Rising reputation and success, 1914–46 Albert Ketèlbey

the cover in monastery garden (1915)

in 1914 ketèlbey wrote orchestral work in monastery garden, published in following year both piano piece , in full orchestral form. first major success, famous piece, , became known on world; 1920 on million copies of sheet music had been sold. there 2 competing stories detailing inspiration behind piece: although ketèlbey later said wrote work old friend, stated composed after visiting monastery. musicologist peter dempsey considers piece ... remains day world-renowned staple of light-music repertoire, while mccanna opines first bar, listeners ... might sooner expect such device in impassioned world of [gustav] mahler symphony in genteel english salon piece . success of phantom melody , in monastery garden led ketèlbey s engagement andré charlot musical director 1916 revue samples! @ vaudeville theatre. appointment led similar positions @ other london theatres, including adelphi, garrick, shaftesbury , drury lane theatres.

because of rise in ketèlbey s popularity, , in sales of sheet music, in 1918 became member of performing rights society. except brief interval in 1926 when resigned on dispute allocation of funds members, remained lifelong member. in 1919 composed romantic work in moonlight, publisher considered work of striking beauty . in following year wrote wedgwood blue—a gavotte—and in persian market; latter became 1 of more popular works. musicologist jonathan bellman, calling in persian market immortal , describes intermezzo scene band or small orchestra; reprehensibly demeaning or delightfully tacky . work not without critics; composer , conductor nicolas slonimsky quotes view of russian journal suite ... had immaculate conception in imperialistic colonial england. composer s intention convince listener s in colonies beautiful women , exotic fruits mature together, beggars , rulers friends, there no imperialists, no restive proletarians. in musical times, pseudonymous reviewer ariel described work naive , inexpensive pseudo-orientalism , led heated correspondence in journal on following months between composer , critic.

sheet music in persian market (1920)

in 1921 ketèlbey moved home in st john s wood, had been living previous 7 years, frognal, area of hampstead, north west london. installed billiards table in basement, became favoured form of relaxation. produced series of orchestral pieces in first half of 1920s, including bells across meadows released in 1921, , suite romantique (1922), music critic tim mcdonald considers impressive . in following year ketèlbey wrote in chinese temple garden, followed in 1924 sanctuary of heart , cockney suite. last of these contained finale   appy ampstead , writers lewis , susan foreman describe ... a kaleidoscope of passing images, mouth organs, cornet playing, ... band, ... shouts of showman ... rattle , steam engine , roundabout .

in 1923 composer frederic austin wrote opera polly, closely based on 1729 work of same name john gay , johann christoph pepusch; recordings of austin s work published columbia s main rival, gramophone company. @ columbia s request ketèlbey produced own version of gay s original. austin considered copied elements of his, , sued copyright infringement. acting court expert witness, composer sir frederick bridge thought case ... is awful bore. ... these 2 men musicians, , have no business fighting on game. not worth trouble. ... rubbish. sick of polly . after 3 weeks case ended judge finding against columbia.

such ketèlbey s popularity 1924 works heard several times day in restaurants , cinemas, , in year lyons tea shops spent £150,000 on playing music in outlets. continued build on success in 1925 in lovers garden , in camp of ancient britons—inspired trip took worlebury camp, near weston-super-mare. undertook annual tours of britain, conducting music municipal orchestras, , worked bbc wireless orchestra. invited conduct several international orchestras, , spent time in belgium, germany, france, switzerland , particularly in netherlands, built strong relationship concertgebouw , kursaal grand symphony orchestras. music popular on continent , obituarist in times later reported 1 viennese critic considered ketèlbey s music behind of johann strauss , franz lehár. continental audiences called him english strauss .

ketèlbey financially successful enough leave columbia records in 1926 spend more time composing, although continued conduct them on occasional basis, particularly between 1928 , 1930 when conducted sixteen of own works company, published ketèlbey conducting concert orchestra. spent time undertaking annual conducting tours , composing, , in 1927 published blue hawaiian waters , suite in fairy realm, while in following year wrote suite, 3 fanciful etchings. works continued sell well, , in october 1929 issue of performing right gazette publisher described him britain s greatest living composer ; when advertisement mentioned in musical times, anonymous writer wrote sympathise mr ketèlbey in being raised pinnacle himself, sure, far claiming. sant writes ketèlbey subsequently became britain s first millionaire composer. in february 1930 began became annual series of concerts @ kingsway hall, conducting new work, clock , dresden figures. in review of 1933 concert, critic s.r. nelson wrote descriptive writer ketèlbey take beating. has happy knack of combining infinitely melodious themes , cleverly diluted likeness of authentic atmosphere.

the introduction of talking films in 1927 jazz singer , subsequent growth of medium had serious impact on composers , music publishers involved in film industry heralded decline in sales of sheet music. although ketèlbey s income source declined, period marked rise in popularity of radio , gramophones , new compositions successful audiences @ home. 1930s on 1,500 broadcasts of work made on bbc radio in year, , more 700 on continental radio stations, including weekly sunday programme of music, sponsored decca records on radio luxembourg. programme wrote theme music, sunday afternoon reverie , melody based on musical notes d e c c a.

ketèlbey wrote intermezzo—a birthday greeting—in 1932, on sixth birthday of princess elizabeth (later queen elizabeth ii). connection royalty continued in 1934, when march state procession played accompany arrival of king george v @ royal command performance; king requested march should played again during interval, , , queen stayed in royal box listen piece. in following year ketèlbey wrote march honour crowned king s silver jubilee; work played royal family @ windsor castle before ketèlbey conducted first public performance @ kingsway hall. work played @ year s trooping colour , @ jubilee thanksgiving service @ st paul s cathedral.

ketèlbey continued conduct on annual tours during second world war, these on smaller scale because of travel restrictions. continued annual concerts @ kingsway hall, , introduced new march, fighting freedom, had written in supportive response winston churchill s shall fight on beaches speech. apart composing , conducting, acted special constable during war.

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