911:
75:
ground floor, balcony, gallery and platform and it had excellent acoustics. On the ground floor were two smaller halls, one 60 feet (18 m) square; the other 60 feet (18 m) by 55 feet (17 m). The Hall was decorated in the 'Florentine' style, with features imitating the great
Moorish Palace of the Alhambra. The Piccadilly facade was given a Gothic design, and the complex of two restaurants and three halls was hidden behind Nash's Quadrant. Sir
184:
40:
262:
742:), which commenced after Easter, were among the chief rivals to the Philharmonic Society programmes. At the time of Arthur Sullivan's resignation of the Philharmonic conductorship, the Society suggested to Richter that he might become its conductor, and the two series of concerts might be amalgamated under the Society's supervision. Richter did not accept the plan.
765:
453:. It was exhibited at the Society's first concert in 1871, and a replica was placed at the front of the platform at every Philharmonic concert thereafter. The Society's Gold Medal incorporated an image of the bust. Another major event of 1871 was the original presentation of medals to ten distinguished musicians.
91:, in the hope of attracting the growing audiences for fine musical performances that attended the Crystal Palace and the halls being built in the provinces. It stood empty for nearly a year after its opening. For almost half a century thereafter, the Hall was London's principal concert hall, to be succeeded by
959:, (on a site previously occupied by St Paul's Church) had its foundation stone laid by the Lord Mayor and Sherriffs on 20 April 1907. It opened on 25 April 1908 with a series of promenade concerts performed by the newly formed St. James's Hall Orchestra under the musical directorship of Mr. Lyell Taylor.
930:: he turned down a good offer to buy the hall because Boosey felt strongly about its old connection with the Saturday and Monday 'Pops' and the Chappell ballad concerts. But Chappell died in June 1902, and the other shareholders accepted a new offer without consulting Boosey, who was badly put out. Then
810:
on 22 April 1869. When he had regained sufficient strength, he arranged, with medical approval, for a series of readings to partially make up to
Chappell & Co. what they had lost due to his illness. There were to be twelve final performances, running starting on 11 January 1870 back at the hall.
316:
reported that the concerts at the hall contributed greatly to the spread and enlightenment of musical taste in
England. Monday 'Pops' were held in the evening, and Saturday 'Pops' on Saturday afternoons. These were chamber-concerts. Their programmes were almost exclusively 'classical', and consisted
228:
At the Hallé orchestral concert... I was inhumanly tormented by a quadrille band which the proprietors of St James's Hall (who really ought to be examined by two doctors) had stationed within earshot of the concert-hall. The heavy tum-tum of the basses throbbed obscurely against the rhythms of Spohr
333:
observed: 'classical chamber music of the highest order is brought week after week within the reach of the shilling paying masses as it has now been no less than fifty-two times at St James's Hall.... swelling the total of the Monday
Popular Concerts to no less than sixty-three within two years of
934:
came into the market, and a friend of Boosey's acting in that interest pointed out that Queen's Hall would be worth much more if St James's Hall ceased to operate. Boosey realised that Messrs
Chappell could benefit most by becoming lessors of Queen's Hall, and it was immediately arranged with the
793:
It is scarcely necessary for Messrs. CHAPPELL and Co. to add that any announcement made in connexion with these FAREWELL READINGS will be strictly adhered to and considered final; and that on no consideration whatever will Mr. DICKENS be induced to appoint an extra night in any place in which he
413:
of London, founded 1813, until 1869 gave its concerts in its rooms at
Hanover Square, which had seating for only about 800. The Society decided to move permanently to St James's Hall, and a complimentary additional concert, held at St James's Hall, was given to its subscribers at the end of the
74:
and George Court. There was a frontage on Regent Street, and another in
Piccadilly. Taking the orchestra into account, the main hall had seating for slightly over 2,000 persons. It had a grand hall 140 feet (43 m) long and 60 feet (18 m) broad, the seating was distributed between
753:'s Symphony. The content was planned against a 'permanent background' of Beethoven and Brahms. Helen Henschel refers to 'the famous Wagner cat' which inhabited the Hall. It was said to walk onto the stage during rehearsals whenever any work by Wagner was being played, but never otherwise.
