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{{Short description|English composer and academic}}
{{Use British English|date=February 2015}}
{{Use dmy dates|date=November 2020}}
'''Benjamin James Dale''' (17 July 1885{{spaced ndash}}30 July 1943) was an English [[composer]] and academic who had a long association with the [[Royal Academy of Music]]. Dale showed compositional talent from an early age and went on to write a small but notable corpus of works. His best-known composition is probably the large-scale Piano Sonata in D minor he started while still a student at the Royal Academy of Music, which communicates in a potent late [[Romanticism (music)|romantic]] style. Christopher Foreman has proposed a comprehensive reassessment of Benjamin Dale's music.<ref name=reassessment1-2>Foreman, Christopher (2011). [http://www.musicweb-international.com/classrev/2011/Feb11/Dale.htm Benjamin Dale—A reassessment, Parts 1 & 2] {{Webarchive|url=https://web.archive.org/web/20111014174051/http://www.musicweb-international.com/classrev/2011/Feb11/dale.htm |date=14 October 2011 }}. MusicWeb International. Retrieved 2011-07-07.</ref><ref name=reassessment3>Foreman, Christopher (2011). [http://www.musicweb-international.com/classrev/2011/May11/dale3.htm Benjamin Dale—A reassessment, Parts 3 & 4] {{Webarchive|url=https://web.archive.org/web/20111014172303/http://www.musicweb-international.com/classrev/2011/May11/dale3.htm |date=14 October 2011 }}. MusicWeb International. Retrieved 2011-07-07.</ref> Dale married one of his students, the pianist and composer [[Kathleen Richards]] in 1921.

==Early life and education==
Benjamin Dale was born in Upper [[Holloway, London|Holloway]], Islington, London, to Charles James Dale, a pottery manufacturer from [[Staffordshire]], and his wife, Frances Anne Hallett, daughter of a furniture manufacturer from [[Clerkenwell]].<ref name=odnb>Hardy, Lisa (2004). [http://www.oxforddnb.com/view/article/67634 Dale, Benjamin James (1885–1943)]. ''Oxford Dictionary of National Biography'', Oxford University Press. Retrieved 2011-07-08.{{subscription required}}</ref><ref name=henry1>[[Wilhelm Feldberg|Feldberg, Wilhelm]], rev. Tansey, EM (2004–2011). [http://www.oxforddnb.com/view/article/32694 Dale, Sir Henry Hallett (1875–1968)], ''Oxford Dictionary of National Biography'', Oxford University Press, 2004; online edn, Jan 2011. Retrieved 2011-07-08.{{subscription required}}</ref><ref name=henry2>Feldberg, Wilhelm S (1970). [https://www.jstor.org/stable/769587 Henry Hallett Dale 1875–1968] {{Webarchive|url=https://web.archive.org/web/20160421005633/http://www.jstor.org/stable/769587 |date=21 April 2016 }}. ''Biographical Memoirs of Fellows of the Royal Society'', Vol. 16, Nov 1970, pp. 77–174. Retrieved 2011-07-09.{{subscription required}}</ref> His father, who had migrated first to [[Derbyshire]] and then to London, was a director of the [[Denby Pottery Company]] and London manager of James Bourne & Son.<ref name=viola>Foreman, Lewis (2008). [http://www.duttonvocalion.co.uk/proddetail.asp?prod=CDLX7204 Benjamin Dale—Music for Viola] {{webarchive |url=https://web.archive.org/web/20120313184354/http://www.duttonvocalion.co.uk/proddetail.asp?prod=CDLX7204 |date=13 March 2012 }} [sleeve notes]. Dutton Epoch. Retrieved 2011-07-13.</ref> He was also a self-taught but enthusiastic amateur musician, church organist and [[Methodism|Methodist]] hymn tune writer<ref>Brown, James D and Stephen S Stratton (1897). [https://archive.org/details/britishmusicalbi00brow ''British musical biography: a dictionary of musical artists, authors, and composers born in Britain and its colonies''], [https://archive.org/stream/britishmusicalbi00brow#page/114/mode/2up p 114]. Birmingham, Chadfield. {{ISBN|0-306-70076-X}}. Retrieved 2011-07-08</ref> who nurtured the Finsbury Choral Association (attracting composers such as [[Arthur Sullivan|Sullivan]] and [[Charles Villiers Stanford|Stanford]] to come and conduct their choral works)<ref name=reassessment1-2/> and founded a Metropolitan College of Music in Holloway that would later become the [[London College of Music]].<ref name=viola/>

