355:, "Every three or four minutes some fascinating young female fell into the fountain and had to be rescued by a chivalrous swain. It must have happened thirty-five times every night. Foreigners came from all parts of Europe to see it". At the top of the building, adjoining the conservatory, was the Queen's Small Hall, seating 500, for recitals, chamber-music concerts and other small-scale presentations. In July 1894, Bernard Shaw described it as "cigar-shaped with windows in the ceiling, and reminiscent of a ship's saloon … now much the most comfortable of our small concert rooms". The hall provided modern facilities, open frontage for carriages and parking room, a press room, public spaces and bars.
278:. Between then and the building of the hall, the site was first sublet to a coachmaker and stablekeeper, and in 1851 a bazaar occupied the site. In 1887, the leaseholder, Francis Ravenscroft, negotiated a building agreement with the Crown, providing for the clearing of the site and the erection of a new concert hall. The name of the new building was intended to be either the "Victoria Concert Hall" or the "Queen's Concert Hall". The name finally chosen, the "Queen's Hall", was decided very shortly before the hall opened. The historian Robert Elkin speculates that the alternative "Victoria Concert Hall" was abandoned as liable to confusion with the "Royal Victoria Music Hall", the formal name of the
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took over as manager of the orchestra and the concerts, but at this crucial point
Chappells withdrew financial support for the Proms. After lengthy negotiations, the BBC took over from Chappells in 1927 as sponsor. The Proms were saved, and the hall continued to play host to celebrity concerts throughout the rest of the 1920s and the '30s, some promoted by the BBC, and others as hitherto by a range of choral societies, impresarios and orchestras. As Chappells owned the title "New Queen's Hall Orchestra", the resident orchestra had to change its name once again and was now known as Sir Henry J. Wood's Symphony Orchestra.
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to play at your concert. He sends B (whom you don't mind) to the first rehearsal. B, without your knowledge or consent, sends C to the second rehearsal. Not being able to play at the concert, C sends D, whom you would have paid five shillings to stay away". The members of the Queen's Hall
Orchestra were not highly paid; Wood recalled in his memoirs, "the rank and file of the orchestra received only 45s a week for six Promenade concerts and three rehearsals, a guinea for one Symphony concert and rehearsal, and half-a-guinea for Sunday afternoon or evening concerts
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1068:, and audiences often stayed in the hall until early morning, with musical entertainments continuing after the concerts had finished. The season was curtailed after four weeks, when intense bombing forced the Queen's Hall to close. The last Prom given at the Queen's Hall was on 7 September 1940. On 8 December doors and windows of the hall were blown out by blast. After temporary repairs, concerts were continued; after further damage on 6 April 1941 repairs were again quickly made, and the hall re-opened within days.
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321:, Knightley designed a hall with a floor area of 21,000 square feet (2,000 m²) and an audience capacity of 2,500. Contemporary newspapers commented on the unusual elevation of the building, with the grand tier at street level, and the stalls and arena downstairs. The exterior carving was by Sidney W. Elmes and Son, and the furnishing was by Lapworth Brothers and Harrison. The lighting was a combination of gas and electricity.
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953:, gave two concerts at the Queen's Hall. These, and later concerts by the same orchestra in 1928 and 1929, made obvious the comparatively poor standards of London orchestras. Both the BBC and Sir Thomas Beecham had ambitions to bring London's orchestral standards up to those of Berlin. After an early attempt at co-operation between the BBC and Beecham, they went their separate ways; the BBC established the
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careers of promising artists, and if they were successful at the Proms they would, after two seasons, be given contracts for the main concert series, billed as the
Symphony Concerts. The Proms had to be run on the tightest of budgets, but for the Symphony Concert series Newman was willing to pay large fees to attract the most famous musicians. Soloists included
922:(BBC). He decreed that no artist who had worked for the BBC would be allowed to perform at the Queen's Hall. This put performers in a dilemma; they wished to appear on the air without forfeiting the right to appear at Britain's most important musical venue. The hall became temporarily unable to attract many of the finest performers of the day.
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leave the country and seek refuge in the U.S., and there was a campaign to ban all German music from concerts. Newman put out a statement declaring that German music would be played as planned: "The greatest examples of Music and Art are world possessions and unassailable even by the prejudices and passions of the hour".
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anxiously up at the roof, though still wielding his baton. ... After the concert no one was allowed to leave the Hall. ... One of the orchestra nobly returned to the platform and struck up a waltz. We were soon dancing over the floor and really enjoying the experience. We were not released till about 1 a.m".
810:, a banker of German origin. Speyer put up the necessary funds, encouraged Newman and Wood to continue with their project of musical education, and underwrote the Proms and the main Symphony Concert seasons. Newman remained manager of the hall until 1906 and manager of the concerts until he died in 1926.
1007:, the audience went wild, some of them standing on their seats to clap and shout. During the next eight years, the orchestra appeared nearly a hundred times at the Queen's Hall. There was no role for the old resident orchestra, many of whose members had been engaged by the BBC, and in 1930 it disbanded.