532:
Changes of management were introduced in 1881 following the
Society's recovery from a financial crisis. Concerts were moved from Monday to Thursday evenings, to make way for the Monday Night Popular Chamber-Concerts, known as the 'Pops'. The 1881 season included two performances of
145:, in a concert at the end of May 1858. According to Reeves' biographer, 'The hall itself met with general approval, but the arrangements for chorus and orchestra were severely condemned.' In the same year, one of the first complete performances of
311:
music publishers, who concentrated on selling brass and woodwind instruments, together with his brother Thomas, devised the idea of the Monday
Popular Concerts, which established the fame and popularity of the hall.
788:. He had settled with his tour managers, Chappell & Co., on 100 readings for the princely sum of £8,000. Attendees would receive printed programs and Chappell's advertisements included the following statement:
79:
recalled its 'dear old, uncomfortable, long, narrow, green-upholstered benches (pale-green horse-hair) with the numbers of the seats tied over the straight backs with bright pink tape, like office files.'
220:
In residence for the whole active life of the hall, the
Minstrels had their permanent home there, but their interests often conflicted with those of the main hall. In January 1890, for instance,
253:
play at a Saturday 'Pop', but were so aware of the 'rhythmic gay sounds, thumping and shimmering away in a most enlivening manner', that they decided to go and hear Moore and Burgess instead.
199:
and later the Moore and Burgess Minstrels, the Hall's resident minstrel troupe performed in one of the smaller halls located on the ground floor near the restaurant, below the main hall.
860:, in the late 1880s. Although the performance earned him much praise, he referred to the instrument as 'that terrible box of whistles at St. James's Hall'. This had not seemed to bother
1586:
349:. This was certainly the 'star turn' in that period. They frequently played full works, or even groups of works, at the 'Pops': their larger ensemble was often heard in the Beethoven
672:, who gave four recitals at St. James's Hall for his début in 1890, returned there for the Society in 1891 to perform the Saint-Saëns' C minor, and the Rubinstein D minor, concerti.
233:, or in one of Lady Hallé's eloquent pauses, the cornet would burst into vulgar melody in a remote key, and set us all flinching, squirming, shuddering, and grimacing hideously.'
1126:, the Christy Minstrels played at the theatre beginning in 1862 and later evolved into the Moore and Burgess Minstrels, which continued at the hall through 1904. See also
803:, balcony seats at three, and general admission at one shilling. A new amenity, sofa stalls ("of which there will be a limited number only"), went for seven shillings.
337:
George Bernard Shaw gives an interesting narrative of the 'Pops' between 1888 and 1894. Shaw admired the Joachim Quartet, led either by Joachim himself or often by Mme
780:
presented a final series of "Farewell Readings," at the hall, which commenced on the evening of October 6, with a program devoted to "Doctor Marigold" (from the
397:
The Hall became known for the "London Ballad Concerts", which began in the 1860s and moved in January 1894 to Queen's Hall. They "were started... by Messrs
394:), Marguerite Hall (Schubert, Brahms, Henschel), singers. The concerts were mixed, often consisting of a chamber-work, some songs, and instrumental solos.
434:
and other large venues, and introduced annotated programmes. The Society remained at the hall until 28 February 1894, when it moved to the Queen's Hall.
237:
Only a fortnight later, the band, at first subdued, broke out in a 'wild strain of brazen minstrelsy' during the final bars of the funeral march in the
811:
Dickens would give his last public reading here at 8:00 pm on the 15 March 1870. He died shortly thereafter on 9 June, having suffered another stroke.