Benjamin was the youngest of seven children.<ref name=reassessment1-2/> One of his brothers was [[Henry Hallett Dale]], a future [[Nobel Prize in Physiology or Medicine|Nobel Prize]]-winning [[physiology|physiologist]] and President of the [[Royal Society]] (as well as isolating and describing [[histamine]] and [[acetylcholine]], he helped uncover important mechanisms of the [[allergic inflammation|immune]] and [[neurotransmission|nervous]] systems that would transform contemporary understanding of [[anaphylaxis]], [[allergy]], and [[immunity (medical)|immunity]]).<ref name=henry1/><ref name=henry2/> Although ten years Benjamin's elder, Henry always remained close to his younger brother and, like their father, both men had a reputation for being affable and approachable, irrespective of position and fame.<ref name=reassessment1-2/>

Despite an indifferent record at school, by the age of 14 Dale was already an accomplished organist and had written a small collection of compositions, including a concert overture called ''Horatius'', inspired by [[Thomas Babington Macaulay]].<ref name=reassessment1-2/> Dale's father arranged for the overture to be played at the Portman Rooms, [[Baker Street]] (on 10 May 1900) and was rewarded by a positive review in ''[[The Musical Times]]''.<ref name=reassessment1-2/> Benjamin left school at the age of 15 to enroll as a student of the [[Royal Academy of Music]] (RAM).<ref name=reassessment1-2/> He started at the RAM in September 1900, on the same day as [[Arnold Bax]], another promising pianist-composer, who became a lifelong friend.<ref name=bax>Foreman, Lewis (1983, rev 2007). ''Bax: A Composer and his Times'', [https://books.google.com/books?id=6IC33JaNitcC&pg=PA10 chapter 2]. Boydell Press. {{ISBN|978-1-84383-209-6}}.</ref> There he reunited with an early playground companion, the concert pianist and composer [[York Bowen]], who also remained an especially close friend for the rest of Dale's life.<ref name=bax/> Like the others, Dale studied composition under [[Frederick Corder]], a supporter of [[Richard Wagner|Wagner]] and biographer of [[Franz Liszt|Liszt]] who epitomised the progressive musical climate of the RAM under the direction of [[Alexander Mackenzie (composer)|Alexander Mackenzie]] (contrasting with the more conservative [[Royal College of Music]], where composition was Stanford's domain).<ref name=bax />

==Early compositions==
While studying at the RAM, Dale worked on several compositions, including the first movement of a piano trio, a complete organ sonata, two concert overtures (one inspired by Shakespeare's ''[[The Tempest]]''), the [[Concertino (composition)|''Concertstück'']] for organ and orchestra, and his first published work, the Piano Sonata in D minor.<ref name=viola/><ref>Evans, Edwin (1919). [https://www.jstor.org/pss/3702002 Modern British Composers, III: Benjamin Dale. The Musical Times], Vol. 60, No. 915 (1 May 1919), pp. 201–205. Retrieved 2011-08-22.</ref> The sonata extended to sixty pages, leading to problems in publication, and the [[Society of British Composers]] was founded by a group of composers including [[Frederick Corder]], [[John Blackwood McEwen]] and [[Tobias Matthay]] at the Royal Academy of Music to address that and similar problems. The society published the sonata in its first publication through its imprint Charles Avison, Ltd.<ref>{{cite book |title=The British piano sonata, 1870–1945|author=Hardy, Lisa|year=2001}}</ref>