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here was a crash, and then a cracking sound, and a shower of plaster began to fall from the roof of the
Promenade, which was packed. There was a bit of a rush from the centre of the hall for a moment. One or two of the orchestra disappeared from their seats. Even Sir Henry Wood himself glanced rather
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When Speyer left
Britain in 1915, Chappell's took on financial responsibility for the Queen's Hall concerts. The resident orchestra was renamed the New Queen's Hall Orchestra. Concerts continued throughout the war years, with fewer major new works than before, although there were nevertheless British
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On the outbreak of the First World War in 1914, Newman, Wood and Speyer were obliged to consider the immediate future of concert-giving at the Queen's Hall. They discussed whether the Proms should continue as planned, and agreed to go ahead. However, within months anti-German feeling forced Speyer to
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Newman's determination to make the promenade concerts attractive to everyone led him to permit smoking during concerts, which was not formally prohibited at the Proms until 1971. Refreshments were available in all parts of the hall throughout the concerts, not only during intervals. Prices were about
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to places thought less at risk of bombing. Its musical department, including the BBC Symphony
Orchestra, moved to Bristol. The BBC withdrew not only the players, but financial support from the Proms. Wood determined that the 1940 season would nevertheless go ahead. The Royal Philharmonic Society and
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The standard of orchestral playing in London was adversely affected by the deputy system, in which orchestral players, if offered a better-paid engagement, could send a substitute to a rehearsal or a concert. The treasurer of the Royal
Philharmonic Society described it thus: "A, whom you want, signs
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Despite all these various activities, in the public mind the Queen's Hall quickly became chiefly associated with the promenade concerts. Newman was careful to balance "the Proms", as they became known, with more prestigious and expensive concerts throughout the rest of the year. He would foster the
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Everybody who heard concerts in that hall speaks, or spoke, warmly of its acoustics and atmosphere … by all accounts it was perfect. It should have been rebuilt after the war: there were plans, committees, even the start of a fundraising campaign. But it wasn't, and since then London has not had a
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said, "In the placing of the seats apparently no account whatever is taken even of the average length of lower limbs, and it appeared to be the understanding … that legs were to be left in the cloak room. At twopence apiece this would be expensive, and there might be difficulties afterwards if the
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seating, large red lampshades suspended just above the orchestra's heads, mirrors surrounding the arena, and portraits of the leading composers to the sides of the platform. The paintwork was intended to be the colour of "the belly of a London mouse", and
Knightley is said to have kept a string of
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with Sir Adrian Boult among its members, to examine the practicability of rebuilding the hall. The committee reported that "on musical grounds and in the interest of the general cultural life of the community" it was desirable to replace the hall, but it was doubtful whether there was a potential
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In the middle of the impasse Newman's health failed, and he died in
November 1926 after a brief illness. Wood wrote, "I feared everything would come to a standstill, for I had never so much as engaged an extra player without having discussed it with him first". Newman's assistant, W. W. Thompson,
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higher than that used on the continent, and
Cathcart regarded it as damaging for singers' voices. Wood, who was a singing teacher as well as a conductor, agreed. The brass and woodwind players of the Queen's Hall Orchestra were unwilling to buy new low-pitched instruments; Cathcart imported a set
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symphonies, normally restricted to the more expensive concerts presented by the Philharmonic Society and others. Newman aimed to do the same: "I am going to run nightly concerts and train the public by easy stages. Popular at first, gradually raising the standard until I have created a public for
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At the time, and subsequently, the hall was celebrated for its superb acoustics, unmatched by any other large hall in London. Soon after its opening, Shaw praised it as "a happy success acoustically". Knightley followed the example of earlier buildings noted for fine acoustics; the walls of the
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hit the Queen's Hall, and the auditorium was completely gutted by fire beyond any hope of replacement. The building was a smouldering ruin in heaps of rubble; the London Philharmonic lost thousands of pounds' worth of instruments. All that remained intact on the site was a bronze bust of Wood
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engagements at better pay by other managements, many of the players took full advantage of the deputy system. Newman determined to put an end to it. After a rehearsal in which Wood was faced with a sea of entirely unfamiliar faces in his own orchestra, Newman came on the platform to announce:
1230:. The Queen's Hall is burnt down (incidentally its acoustics were not particularly good: there is nothing like getting burnt down as a way to get a good posthumous reputation for acoustics), but has been replaced by the Royal Festival Hall, which seats 50% more than the Queen's Hall did".
199:. These two ensembles raised the standards of orchestral playing in London to new heights, and the hall's resident orchestra, founded in 1893, was eclipsed and it disbanded in 1930. The new orchestras attracted another generation of musicians from Europe and the United States, including
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in the U.S, for example, Naxos CDs of Beethoven symphonies (OCLC 156089616) recorded in the Queen's Hall in 1937 and 1939. There are also recordings of Boult and the BBC Symphony Orchestra in Elgar's music recorded at the Queen's Hall, an off-air transcription of a 1936 Prom featuring
424:. Knightley had built a royal box in the grand circle, but Prince Alfred told Newman, "my brother would never sit in that", and Newman had it demolished. The royal party was seated in armchairs in the front of the stalls (pictured right). The programme consisted of orchestral works by
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It was reported in late 1946 that the Commissioners of Crown Lands had increased the site's ground rent from £850 to £8,000, setting back the possibility of re-building the hall, or of building a new Henry Wood Concert Hall. In 1954 the government set up a committee, chaired by
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cloak room sorting arrangements were not perfect". Chappells promised to rearrange the seats to give more room and did so within the year; the seating capacity of the hall was reduced to 2,400. War intervened before the question of refurbishing the decor could be addressed.