716:
739:
326:
1547:
891:
began their celebrated partnership in lieder recitals at the hall, which continued well into the new century. In 1895, the 16-year-old pianist
1120:
723:
in appreciation of ten years service. Soon afterwards, Queen's Hall opened its doors, and the Society moved there in the following February.
493:
241:. After the movement was applauded a member of the audience began calling out that a complaint should be lodged, and won general approval,
1164:
939:
made his English debut at St James's Hall in April or early May 1904. It continued in use until February 1905 when it was demolished.
738:
concerts at St. James's Hall, beginning in 1877. These 'Orchestral Festival Concerts' (established regularly in 1879 by the violinist
217:
is purposely confused with St. James's Hall and its minstrel shows, and a parody of a minstrel number is included in the same scene.
551:
appeared before the Society. Over the next two years many choral works were given with the Philharmonic Choir, including works by
1601:
1596:
1591:
876:. If he had any objections to the organ of St. James Hall for the premier of his symphony, they do not appear in his writings.
745:
In addition to Richter's series, there was also a nine-year winter series of subscription concerts established and conducted by
1539:
868:
there (in which two sections make extensive use of the organ) in 1886. Saint-Saëns was a fine organist, and was titulaire of
704:
806:
The following year Dickens would have to cut a provincial tour short after collapsing showing symptoms of a mild stroke in
430:
were the soloists. When the move was made, the Society remodelled its charges to obtain a wider audience and compete with
1206:
17:
645:
1035:
926:
in 1902, when the hall was owned by a private company. The controlling share was held by T. P. Chappell, chairman of
756:
Shaw refers to both, noting that Richter's concerts were too expensive, and that Henschel's orchestra was too small.
846:, the Mass came to performance in April 1876 at St James's Hall, and a second performance was given a month later.
680:
also performed there for the Society. Cowen gave many concerts of contemporary English composers such as Sullivan,
484:
1606:
940:
865:
611:
539:
685:
883:
Piccadilly, but transferred to St. James's Hall until 1894, when they moved to Queen's Hall. In December 1893
695:
In 1892 Alexander Mackenzie succeeded Cowen. In the 1893 season, Tchaikovsky gave the English premiere of his
712:
168:
696:
665:
653:
607:
571:
1178:
G. B. Shaw, London Music in 1888-89 as heard by Corno di Bassetto, etc (Constable, London 1937), 299-300.
1422:
410:
373:
952:
915:
689:
677:
471:
164:
156:
31:
869:
657:
345:), with ('modest') L. Ries (2nd violin), ('solemn') Herr Strauss (viola) and the ('gentle') cellist
910:
731:
629:
229:
and Berlioz all the evening, like a toothache through a troubled dream; and occasionally, during a
71:
566:
In 1883, Cusins retired as conductor, and for one season there was a team of honorary conductors.
935:
result that Chappell's controlled Queen's Hall from 1902 down to 1944. The 11-year-old violinist
442:
214:
1075:
625:
334:
their foundation.... Such a result is unparalleled in the history of musical entertainments.'
55:
861:
567:
502:
386:
1127:
956:
831:
669:
488:
423:
1533:
1527:
899:
884:
649:
617:
560:
476:
438:
362:
200:
192:
108:
107:. It became famous for its 'Monday Pops' concerts and Ballad Concerts, as the home of the
644:
made her farewell performance to the Society. Tchaikovsky returned in 1889 to conduct his
8:
807:
637:
441:
centenary season was held, with all nine symphonies performed. The bust of Beethoven by
338:
313:
221:
115:
and for the many famous conductors and performers who gave important performances there.
104:
749:, including a full cycle of Beethoven symphonies in one year, and a rare performance of
401:'for the performance of the CHOICEST ENGLISH VOCAL MUSIC by the MOST EMINENT ARTISTS'."