Composed between 1902 and 1905 and dedicated to York Bowen, Dale's piano sonata is a large-scale virtuoso work in just two movements, the second of which combines slow movement, scherzo and finale in a set of variations, a form apparently influenced by [[Pyotr Ilyich Tchaikovsky|Tchaikovsky]]'s [[Piano Trio (Tchaikovsky)|Piano Trio]].<ref name=reassessment1-2/><ref name=sonata>Hardy, Lisa (2001). ''The British piano sonata, 1870–1945'', [https://books.google.com/books?id=SIK1vk2c6A0C&dq=Hardy%20Lisa%20%20The%20British%20piano%20sonata%20benjamin%20dale&pg=PA42 pp 42–48]. Boydell Press. {{ISBN|0-85115-822-6}}.</ref> Commentators have discerned various other influences and echoes within this eclectic work, including Liszt's [[Piano Sonata in B minor (Liszt)|Sonata in B minor]], [[Robert Schumann|Schumann]]'s [[Fantasie in C (Schumann)|Fantasie in C]], [[Mily Balakirev|Balakirev]]'s ''[[Islamey]]'', [[Alexander Glazunov|Glazunov]]'s first piano sonata and Wagner's [[Liebestod]].<ref name=reassessment1-2/><ref name=sonata/><ref name=Driver/><ref name=MSrev>Stewart, Michael. Review in [http://www.gramophone.net/Issue/Page/May%201993/75/818406/DALE.+Piano+Sonata+in+D+minor.+Night+Fancies.+Prunella.+Peter+Jacobs+(0).+Continuum+C)+CD+CCD1044+(58+minutes:+DDD).#header-logo Gramophone, May 1993, p 75]{{Dead link|date=October 2019 |bot=InternetArchiveBot |fix-attempted=yes }}. Retrieved 2011-07-07.</ref> In the opinion of Francis Pott, "the swirling arpeggiation and rich variety of gesture imply an attempted pianistic parallel to Wagnerian and [[Richard Strauss|Straussian]] orchestration, thus carrying the illusion of symphonic transcription to new places".<ref name=Driver/> According to Lisa Hardy, author of an extensive survey of British piano sonatas, <blockquote>"Dale's sonata was the first outstanding British piano sonata. Its harmonic language avoided the clichés of the [[Ludwig van Beethoven|Beethoven]]-[[Johannes Brahms|Brahms]] style and utilized the resources of Straussian and Wagnerian [[chromaticism]] to an unprecedented level. In a sense, however, it marked the end of an era, as this was as far as late romantic harmonies could be taken."<ref name=sonata/></blockquote> Despite entering the repertoire of concert pianists like York Bowen, [[Myra Hess]], [[Benno Moiseiwitsch]], [[Irene Scharrer]] and [[Moura Lympany]],<ref name=Driver>Pott, Francis (2011). [http://www.hyperion-records.co.uk/al.asp?al=CDA67827 Benjamin Dale (1885–1943)—Piano Music]. [[Hyperion Records]]. Retrieved 2011-07-07.</ref> by the 1920s Dale's sonata had fallen out of fashion.<ref name=sonata/> In recent years, however, the work has been championed on CD by [[Peter Jacobs (pianist)|Peter Jacobs]] (on Continuum, 1992),<ref name=MSrev/> [[Mark Bebbington]] (SOMM, 2010)<ref>[http://www.somm-recordings.com/somm/ifield.php?id=164 Piano Sonatas by Benjamin Dale and William Hurlstone] {{Webarchive|url=https://web.archive.org/web/20111009095929/http://www.somm-recordings.com/somm/ifield.php?id=164 |date=9 October 2011 }} (2010). SOMM Records. Retrieved 2011-07-07.</ref> and [[Danny Driver]] ([[Hyperion Records|Hyperion]], 2011),<ref name=Driver /> contributing to a current revival of interest in Dale's music.<ref name=grove>Foreman, Lewis (2007–2011). [http://www.oxfordmusiconline.com/subscriber/article/grove/music/07066 Dale, Benjamin]. ''Grove Music Online''. Oxford Music Online. Retrieved 2011-08-16.{{subscription required}}</ref> It probably remains the single composition for which Dale is best known today.<ref name=reassessment1-2/>