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commented, "The boast of the B.B.C. that it intended to get together a first-class orchestra was not an idle one", and spoke of "exhilaration" at the playing. The London Philharmonic made its debut on 7 October 1932, conducted by Beecham. After the first item, Berlioz's
587:, but the rest of the programme comprised, in the words of a historian of the Proms, David Cox, "for the most part ... blatant trivialities". Newman and Wood gradually tilted the balance from light music to mainstream classical works; within days of the opening concert,
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auditorium were lined with wood, fixed clear of the walls on thick battens, and coarse canvas was stretched over the wood and then sealed and decorated. He calculated that the unbroken surface and the wooden lining would be "like the body of the violin – resonant".
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were ever threatening. But kept things on the go and in the end had a very real part to play in boosting morale". The hall was hit by German air raids, but escaped with only minor damage. A member of Wood's choir later recalled a hit in the middle of a concert:
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The Queen's Hall first opened its doors on 25 November 1893. Newman gave a children's party in the afternoon, and in the evening 2,000 invited guests attended what Elkin describes as "a sort of private view", with popular selections played by the
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dead mice in the paint shop in order to ensure the correct tone. The arena had moveable seating on a "brownish carpet that blended with the dull fawnish colour of the walls". The arched ceiling had an elaborate painting of the
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and Debussy. An historian of the Proms, Ateş Orga, wrote: "Concerts often had to be re-timed to coincide with the 'All Clear' between air raids. Falling bombs, shrapnel, anti-aircraft fire and the droning of
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demand that would enable it to run without "seriously subtracting from the audiences of subsidised halls already in existence". From 1982, London had a second hall large enough for symphony concerts, in the
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to Arthur Sullivan. Sullivan's concerts in the 1870s had been particularly successful because he offered his audiences something more than the usual light music. He introduced major classical works, such as
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one fifth of those customarily charged for classical concerts: the promenade (the standing area) was one shilling, the balcony two shillings, and the grand circle (reserved seats) three and five shillings.
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was unveiled near the Elwes bust. Another memorial tablet was placed in memory of Robert Newman. These were all destroyed in the bombing. The bust of Wood that survived the destruction of the hall was by
538:, with low-priced tickets to attract a wider audience than that of the main season. Costs needed to be kept down, and Newman decided not to engage a star conductor, but invited the young and little known
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With orchestral standards now of unprecedented excellence, eminent musicians from Europe and the U.S. were eager to perform at the Queen's Hall. Among the guest conductors at the hall in the 1930s were
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After the war, the Queen's Hall operated for a few years much as it had done before 1914, except for what Wood called "a somewhat disagreeable blue-green" new decor. New performers appeared, including
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In 1901 Newman became the lessee of the hall as well as its manager, but the following year, after unwise investment in theatrical presentations, he was declared bankrupt. The music publisher
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specialist, offered to sponsor it on two conditions: that Wood should conduct every concert, and that the pitch of the orchestral instruments should be lowered to the European standard
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To fill the hall during the heat of the late-summer period, when London audiences tended to stay away from theatres and concert halls, Newman planned to run a ten-week season of
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Both orchestras made their debuts with concerts at the Queen's Hall. The BBC orchestra gave its first concert on 22 October 1930, conducted by Boult in a programme of music by
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from Belgium and lent them to the players. After a season, the players recognised that the low pitch would be permanently adopted, and they bought the instruments from him.
643:. Newman and Wood soon felt able to devote every Monday night of the season principally to Wagner and every Friday night to Beethoven, a pattern that endured for decades.
230:. Despite much lobbying for the hall to be rebuilt, the government decided against doing so. The main musical functions of the Queen's Hall were taken over by the
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commented that the building resembled a violin in construction and shape, and also that "the ground plan of the orchestra was founded on the bell of a horn".
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remarked on "the attenuated Cupids who encircle the ceiling of the Queen's Hall, inclining each to each with vapid gesture, and clad in sallow pantaloons".
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a private entrepreneur, Keith Douglas, agreed to back an eight-week season, and the London Symphony Orchestra was engaged. The concerts continued through
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Although Wood did not generally use the term it became common currency even in the more formal newspapers. Even Wood used the term when referring to the
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soloist, and a concert agent. The rest of his career was associated with the Queen's Hall, and the names of the hall and the manager became synonymous.
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The other items in the miscellany of the second half were Handel's "Sweet Bird" (Albani), Cowen's "Absence" and "Parted Presence" (Hoare) and Gounod's
846:. Newman did not attempt to bar the new orchestra from the Queen's Hall, and its first concert was given there on 9 June 1904, conducted by Richter.