923:
838:. With a choir of between 200 and 250 voices, including the Swedish Nightingale,
526:
509:. Other Philharmonic Society highlights of the next few years included performances by
431:
151:
59:
582:
and Saint-Saëns were heard in works written for the Society. Among the soloists were
1031:
927:
918:(originally the new St James's Hall) in Great Portland Street as it appeared in 1917.
849:
661:
579:
544:
498:
427:
342:
304:
300:
196:
112:
100:
84:
583:
480:
936:
895:
gave a concert there under Henry J. Wood, in which he played three piano concerti.
880:
843:
720:
556:
514:
278:
172:
142:
1139:
719:
as soloist. In November 1893, a presentation was made to the Society's Secretary
603:
419:
380:(Brahms), Mme Norman Neruda, (Bach concerto for 2 violins), violin; Bertha Moore,
354:
282:
931:
888:
835:
777:
746:
673:
591:
575:
510:
506:
466:
415:
381:
366:
318:
290:
286:
270:
246:
238:
209:
130:
92:
88:
76:
1144:
Minstrel Memories: The Story of Burnt Cork Minstrelsy in Great Britain 1836-1927
518:
1540:"The St. James's Hall Christy Minstrels' Illustrated 'Christmas Annual'" - 1868
853:
819:
750:
735:
652:
making his English debut (who three years later created a furor with the Liszt
641:
633:
534:
522:
462:
450:
377:
346:
294:
274:
266:
250:
879:
The Stock Exchange Orchestral Society, founded 1883, originally played in the
1580:
1562:
1549:
1106:(Simpkin, Marshall, London 1889), pp. 178-79. cf W. Sterndale Bennett (Ed.),
892:
857:
773:
632:
made his first appearance before an English audience, introducing two works.
446:
63:
1010:"Victorian London - Buildings, Monuments and Museums - St James's Hall" in
827:
823:
764:
681:
621:
595:
587:
358:
96:
51:
614:
written at the behest of the Society, and premiered there on 19 May 1886.
578:
conducted the concerts of 1885–87, and as guest conductors, Dvořák,
599:
552:
548:
322:
308:
204:
160:
134:
54:
in London that opened on 25 March 1858, designed by architect and artist
620:
succeeded Sullivan as conductor from 1888–92. In his first season
543:; Scharwenka gave the British premiere of his Piano Concerto No. 2, and
839:
67:
574:(although it was referred to as "Symphony No. 1") in March 1884. Sir
1511:
1496:
800:
708:
456:
146:
138:
125:
39:
353:. Among soloists heard in 1888-90 (the 31st and 32nd seasons) were
1009:
141:'s 'Adelaide' there (the first of many successes), accompanied by
998:
Royal Philharmonic - The Annals of the Royal Philharmonic Society
256:
183:
1196:
H. Henschel, When Soft Voices Die (Methuen, London 1949), 66-67.
822:, established in 1875 under a founding committee including Sir
398:
664:
also made their English debuts. In 1890, Dvořák conducted his
357:, Alma Haas (Beethoven op. 110), Agnes Zimmerman (Waldstein),
261:
1404:
H. Henschel, When Soft Voices Die (Methuen, London 1949), 69.
873:
1587:
Former buildings and structures in the City of Westminster
83:
The Hall was built jointly by two music publishing firms,
794:
shall have been once announced to read for the last time.
245:, and people standing up to look at him. On one occasion
1260:
Henschel 1949, 66. (The epithets are George Henschel's.)
1071:
1069:
191:
The hall became known for its continuous production of
830:, had as a primary aim the introduction to England of
1108:
Grosse Passions-Musik composed by John Sebastian Bach
1066:
768:
1868 Program book for the series of Dickens readings
922:The Chappell ballad concerts were being managed by
1278:Shaw 1937, 40-42, 59-61, 68, 297-99, 318, 336-338.