Dale's next published work was his three movement ''Suite for Viola and Piano''—another sonata in all but name—dating from 1906, the first of a series of compositions written expressly for the [[viola|violist]] and RAM professor [[Lionel Tertis]].<ref name=viola/> This ambitious work stretched the boundaries of viola technique at the time and remains challenging even today: Tertis frequently played it either with Bowen at the piano, or in a later arrangement of the last two movements with orchestral accompaniment (first performed in a 1911 [[Royal Philharmonic Society]] concert under [[Arthur Nikisch]]), which he had encouraged Dale to produce.<ref name=reassessment1-2/> The Suite was followed by the ''Phantasy for Viola and Piano'' (dated 1910) and an ''Introduction and Andante'' (1911) for the unusual combination of six independently scored violas, written for performance by Tertis's pupils (one of whom was [[Eric Coates]]). A CD of Dale's viola chamber music is available on [[Dutton Vocalion|Dutton Epoch]].<ref name=viola/><ref>Cookson, Michael (2008). [http://www.musicweb-international.com/classrev/2008/May08/Dale_viola_cdlx7204.htm CD Review—Recording of the Month: Benjamin Dale (1885–1943) Music for Viola] {{Webarchive|url=https://web.archive.org/web/20111129205348/http://www.musicweb-international.com/classrev/2008/May08/Dale_viola_cdlx7204.htm |date=29 November 2011 }}. MusicWeb International. Retrieved 2011-07-07.</ref>

By this time, Dale had established himself as a successful composer and teacher, having been appointed Professor of Harmony at the RAM in 1909.<ref name=odnb/> In 1912, [[Henry Wood]] conducted Dale's ''Concertstück'' for organ and orchestra at the [[BBC Proms|Proms]], with [[Frederick B. Kiddle|Frederick Kiddle]] at the organ<ref name=proms>BBC Proms archive: [http://www.bbc.co.uk/proms/archive/search/performance_find.shtml?composer_id=28971&all=1&tab=search&sub_tab=composer Performance search results] for Benjamin Dale. Retrieved 2011-07-15.</ref><ref name=wood>Wood, Henry (1938). ''My Life of Music'', [https://books.google.com/books?id=28uHefY4ctMC&dq=henry%20wood%20my%20life%20of%20music&pg=PA274 p 274]. Gollancz. {{ISBN|0-8369-5820-9}}. Retrieved 2011-07-07</ref> in what was probably its last performance to date.<ref name=reassessment1-2/> Wood was an admirer of Dale's music and described his once popular voices and orchestral setting of [[Christina Rossetti]]'s ''Before the Paling of the Stars'' (composed in 1912) as "a choral gem."<ref name=reassessment1-2/><ref name=wood/>