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1226:, P.H. Parkin disputed the hall's reputation for superb sound: "Before the war the main halls were the Royal Albert Hall, the Queen's Hall, and the
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took over the lease of the building, retaining Newman as manager. The Queen's Hall orchestra and concerts were rescued by the musical benefactor
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and Ronald Stear, with the London Philharmonic and the Royal Choral Society. This concert, the last given at the hall, comprised in the view of
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as part of the celebration of Wood's fifty years as a conductor. Its site was at the back of the Promenade floor. It is now on display at the
156:, it had room for an audience of about 2,500 people. It became London's principal concert venue. From 1895 until 1941, it was the home of the
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By the 20th century the Queen's Hall was regarded not only as "London's premier concert-hall" but as "the acknowledged musical centre of the
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and religious services. On 14 January 1896, the UK's first public film show was presented at the Queen's Hall to members and wives of the
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Ravenscroft commissioned the architect Thomas Edward Knightley to design the new hall. Using a floor plan previously prepared by
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persuaded him to instigate variety performances in the Queen's Small Hall from 16 January 1899. These shows were well received;
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to conduct the whole season. There had been various seasons of promenade concerts in London since 1838, under conductors from
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and further excerpts from Wagner operas were performed. Among the other symphonies presented during the first season were
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In the centre of the arena there was a fountain containing pebbles, goldfish and waterlilies. According to the conductor
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Many events at the Queen's Hall were not presented by Newman. The hall was frequently let to organisations such as the
508:, which was so well received that it was repeated, by popular acclaim, at the next concert. During the 1894–95 season,
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commented that Chevalier's "vogue with the cultured classes is as great and as permanent as with his former patrons".
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168:. The hall had drab decor and cramped seating but superb acoustics. It became known as the "musical centre of the
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and other venues. The Proms were relocated to the Albert Hall, which remains their principal venue. In 1951, the
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Sir Henry Wood's Queen's Hall Orchestra, rehearsing for the first Promenade Concert of the 1927 Season, from the
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was opened and succeeded the Queen's Hall as the main London venue for symphony concerts other than the Proms.
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Toscanini made a series of commercial recordings with the BBC Symphony Orchestra from 1937 to 1939, issued by
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In the first years of the hall, Newman twice stood in as bass soloist in emergencies and was well received.
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From the autumn of 1894, the hall was adopted as the venue for the annual winter season of concerts of the
498:, which had formerly been held at St James's Hall. At the first Philharmonic concert at the Queen's Hall,
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was placed in a special alcove at the back of the grand circle. In 1935 a memorial tablet to the pianist
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679:. The hall was used for a wide range of other activities, including balls, military band concerts under
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Philosophical Transactions of the Royal Society of London. Series A, Mathematical and Physical Sciences
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From 1922 to 1927 the BBC was a company, after which it was reconstituted by Royal Charter as the
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On the afternoon of 10 May 1941, there was an Elgar concert at the hall. Sargent conducted the
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On 10 August 1895, the first of the Queen's Hall Promenade Concerts took place. It opened with
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Newman needed to find financial backing for his first season. Dr George Cathcart, a wealthy
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conducted performances of their works. The Society remained at the Queen's Hall until 1941.
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The site is now marked by a commemorative plaque, which was unveiled in November 2000, by
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1884:, December 1912 pp. 804–07; "The Promenade Concerts – Successful Opening of the Season",
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Elkin gives a figure of 3,000, but this includes the platform seating for the performers.
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627:. During the season there were 23 novelties, including the London premieres of pieces by
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for more than 40 years. For Ravenscroft, he had previously designed Bank Chambers in
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1035:. Some recordings made in the hall during this period have been reissued on CD.
1738:"Five Ways to Compute the Relative Value of a UK Pound Amount, 1830 to Present"
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The new hall was to provide a much-needed music venue in the centre of London.
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In the 1930s, the hall became the main London base of two new orchestras, the
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in September 1939, the BBC immediately put into effect its contingency plans
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as soloists. In the second part of the programme there was a performance of
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The former site of the Queen's Hall was redeveloped by the freeholder, the
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in his capacity as a music critic commented on "the old unvaried round of
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This article is about the concert venue in London. For other uses, see
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Shaw's Music – The Complete Music Criticism of Bernard Shaw, Volume 3
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for this; Herbert Morrison was determined that his pet project, the
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The site on which the hall was built was bounded by the present-day
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commented on its "virtuosity" and of Boult's "superb" conducting.
416:) was both patron and leader. The performance was attended by the
1888:, 12 August 1918, p. 9; and Newman, Ernest, "The Week in Music",
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as manager. Newman had already had three different careers, as a
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The Queen's Hall had contained few memorials. In 1922 a bust by
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symphonic concert hall that comes remotely close to perfection.
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retrieved from the debris. Concerts continued in London at the
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and a choir of 300 voices assembled at short notice by Newman;
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Thomas Edward Knightley (1824–1905) was District Surveyor for
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Newman continued to be interested in new entertainments. The
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conducted the first performance in England of Tchaikovsky's
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The official opening of the hall took place on 2 December.
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The original decor consisted of grey and terracotta walls,
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Former buildings and structures in the City of Westminster
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at New Queen's Hall Orchestra official website (archived)
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given by the Royal Amateur Orchestral Society, of which
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Former concert hall in Langham Place, London (1893-1941)
988:. The reviews of the new orchestra were enthusiastic.
