(b London, 13 Jan 1904; d there, 14 Nov 1977). English composer. After study at the RCM and in Vienna he visited the USA (1933), where he wrote for films. Most of his music was for the theatre and cinema; his Warsaw Concerto, in the style of Rakhmaninov, was used in the film Dangerous Moonlight (1941).
A prolific composer of theater and film music, Richard Addinsell is now remembered as a one-hit wonder, the composer of the lush, faux-Rachmaninov one-movement Warsaw Concerto for piano and orchestra. Addinsell studied law at Oxford and, briefly (1925-1926), music at the Royal College of Music in London. He wrote his first theater score for Clemence Dane's Come of Age or Adam's Opera in 1928; Addinsell continued collaborating with Dane until her death in 1965. After a break in 1929 for study in Berlin and Vienna, Addinsell returned to London and the theater. Eva La Gallienne asked him to score her production of Alice in Wonderland (another Dane project) in 1933. After that, Addinsell continued to write off and on for the stage, but he focused more on film music, scoring such classics as Goodbye Mr. Chips, A Tale of Two Cities, Blithe Spirit, Fire Over England, and Dark Journey, as well as a number of patriotic English documentaries during World War II. Addinsell's most enduring contribution to the repertory, the Warsaw Concerto, was embedded in his score for Dangerous Moonlight (released in the United States as Suicide Squadron). From 1942 Addinsell took occasional time out from his movie work to collaborate with Joyce Grenfell on songs for such London West End revues as Tuppence Colored and Penny Plain, and later for Grenfell's one-woman shows. ~ James Reel, All Music Guide
Career Highlights: Goodbye, Mr. Chips, Gaslight, Beau Brummell
First Major Screen Credit: The Amateur Gentleman (1936)
Biography
British composer Richard Addinsell is perhaps best remembered for penning "Warsaw Concerto" for the film Dangerous Moonlight/Suicide Squadron (1940). Before coming to Hollywood in the early '30s, Addinsell was a composer of incidental stage music. After a few years in Hollywood, he went back to work on British films until the mid-1960s. ~ Sandra Brennan, All Movie Guide
Richard Stewart Addinsell (13 January 1904 – 14 November 1977) was a British composer, best known for film music, primarily his Warsaw Concerto, composed for the 1941 film Dangerous Moonlight (also known under the later title Suicide Squadron).
Addinsell was taught at home. After studying at Hertford College, Oxford, he made incomplete attempts at studying Law, and then Music (at the Royal College of Music, spending time in Berlin and Vienna). However, both were abandoned without him obtaining formal qualifications. His style is very much of the "English Light music" style.[1]
Addinsell was known for his Christmas parties and was part of a social circle that included many British show business and Royal celebrities of the 1930s and '40s. He collaborated from 1942 with Joyce Grenfell, for her West End revues (including Tuppence Coloured and Penny Plain) and her one-woman shows.
The Warsaw Concerto was written for the 1941 film Dangerous Moonlight, and continues to be a popular concert and recording piece. The film-makers wanted something in the style of Sergei Rachmaninoff, but were unable to persuade Rachmaninoff himself to write a piece. Roy Douglas orchestrated the concerto. It has been recorded over one hundred times and has sold in excess of three million copies.
Addinsell also wrote the short orchestral piece Southern Rhapsody, which was played every morning at the start of TV broadcasts by the former Southern Television company in south of England from 1958 to 1981.
Addinsell retired from public life in the 1960s, gradually becoming estranged from his close friends. He was for many years the companion of the fashion designer Victor Stiebel, who died a year before Addinsell in 1976.
As was common with film music until the 1950s, many of Addinsell's scores were destroyed by the studios as it was assumed there would be no further interest in them. However recordings of his film music have been issued since his death, reconstructed by musicologist and composer Philip Lane from the soundtracks of the films themselves.