457:Notable Philharmonic performers at St James's Hall
437:There were major events in 1870–71, when a
321:and other chamber ensemble. They were managed by
317:of piano and organ recital, singers, violinists,
1578:
842:, and under the baton of her husband, conductor
1076:Survey of London: volumes 31 and 32, Chapter IV
445:was presented to the Society and collected (in
759:
257:Monday and Saturday 'Pops' and Ballad Concerts
1140:Notes to "Ray Andrews Classic English Banjo,"
1091:Sims Reeves - Fifty Years of Music in England
1030:(Macdonald and Jane's, London, 1975), p. 84
978:(Ryder, London 1944), p. 16, note, says 1858.
155:to be heard in England was given there under
1104:My Jubilee: or, Fifty Years of Artistic Life
1085:
1083:
902:would use the hall as their meeting place.
483:made his London debut, playing Beethoven's
404:
62:. It was situated between the Quadrant in
30:For the theatre in Sydney, Australia, see
1481:
1479:
1022:
1020:
465:conducted a concert of his music. In 1873
1269:Monday 27 January 1890 was the 1105th Pop
1093:(Stanley Paul, London 1924), pp. 205-07.
1080:
909:
852:performed the E minor organ concerto of
763:
726:
260:
182:
178:
38:
1476:
1110:(Lamborn Cock, Hutchings, London 1862).
1017:
329:, together with Chappell. In 1861 the
129:, sung by the Vocal Association, under
14:
1579:
905:
123:The first performance at the hall was
1446:(Gollancz, London 1946 edition), 31.
1211:, London: Ernest Benn Limited (1931)
1124:, eleventh edition, Vol. XXI, p. 726
856:at the Hall with an orchestra under
195:from 1862 until 1904. Known as the
58:, who had decorated the interior of
640:also conducted in that season, and
479:first sang before the Society; and
24:
1528:Victorian London - St James's Hall
1368:Elkin 1944, 52; Elkin 1946, 87-88.
943:was afterwards built on the site.
43:Interior of St. James's Hall, 1858
27:Concert hall in London (1858–1905)
25:
1618:
1521:
1251:(Constable, London 1932), passim.
341:(Lady Hallé) (and later still by
1249:Musical Life in London 1890-1894
946:
1503:
1488:
1467:
1458:
1449:
1436:
1427:
1416:
1407:
1398:
1389:
1380:
1371:
1362:
1353:
1344:
1335:
1326:
1317:
1308:
1299:
1290:
1281:
1272:
1263:
1254:
1241:
1232:
1223:
1214:
1199:
1190:
1181:
1172:
1158:
1149:
1133:
1113:
1096:
799:The stalls were priced at five
265:Musicians, from left to right:
213:, contains a joke in which the
1602:1858 establishments in England
1597:Music venues completed in 1858
1592:Former concert halls in London
1247:Shaw 1937, passim: G.B. Shaw,
1063:(Cassell, London 1969), 34-35.
1053:
1040:
1003:
990:
981:
968:
249:and her daughter went to hear
13:
1:
962:
814:
610:. Most notably Saint-Saëns's
303:, one of the brothers in the
699:, Saint-Saëns conducted his
612:Symphony No. 3 (Saint-Saëns)
494:Chromatic Fantasia and Fugue
7:
1238:C. Pearce 1924, pp. 231-32.
1122:The Encyclopædia Britannica
760:Readings by Charles Dickens
505:played there, and in 1875,
10:
1623:
475:had its English premiere;
273:, Louis Ries, Henry Webb,
118:
95:in the 1900s and later by
29:
1536:(British History On-line)
690:Charles Villiers Stanford
626:Piano Concerto in A minor
165:Helen Lemmens-Sherrington
157:William Sterndale Bennett
1534:Images of the first hall
1142:citing Reynolds, Harry:
1028:History of Regent Street
1012:the Victorian Dictionary
692:, and of his own works.
630:Pyotr Ilyich Tchaikovsky
563:, Beethoven and Brahms.
405:The Philharmonic Society
1050:(Methuen, London 1949).