2205:, Vol. 71, No. 1054 (1 December 1930), pp. 1124–1127
2371:"No New Queen's Hall – Plan Rejected by Committee",
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152:, London, opened in 1893. Designed by the architect
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Knightley's plan for the platform level of the hall
1949:Wood, pp. 228, 250, 198, 96, 159, 272, 163 and 142
1327:and Bernard Shore, Wood conducting (OCLC 34323364)
368:Shortly before the opening, Ravenscroft appointed
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1558:"Acoustics of Concert and Multi-Purpose Halls"
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2314:"Royal Choral Society – An Elgar Programme",
2185:"B.B.C. Symphony Orchestra Opening Concert",
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707:. This was an improved version of the early
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1876:"Covent Garden Opera – Le Lac des Cygnes",
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1443:
1441:
1439:
1437:
1435:
1433:
477:followed, with Albani, Margaret Hoare and
2627:Thomas Beecham – An Independent Biography
2531:
2345:Dannatt, George. Concerts in London. In:
1931:Wood, pp. 184, 182, 100, 130, 171 and 108
1880:, 28 July 1912, p. 7; "London Concerts",
1845:, EarlyCinema.com. Retrieved 21 June 2007
1740:, MeasuringWorth. Retrieved 4 August 2011
309:", and warmly welcomed the new building.
2569:
2550:
2534:Sir Thomas Beecham – A Centenary Tribute
2385:
2383:
2381:
1520:1910, Chapter 5. Retrieved 7 August 2011
1070:
1042:
924:
867:
812:
650:
569:. Concert pitch in England was nearly a
523:
387:
323:
245:
2641:
1958:Cox, pp. 42–43, and Elkin (1944), p. 29
1895:
1743:
1430:
619:. The concertos included Mendelssohn's
2733:
2512:
2274:
2272:
2069:
2067:
2065:
2037:
2035:
1997:
1995:
1909:
1907:
1505:Elkin (1946), p. 89 and (1944), p. 18.
646:
2607:
2593:. Newton Abbot: David & Charles.
2495:
2478:
2378:
1730:
1501:
1499:
1489:
1487:
1477:
1475:
1465:
1463:
1461:
1423:
1421:
1374:Morrison blames the cabinet minister
797:
519:
266:. In 1820 the land was bought by the
42:Queen's Hall from Langham Place, 1912
2658:
2624:
2588:
2442:
842:and formed their own orchestra, the
491:, with Frederick Dawson as soloist.
2459:
2398:"Queen's Hall Site Tower Planned",
2269:
2062:
2032:
1992:
1904:
1824:Elkin (1944), pp. 52, 57, 62 and 64
1038:
13:
2411:City of Westminster green plaques
1496:
1484:
1472:
1458:
1418:
14:
2782:
2761:1941 disestablishments in England
2676:
2515:Henry J. Wood: Maker of the Proms
2257:Morrison, p. 74 and Boult, p. 102
2172:"Wireless Notes and Programmes",
1117:were seriously damaged. A single
2536:. London: Macdonald and Jane's.
2405:
2392:
2365:
2352:
1664:Elkin (1946), pp. 88–89 and 180.
1368:
1294:British Broadcasting Corporation
238:for the general concert season.
36:
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2321:
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2112:
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2094:
2085:
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2053:
2044:
2013:
2004:
1983:
1974:
1961:
1952:
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1934:
1925:
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1857:
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1264:
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1242:
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1216:
444:, and solos from the violinist
312:
2766:Music venues completed in 1893
2756:1893 establishments in England
2741:Former concert halls in London
2551:Laurence, Dan H., ed. (1989).
1409:
1400:
1207:
1190:
496:Philharmonic Society of London
383:
1:
2693:NQHO and Queen's Hall history
1393:
1179:Notes, references and sources
1075:The Queen's Hall green plaque
967:London Philharmonic Orchestra
961:, and Beecham, together with
947:Berlin Philharmonic Orchestra
940:
683:, lectures, public meetings,
552:classical and modern music".
399:Band of the Coldstream Guards
241:
197:London Philharmonic Orchestra
18:Queen's Hall (disambiguation)
1863:"Mr. Chevalier's Recitals",
1150:. It is now occupied by the
920:British Broadcasting Company
864:First World War and post-war
824:at the Queen's Hall in 1911.
750:and, most expensive of all,
7:
2751:Charles J. Phipps buildings
2663:. London: Victor Gollancz.
2629:. London: Victor Gollancz.
2574:. London: Faber and Faber.
2555:. London: The Bodley Head.
2358:"Rebuilding Queen's Hall",
1806:Cox, p. 35; and Orga, p. 61
1386:("an acoustical calamity").
1158:wrote of the Queen's Hall:
699:and Fellow of the society,
404:On 27 November there was a
234:for the Proms, and the new
10:
2787:
2570:Morrison, Richard (2004).
2436:
693:Royal Photographic Society
270:during the development of
15:
2447:. London: Leslie Frewin.
2347:Penguin Music Magazine, I
2109:Wood, pp.309, 311 and 317
1833:Elkin (1944), pp. 119–125
1618:Elkin (1944), pp. 99–100.
1171:, chief conductor of the
844:London Symphony Orchestra
822:London Symphony Orchestra
659:at the Queen's Small Hall
160:("The Proms") founded by
132:
127:
117:
109:
101:
93:
82:
74:
66:
56:
51:
47:
35:
30:
2642:Russell, Thomas (1945).
2608:Pound, Reginald (1959).
2532:Jefferson, Alan (1979).