==Later years==
The outbreak of [[World War I]] caught Dale traveling to the [[Bayreuth Festival]] on one of his holiday trips to Germany.<ref name=odnb/> While being kept under parole in [[Nuremberg]] as an enemy alien, Dale wrote three song settings (including two part songs), his first new compositions since 1912.<ref name=reassessment3/> In November, Dale was interned in the civilian internment camp at [[Ruhleben internment camp|Ruhleben]], near Berlin, along with several other prominent musicians, including fellow composer and RAM professor, [[Frederick Keel]], who was in the same barracks.<ref name=reassessment3/> Dale took part in the activities of the Ruhleben Musical Society, formed in 1915 in the wake of a muddy first winter. In particular, he joined forces with the Canadian [[Ernest MacMillan]] (later to become the conductor of the [[Toronto Symphony Orchestra]]), who gave lectures on each of the nine symphonies of Beethoven: at the end of each lecture, MacMillan and Dale would perform a [[Piano four-hands|four hand piano arrangement]] of the symphony under discussion.<ref>Nevins, Maureen (1994). Sir Ernest MacMillan: portrait of a Canadian musician (1893–1973), [http://epe.lac-bac.gc.ca/100/200/301/lac-bac/sir_ernest_macmillan-ef/www.lac-bac.gc.ca/4/6/m7-212-e.html Ruhleben] {{Webarchive|url=https://web.archive.org/web/20100531075157/http://epe.lac-bac.gc.ca/100/200/301/lac-bac/sir_ernest_macmillan-ef/www.lac-bac.gc.ca/4/6/m7-212-e.html |date=31 May 2010 }}. Library and Archives Canada (electronic collection). Retrieved 2011-09-12.</ref> Dale was also one of the musicians who helped MacMillan recreate the score of ''[[The Mikado]]'' from memory for a full performance in the camp.<ref>MacMillan, Sir Ernest; ed. Morey, Carl (1997). MacMillan on music: essays on music, [https://archive.org/details/macmillanonmusic0000macm/page/24  pp. 25–26]. Dundurn Press. {{ISBN|1-55002-285-7}}. Retrieved 2011-09-14.</ref> In 1918, Dale was released early from Ruhleben after breaking his arm, being allowed to stay on a farm in the Netherlands for the duration.<ref>Paton, Chris (rev 2010). Benjamin J Dale, In: [http://ruhleben.tripod.com/id5.html The Ruhleben story] {{Webarchive|url=https://web.archive.org/web/20181213182949/http://ruhleben.tripod.com/id5.html |date=13 December 2018 }} [website]. Retrieved 2011-09-12.</ref>

Despite deteriorating health after the war, Dale was able to travel round the world, examining in Australia and New Zealand for the [[Associated Board of the Royal Schools of Music]]. He started composing again and became professor of harmony and later Warden at the Royal Academy of Music. He also worked for the BBC's Music Advisory Panel. In the post war period, Dale composed several chamber works for violin (recorded for Dutton Epoch),<ref>[http://www.duttonvocalion.co.uk/proddetail.asp?prod=CDLX7157 Benjamin Dale—Complete Music for violin & piano (2005)] {{webarchive |url=https://web.archive.org/web/20110928162856/http://www.duttonvocalion.co.uk/proddetail.asp?prod=CDLX7157 |date=28 September 2011 }}. Dutton Epoch. Retrieved 2011-07-07.</ref> including a large scale Violin Sonata (1921–22).<ref name=reassessment3 /> An anthem, ''A Song of Praise'', followed in 1923. His last major work was the orchestral ''The Flowing Tide'' (1943), which has strong elements of [[Claude Debussy|Debussian]] [[Impressionism (music)|Impressionism]] combined with Romanticism. In 2002, ''The Flowing Tide'' was broadcast complete on [[BBC Radio 3]] with [[Vernon Handley]] conducting the [[BBC Symphony Orchestra]] in what presumably was the first performance of the work since [[Adrian Boult]] conducted its 1943 première.<ref name=proms/><ref name=tide>Foreman, Christopher (2002). [http://www.musicweb-international.com/classrev/2002/Jun02/Dale_flowing_tide.htm Benjamin Dale's ''The Flowing Tide'' Broadcast, BBC Radio 3, Thursday 25 April 2002—First Impressions] {{Webarchive|url=https://web.archive.org/web/20191231195304/http://www.musicweb-international.com/classrev/2002/Jun02/Dale_flowing_tide.htm |date=31 December 2019 }}. MusicWeb International. Retrieved 2011-07-07.</ref> In a detailed review of the event, Christopher Foreman hailed the work as a "major British orchestral masterpiece."<ref name=tide/>

