from Hucknall
2030:By the Sleepy Lagoon
1794:Notes to CD 8.223455
1432:Payne, pp. 46 and 56
728:The Three Elizabeths
709:The Enchanted Garden
557:Music While You Work
532:By the Sleepy Lagoon
264:Gilbert and Sullivan
122:general practitioner
89:By the Sleepy Lagoon
1816:. London: Omnibus.
1717:Banfield, Stephen.
1564:, 6 May 2003, p. A6
1505:Payne, p. 159; and
1161:, 4 May 1982, p. 31
736:Elizabeth of Glamis
538:Desert Island Discs
116:Coates was born in
1890:. London: Thames.
1775:. London: Thames.
1704:"Palace Theatre",
1536:Jeffries, Stuart.
1356:Grove Music Online
1222:"Mr Eric Coates",
1176:Grove Music Online
1159:The New York Times
791:Arthur Conan Doyle
787:Christina Rossetti
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421:at a Queen's Hall
344:Frederic Weatherly
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1842:978-1-138-27149-4
1823:978-0-85712-588-0
1782:978-0-905210-38-4
1723:The Musical Times
1554:Glancey, Jonathan
1455:(subscription or
1322:The Musical Times
1272:Boosey and Hawkes
1140:The Musical Times
1070:Coates, pp. 39–40
1043:(subscription or
905:The Musical Times
646:The Selfish Giant
435:The Selfish Giant
423:Promenade concert
384:Willem Mengelberg
231:The Musical Times
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394:, born in 1922.
266:season in 1907.
260:François Cellier
254:, including the
226:Frederick Corder
192:Frederick Corder
118:Hucknall Torkard
55:Frederick Corder
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705:Richard Rodgers
694:Blue plaque at
688:
650:The Three Bears
636:
630:
583:The Dam Busters
578:The Dam Busters
547:
523:In Town Tonight
431:The Three Bears
415:
399:First World War
376:Richard Strauss
348:Miniature Suite
328:Arthur Sullivan
272:
211:A Red, Red Rose
157:Ignaz Moscheles
114:
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107:Life and career
97:Arthur Sullivan
91:" (1930); and "
63:string quartets
29:
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565:William Walton
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388:Arthur Nikisch
284:Boris Hambourg
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1600:
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1561:
1558:"Bombs away"
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1527:Payne, p. 17
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1109:"Concerts",
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1002:Payne, p. 11
973:
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956:George Lucas
946:, a song on
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600:held at the
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149:counterpoint
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84:London Suite
82:
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65:and theatre
48:
35:
34:
18:
2074:1957 deaths
2069:1886 births
2018:Eric Coates
1967:MusicBrainz
1963:Eric Coates
1949:Eric Coates
1940:Eric Coates
1931:Eric Coates
1758:Self, p. 93
1595:Self, p. 87
1011:Payne, p. 9
841:High Flight
801:Other music
732:Elizabeth I
648:(1925) and
602:Savoy Hotel
506:Westminster
477:Scarborough
473:Bournemouth
453:blue plaque
437:(1925) and
419:Summer Days
403:Noël Coward
336:Carrie Tubb
215:scholarship
112:Early years
40:light music
30: 1925
2063:Categories
988:References
948:Pink Floyd
824:Cinderella
686:Orchestral
632:See also:
618:Chichester
439:Cinderella
312:Henry Wood
303:quartets.
75:Henry Wood
1879:504581419
1803:761492527
1584:The Times
1459:required)
1422:754451222
1285:The Times
1237:The Times
1235:"Music",
1224:The Times
1124:The Times
1111:The Times
1047:required)
961:Star Wars
895:The Times
755:metronome
661:The Times
551:Red Cross
320:The Times
316:the Proms
137:governess
67:pit bands
1944:AllMusic
1862:86049167
966:labrador
952:The Wall
835:Nine Men
780:Broadway
776:West End
766:output.
748:fox-trot
722:(1932),
485:Columbia
481:Hastings
441:(1930).
297:neuritis
292:Hambourg
252:West End
130:flautist
25:Coates,
1983:(IMSLP)
1979:at the
1953:Discogs
1765:Sources
1675:Fanfare
782:shows.
744:beguine
734:, then
380:Debussy
356:Beecham
308:soprano
145:harmony
44:violist
2049:(1942)
2041:(1932)
2033:(1930)
1913:
1894:
1877:
1860:
1839:
1820:
1801:
1779:
1420:
913:, the
696:Selsey
614:stroke
469:Second
392:Austin
368:Delius
301:Walenn
173:Ballad
53:under
910:Grove
867:Notes
807:Grove
768:Grove
761:Songs
628:Music
372:Holst
364:Elgar
262:in a
256:Savoy
209:'s "
207:Burns
169:viola
1935:IMDb
1911:ISBN
1892:ISBN
1875:OCLC
1858:OCLC
1837:ISBN
1818:ISBN
1799:OCLC
1777:ISBN
1418:OCLC
1403:and
903:and
778:and
508:and
479:and
386:and
338:and
282:and
190:and
159:and
147:and
99:and
73:and
1942:at
1933:at
958:'s
950:'s
638:In
608:'s
514:BBC
280:Jan
126:née
2065::
1721:,
1560:,
1540:,
1449:,
1437:^
1354:,
1329:^
1320:,
1310:^
1292:^
1270:,
1260:^
1244:^
1213:^
1174:,
1157:,
1138:,
1037:,
1016:^
995:^
968:."
897:,
789:,
750:.
624:.
567:,
504:,
475:,
405:.
378:,
374:,
370:,
366:,
334:,
46:.
27:c.
2010:e
2003:t
1996:v
1919:.
1900:.
1881:.
1864:.
1845:.
1826:.
1805:.
1785:.
1556:.
981:.
930:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