2362:, 20 October 1954, p. 10
2189:, 23 October 1930, p. 12
2176:, 22 October 1930, p. 12
2010:Elkin (1944), rear cover
1640:, 4 December 1893, p. 10
1627:Elkin (1944), pp. 21–22.
1455:, 23 November 1913, p. 6
1222:In a 1972 paper for the
1183:
2659:Wood, Henry J. (1938).
2513:Jacobs, Arthur (1994).
2481:Queen's Hall, 1893–1941
2207:(subscription required)
2174:The Manchester Guardian
2028:(subscription required)
1890:The Manchester Guardian
1682:Elkin (1944), pp. 25–26
1655:, 3 December 1893, p. 6
1566:(subscription required)
1547:Elkin (1944), pp. 16–19
1415:Elkin (1944), pp. 13–15
1272:Last Night of the Proms
1055:On the outbreak of the
1004:Roman Carnival Overture
883:premieres of pieces by
705:Arthur Melbourne-Cooper
128:Design and construction
2646:. London: Hutchinson.
2625:Reid, Charles (1961).
2496:Elkin, Robert (1946).
2479:Elkin, Robert (1944).
1967:Levien, John Mewburn,
1736:Williamson, Samuel H.
1359:Royal Academy of Music
1353:, unveiled in 1938 by
1173:BBC Symphony Orchestra
1165:
1088:The Dream of Gerontius
1076:
1052:
955:BBC Symphony Orchestra
949:, under its conductor
933:
904:
875:
825:
754:. Conductors included
660:
531:
450:David Ffrangcon-Davies
393:
332:
251:
193:BBC Symphony Orchestra
148:was a concert hall in
2443:Ayre, Leslie (1966).
1892:, 2 August 1923, p. 5
1160:
1074:
1046:
928:
899:
871:
816:
752:Ignacy Jan Paderewski
703:, and his colleague,
673:London Choral Society
654:
544:Louis Antoine Jullien
527:
392:Royal concert in 1893
391:
327:
264:Great Portland Street
249:
2717:51.51806°N 0.14250°W
2462:The Henry Wood Proms
2402:, 30 June 1959, p. 5
2305:Elkin (1944), p. 128
2145:Elkin (1944), p. 126
1940:Wood, pp. 160 and 63
1867:, 7 March 1899, p. 3
1843:Birt Acres biography
1636:"The Queen's Hall",
1493:Elkin (1944), p. 18.
1449:"The Queen's Hall",
1320:Sinfonia Concertante
1091:. The soloists were
833:rehearsal". Offered
695:by the maker of the
677:Royal Choral Society
669:Philharmonic Society
561:ear, nose and throat
457:Frederic Hymen Cowen
222:In 1941, during the
2713: /
2644:Philharmonic Decade
2612:. London: Cassell.
2589:Orga, Ateş (1974).
2572:Orchestra – The LSO
2517:. London: Methuen.
2460:Cox, David (1980).
2375:, 28 May 1955, p. 4
2336:Elkin (1944), p. 20
2327:Pound, pp. 271–273.
2318:, 12 May 1941, p. 8
2287:Pound, pp. 241–268.
2278:Morrison, pp. 89–90
2127:Jacobs, pp. 208–209
2091:Elkin (1944), p. 32
2073:Elkin (1944), p. 33
1854:Elkin (1944), p. 23
1752:Elkin (1944), p. 25
1691:Elkin (1944), p. 26
1609:Elkin (1944), p. 21
1576:Elkin (1944), p. 24
1529:Elkin (1944), p. 28
1481:Elkin (1944), p. 16
1427:Elkin (1944), p. 15
1406:Elkin (1944), p. 14
1380:Royal Festival Hall
1152:Saint Georges Hotel
1128:Royal Festival Hall
951:Wilhelm Furtwängler
647:Other presentations
593:Unfinished Symphony
514:Camille Saint-Saëns
505:Pathétique Symphony
500:Alexander Mackenzie
412:(the second son of
260:Riding House Street
236:Royal Festival Hall
75:Architectural style
52:General information
2722:51.51806; -0.14250
2498:Royal Philharmonic
2041:Elkin (1944), p.19
2020:"Occasional Notes"
1355:Sir Walford Davies
1315:Elisabeth Schumann
1306:His Master's Voice
1077:
1053:
1013:Serge Koussevitzky
934:
931:BBC Hand Book 1928
876:
826:
798:Early 20th century
661:
536:promenade concerts
532:
520:Promenade concerts
394:
353:Sir Thomas Beecham
333:
252:
201:Serge Koussevitzky
158:promenade concerts
2543:978-0-354-04205-5
2500:. London: Rider.
2483:. London: Rider.