784:) and "The Trial" from
443:Johann Nepomuk Schaller
169:Charlotte Sainton-Dolby
1607:1905 disestablishments
976:Queen's Hall 1893-1941
919:
870:Église de la Madeleine
864:when he premiered his
797:
769:
713:Second Violin Concerto
658:Agathe Backer-Grøndahl
301:Samuel Arthur Chappell
297:
235:
188:
44:
32:St James' Hall, Sydney
1423:NYPL, Berg Collection
1229:Henschel 1949, 66-67.
957:Great Portland Street
913:
790:
767:
727:Subscription Concerts
264:
226:
186:
179:The Christy Minstrels
42:
18:St. James's Hall
1563:51.50944°N 0.13667°W
1515:, 6 April 1908, p. 8
1500:, 6 April 1907, p. 7
1208:Fifty years of music
1048:When Soft Voices Die
1026:Hobhouse, Hermione.
941:The Piccadilly Hotel
900:First Internationale
885:Harry Plunket Greene
650:Wassily Sapellnikoff
646:Piano Concerto No. 1
411:Philharmonic Society
376:(Chopin), pianists;
363:Bernhard Stavenhagen
215:Court of St. James's
201:Gilbert and Sullivan
193:blackface minstrelsy
109:Philharmonic Society
1559: /
1187:Shaw 1937, 305-306.
906:The end of the Hall
862:Camille Saint-Saëns
686:Alexander Mackenzie
638:Charles-Marie Widor
503:Camille Saint-Saëns
339:Wilma Norman-Neruda
314:George Bernard Shaw
222:George Bernard Shaw
105:Royal Festival Hall
1568:51.50944; -0.13667
1530:(Victorian London)
1494:"Court Circular",
1485:Elkin 1944, 16, n.
1464:Elkin 1944, 20-21.
1386:Henschel 1949, 61.
1359:Elkin 1946, 82-85.
1350:Elkin 1946, 79-80.
1341:Elkin 1946, 77-78.
1323:Elkin 1946, 72-73.
1314:Elkin 1946, 67-71.
920:
770:
711:conducted his own
701:Le Rouet d'Omphale
608:František Ondříček
527:Edward Dannreuther
485:"Emperor" concerto
432:the Crystal Palace
305:Chappell & Co.
298:
189:
187:1874 Advertisement
152:St Matthew Passion
126:The Hymn of Praise
85:Chappell & Co.
60:the Crystal Palace
45:
1205:Boosey, William.
1000:(Ryder 1946), 67.
916:Philharmonic Hall
580:Moritz Moszkowski
540:Roméo et Juliette
499:Pablo de Sarasate
428:Christina Nilsson
414:1868–69 season.
197:Christy Minstrels
113:Christy Minstrels
101:Royal Albert Hall
16:(Redirected from
1614:
1574:
1573:
1571:
1570:
1569:
1564:
1560:
1557:
1556:
1555:
1552:
1516:
1507:
1501:
1492:
1486:
1483:
1474:
1471:
1465:
1462:
1456:
1455:Elkin 1944, 104.
1453:
1447:
1444:My Life of Music
1440:
1434:
1431:
1425:
1420:
1414:
1411:
1405:
1402:
1396:
1393:
1387:
1384:
1378:
1375:
1369:
1366:
1360:
1357:
1351:
1348:
1342:
1339:
1333:
1330:
1324:
1321:
1315:
1312:
1306:
1303:
1297:
1294:
1288:
1285:
1279:
1276:
1270:
1267:
1261:
1258:
1252:
1245:
1239:
1236:
1230:
1227:
1221:
1218:
1212:
1203:
1197:
1194:
1188:
1185:
1179:
1176:
1170:
1162:
1156:
1153:
1147:
1137:
1131:
1117:
1111:
1100:
1094:
1087:
1078:
1073:
1064:
1057:
1051:
1044:
1038:
1024:
1015:
1007:
1001:
994:
988:
985:
979:
972:
953:St. James's Hall
937:Franz von Vecsey
844:Otto Goldschmidt
734:often conducted
721:Francesco Berger
705:G minor concerto
557:Anton Rubinstein
515:Xaver Scharwenka
472:A German Requiem
424:Thérèse Tietjens
279:Arabella Goddard
173:Willoughby Weiss
143:Arabella Goddard
89:Cramer & Co.