2203:The Musical Times
2199:"London Concerts"
2024:The Musical Times
1882:The Musical Times
1363:Royal Albert Hall
1124:Royal Albert Hall
1115:Westminster Abbey
1082:Enigma Variations
1029:Felix Weingartner
1017:Willem Mengelberg
997:The Musical Times
856:The Musical Times
744:Pablo de Sarasate
448:and the baritone
422:Duke of Connaught
232:Royal Albert Hall
217:Felix Weingartner
205:Willem Mengelberg
142:
141:
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2724:
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2672:
2661:My Life of Music
2655:
2638:
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2566:
2547:
2528:
2509:
2492:
2475:
2456:
2445:The Wit of Music
2430:
2429:
2427:
2425:
2416:. Archived from
2409:
2403:
2396:
2390:
2389:Morrison, p. 105
2387:
2376:
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2226:Jefferson, p. 89
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1469:Laurence, p. 295
1467:
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1387:
1376:Herbert Morrison
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1194:
1169:Sir Andrew Davis
1156:Richard Morrison
1107:House of Commons
1093:Muriel Brunskill
1057:Second World War
1039:Second World War
1021:Arturo Toscanini
912:Lauritz Melchior
873:Sir Edgar Speyer
818:Sir Edward Elgar
808:Sir Edgar Speyer
720:Albert Chevalier
657:Albert Chevalier
605:, Mendelssohn's
488:Emperor Concerto
289:, just south of
224:Second World War
209:Arturo Toscanini
154:Thomas Knightley
137:Thomas Knightley
113:25 November 1893
62:
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28:
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2472:
2464:. London: BBC.
2439:
2434:
2433:
2423:
2421:
2420:on 16 July 2012
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2154:Kennedy, p. 138
2153:
2149:
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2136:Orga, pp. 93–94
2135:
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2118:Orga, pp. 92–93
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2005:
2001:Morrison, p. 24
2000:
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1989:Morrison, p. 11
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1514:Forster, E. M.
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1338:Malvina Hoffman
1335:
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1317:, and a Mozart
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1181:
1141:Barbican Centre
1119:incendiary bomb
1041:
963:Malcolm Sargent
943:
866:
804:Chappell and Co
800:
788:Richard Strauss
649:
641:Rimsky-Korsakov
631:, Tchaikovsky,
629:Richard Strauss
623:and Schumann's
621:Violin Concerto
581:'s overture to
566:diapason normal
522:
461:National Anthem
459:conducted; the
418:Prince of Wales
406:smoking concert
386:
315:
307:St James's Hall
287:St James's Hall
244:
186:Richard Strauss
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2677:External links
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2050:Cox, pp. 64–65
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1329:
1325:Albert Sammons
1308:in the UK and
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1111:British Museum
1049:Sir Henry Wood
1040:
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965:, founded the
942:
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916:Paul Hindemith
865:
862:
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756:Arthur Nikisch
736:Fritz Kreisler
732:Joseph Joachim
685:Morris dancing
648:
645:
625:Piano Concerto
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474:Hymn of Praise
446:Tivadar Nachéz
414:Queen Victoria
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174:Claude Debussy
164:together with
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2524:0-413-69340-6
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2471:0-563-17697-0
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2195:
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2115:
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2097:
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2068:
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2016:
2007:
1998:
1996:
1986:
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1964:
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1937:
1928:
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1797:Jacobs, p. 45
1794:
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1761:Jacobs, p. 34
1758:
1749:
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1718:Jacobs, p. 46
1715:
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1673:Jacobs, p. 30
1670:
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1556:Parkin, P.H.
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1342:Gervase Elwes
1340:of the tenor
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1295:
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1250:Reine de Saba
1245:
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1224:Royal Society
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1202:Chancery Lane
1199:
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1097:Webster Booth
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948:
945:In 1927, the
938:
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602:Great C Major
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410:Prince Alfred
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371:
370:Robert Newman
366:
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346:E. M. Forster
343:
338:
330:
329:Robert Newman
326:
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310:
308:
304:
303:Prince's Hall
300:
299:Steinway Hall
296:
292:
291:Oxford Circus
288:
283:
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276:Regent Street
273:
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256:Langham Place
248:
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182:Maurice Ravel
179:
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162:Robert Newman
159:
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150:Langham Place
147:
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73:
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55:
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46:
39:
34:
29:
26:
19:
2698:
2683:NQHO history
2660:
2643:
2626:
2609:
2590:
2571:
2552:
2533:
2514:
2497:
2480:
2461:
2444:
2422:. Retrieved
2418:the original
2407:
2399:
2394:
2372:
2367:
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2315:
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2253:
2245:
2240:
2231:
2222:
2213:
2202:
2194:
2186:
2181:
2173:
2168:
2163:Reid, p. 204
2159:
2150:
2141:
2132:
2123:
2114:
2105:
2100:Wood, p. 308
2096:
2087:
2078:
2055:
2046:
2023:
2015:
2006:
1985:
1980:Wood, p. 101
1976:
1968:
1963:
1954:
1945:
1936:
1927:
1922:Wood, p. 108
1918:
1901:Wood, p. 192
1897:
1889:
1885:
1881:
1878:The Observer
1877:
1872:
1864:
1859:
1850:
1838:
1829:
1820:
1811:
1802:
1793:
1784:
1775:
1766:
1757:
1732:
1723:
1714:
1705:
1696:
1687:
1678:
1669:
1660:
1652:The Observer
1650:
1645:
1637:
1632:
1623:
1614:
1597:Wood, p. 319
1581:
1572:
1561:
1552:
1543:
1534:
1525:
1515:
1510:
1452:The Observer
1450:
1411:
1402:
1370:
1346:Fanny Davies
1332:
1318:
1300:
1288:
1279:
1266:
1257:
1249:
1244:
1235:
1228:Wigmore Hall
1218:
1209:
1192:
1166:
1161:
1148:Crown Estate
1145:
1136:Lord Robbins
1132:
1100:
1086:
1080:
1078:
1054:
1033:Anton Webern
1025:Bruno Walter
1009:
1002:
995:
989:
971:
959:Adrian Boult
944:
935:
930:
905:
900:
881:
877:
854:
848:
839:
834:
830:
827:
801:
760:Hans Richter
748:Eugène Ysaÿe
740:Nellie Melba
728:
723:
718:entertainer
713:
696:
662:
606:
600:
582:
576:
565:
558:
554:
533:
510:Edvard Grieg
503:
493:
486:
479:Edward Lloyd
472:
463:was sung by
454:
403:
395:
367:
362:The Observer
360:
357:
350:
337:Venetian red
334:
319:C. J. Phipps
316:
313:Construction
295:Bernard Shaw
284:
253:
228:London Blitz
221:
213:Bruno Walter
190:
178:Edward Elgar
146:Queen's Hall
145:
143:
133:Architect(s)
94:Town or city
70:Concert hall
31:Queen's Hall
25:
2720: /
2296:Cox, p. 116
2266:Cox, p. 110
2082:Orga, p. 88
1913:Wood, p. 75
1779:Wood, p. 98
1727:Orga, p. 55
1709:Orga, p. 57
1700:Orga, p. 44
1538:Ayre, p. 65
1517:Howards End
1198:Hammersmith
1154:. In 2004,
982:Saint-Saëns
780:Saint-Saëns
709:Kinetoscope
697:Kineopticon
655:Poster for
469:Mendelssohn
465:Emma Albani
442:Tchaikovsky
438:Mendelssohn
384:Early years
374:stockjobber
342:Paris Opéra
122:10 May 1941
87:Westminster
2735:Categories
2059:Cox, p. 65
1815:Cox, p. 35
1788:Cox, p. 34
1770:Cox, p. 33
1585:Cox, p. 83
1394:References
1310:RCA Victor
941:Last years
889:Stravinsky
784:Schoenberg
716:music hall
701:Birt Acres
689:Eurythmics
665:Bach Choir
540:Henry Wood
529:Henry Wood
242:Background
166:Henry Wood
61:Destroyed
2705:51°31′5″N
2652:504109856
2635:500565141
2618:603264427
2591:The Proms
2489:636583612
2453:557588486
2400:The Times
2373:The Times
2360:The Times
2316:The Times
2246:The Times
2244:"Music",
2187:The Times
1886:The Times
1865:The Times
1649:"Music",
1638:The Times
1102:The Times
1066:air raids
991:The Times
894:Zeppelins
724:The Times
549:Beethoven
483:Beethoven
272:John Nash
118:Destroyed
78:Victorian
2708:0°8′33″W
2669:30533927
2424:5 August
1384:Barbican
1047:Bust of
820:and the
792:Sullivan
667:and the
637:Massenet
633:Glazunov
613:Schumann
597:Schubert
589:Schubert
571:semitone
426:Sullivan
420:and the
195:and the
89:, London
83:Location
2689:Society
2685:at the
2506:3141945
2437:Sources
908:Solomon
840:en bloc
831:without
764:Debussy
608:Italian
280:Old Vic
102:Country
2667:
2650:
2633:
2616:
2597:
2578:
2559:
2540:
2521:
2504:
2487:
2468:
2451:
1969:quoted
1252:march.
978:Brahms
974:Wagner
957:under
885:Bartók
851:Empire
835:ad hoc
617:Fourth
584:Rienzi
579:Wagner
430:Gounod
170:Empire
110:Opened
97:London
57:Status
1323:with
1184:Notes
986:Ravel
776:Ravel
772:Grieg
768:Elgar
681:Sousa
434:Auber
268:Crown
2665:OCLC
2648:OCLC
2631:OCLC
2614:OCLC
2595:ISBN
2576:ISBN
2557:ISBN
2538:ISBN
2519:ISBN
2502:OCLC
2485:OCLC
2466:ISBN
2449:OCLC
2426:2012
1113:and
1085:and
1027:and
984:and
914:and
790:and
758:and
675:and
639:and
611:and
512:and
440:and
378:bass
376:, a
305:and
262:and
215:and
184:and
144:The
67:Type
615:'s
599:'s
591:'s
485:'s
471:'s
274:'s
2737::
2380:^
2271:^
2201:,
2064:^
2034:^
2022:,
1994:^
1906:^
1745:^
1602:^
1590:^
1560:,
1498:^
1486:^
1474:^
1460:^
1432:^
1420:^
1175:.
1143:.
1095:,
1023:,
1019:,
1015:,
980:,
976:,
969:.
910:,
887:,
794:.
786:,
782:,
778:,
774:,
770:,
766:,
746:,
742:,
738:,
734:,
711:.
687:,
635:,
452:.
436:,
432:,
428:,
301:,
282:.
258:,
219:.
211:,
207:,
203:,
188:.
180:,
176:,
2671:.
2654:.
2637:.
2620:.
2603:.
2584:.
2565:.
2546:.
2527:.
2508:.
2491:.
2474:.
2455:.
2428:.
1365:.
1204:.
20:.
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