48:St. James's Hall
21:
1622:
1621:
1617:
1616:
1615:
1613:
1612:
1611:
1577:
1576:
1567:
1565:
1561:
1558:
1553:
1550:
1548:
1546:
1545:
1524:
1519:
1508:
1504:
1493:
1489:
1484:
1477:
1473:Elkin 1944, 30.
1472:
1468:
1463:
1459:
1454:
1450:
1441:
1437:
1433:Elkin 1944, 62.
1432:
1428:
1421:
1417:
1412:
1408:
1403:
1399:
1395:Elkin 1946, 82.
1394:
1390:
1385:
1381:
1377:Elkin 1944, 23.
1376:
1372:
1367:
1363:
1358:
1354:
1349:
1345:
1340:
1336:
1332:Elkin 1946, 76.
1331:
1327:
1322:
1318:
1313:
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778:Charles Dickens
772:In 1868, famed
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747:George Henschel
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703:and played his
697:Fourth Symphony
678:Frederic Lamond
674:Leonard Borwick
666:Fourth Symphony
654:E flat concerto
592:Lillian Nordica
576:Arthur Sullivan
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507:August Wilhelmj
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325:, and later by
319:string quartets
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287:Arthur Chappell
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570:conducted his
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828:John Stainer
824:George Grove
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732:Hans Richter
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682:Hubert Parry
662:Eugène Ysaÿe
622:Edvard Grieg
616:
596:Ella Russell
588:Fanny Davies
565:
538:
531:
519:Émile Sauret
492:
477:Edward Lloyd
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359:Edvard Grieg
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343:Eugène Ysaÿe
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97:Wigmore Hall
93:Queen's Hall
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52:concert hall
47:
46:
36:
1566: /
1089:C. Pearce,
624:played his
618:F. H. Cowen
600:Emma Nevada
553:Franz Liszt
549:Emma Albani
497:. In 1874,
323:John Boosey
309:Bond Street
205:comic opera
161:Sims Reeves
135:Sims Reeves
72:Vine Street
1581:Categories
1551:51°30′34″N
1059:R. Pound,
996:R. Elkin,
974:R. Elkin,
963:References
928:Chappell's
840:Jenny Lind
815:Other uses
670:Paderewski
243:hear, hear
231:pianissimo
68:Piccadilly
56:Owen Jones
1512:The Times
1497:The Times
1442:H. Wood,
801:shillings
774:Victorian
709:Max Bruch
461:In 1871,
449:) by Sir
439:Beethoven
392:To Anthea
370:Papillons
147:J.S. Bach
139:Beethoven
1554:0°8′12″W
826:and Sir
786:Pickwick
387:Erlkönig
367:Schumann
307:firm of
203:'s 1893
111:and the
808:Preston
776:author
656:); and
535:Berlioz
159:, with
119:Opening
1034:
951:A new
707:, and
467:Brahms
399:Boosey
351:septet
224:wrote:
99:, the
70:, and
50:was a
1168:scene
874:Paris
715:with
648:with
561:Weber
137:sang
1032:ISBN
914:The
898:The
887:and
832:Bach
676:and
660:and
636:and
628:and
606:and
547:and
525:and
501:and
489:Bach
487:and
426:and
409:The
293:and
171:and
103:and
87:and
66:and
955:at
872:in
834:'s
537:'s
491:'s
469:'s
372:),
149:'s
133:.
1583::
1478:^
1082:^
1068:^
1019:^
688:,
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668:.
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384:(
365:(
34:.
20:)
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