Dale died in July 1943 in London, aged 58, collapsing after having conducted a rehearsal for the première of ''The Flowing Tide''.<ref name=reassessment3/>

==Selected works==
'''Orchestral'''
* ''Horatius'', Overture (1899)
* ''Overture'' for orchestra (1900)
* ''The Tempest'', Overture to [[The Tempest|the Shakespeare play]] (1902)
* ''Concertstück'' (Concert Piece) for organ and orchestra (1904)
* ''Concert Overture'' in G minor (1904)
* ''English Dance'' for small orchestra (1919); arrangement of original (1916) for string octet, also arranged for violin and piano, Op. 10, No. 1 [see below]
* ''Prunella'' for small orchestra (1923); arrangement of original (1916) for violin and piano [see below]
* ''A Holiday Tune'' for small orchestra (1925); arrangement of original (1920) for violin and piano [see below]
* ''The Flowing Tide'', Tone Poem (1924–1943)

'''Chamber'''
* Piano Trio in D minor – 1st movement only (performed 1902)
* ''English Dance'' for 4 violins, 2 violas and 2 cellos (1916); originally intended to introduce Act 3 of Beaumont's ''[[The Knight of the Burning Pestle]]''

'''Violin'''
* ''English Dance'' for violin and piano, Op. 10, No. 1 (1916); originally titled ''Country Dance''
* ''Prunella'' for violin and piano, Op. 10, No.2 (1916); originally intended as an Intermezzo for the play of the same name by [[Laurence Housman]] and [[Harley Granville-Barker]]
* ''A Holiday Tune'' for violin and piano, Op. 10, No. 3 (1920)
* Sonata in E major for violin and piano, Op. 11 (1921–1922)
* ''Ballade'' in C minor for violin and piano, Op. 15 (1926)

'''Viola'''
* ''Suite'' in D major for viola and piano, Op. 2 (1906)
:# Maestoso – Allegretto espressivo
:# Romance (also arranged for viola and orchestra, 1909)
:# Finale: Allegro (also viola and orchestra, 1909)
* ''Phantasy'' in D minor for viola and piano, Op. 4 (1910)
* ''Introduction and Andante'' for 6 violas, Op. 5 (1911, revised 1913)
* ''English Dance'' (1916); arrangement for viola and piano by [[York Bowen]]; original for violin and piano

'''Keyboard'''
* Organ Sonata in D minor (first performed 1902)
* Sonata in D minor for piano, Op. 1 (1902–1905)
* ''Night Fancies'', Impromptu in D{{music|flat}} major for piano, Op. 3 (1907)
* ''English Dance'' for piano (1919); original (1916) for violin and piano
* ''Prunella'' for piano (1923); original (1916) for violin and piano

'''Vocal'''
* ''Music, when soft voices die'', a song setting in E{{music|flat}} major for treble voices with piano accompaniment of the poem by [[Percy Bysshe Shelley|Shelley]] (1914)
* Part-songs, Op. 8[?]<ref name=reassessment3/> (1914)
:# ''My Garden'' in A{{music|flat}}, setting of a mystical poem by [[Thomas Edward Brown|T.E. Brown]]
:# ''Crossing the Bar'' in F major, setting of the [[Crossing the Bar|poem by Tennyson]]
* ''Two Songs from Shakespeare'', Op. 9 (1919); Songs from Shakespeare's ''[[Twelfth Night]]''
:# ''O Mistress Mine'' in F major for low voice and piano
:# ''Come Away, Death'' in D{{music|flat}} major for low voice, viola and piano

'''Choral'''
* Three Christmas Carols, Op. 6 (1911)
* ''Before the Paling of the Stars'' for chorus and orchestra, Op. 7 (1912); setting of a Christmas hymn by [[Christina Rossetti]]
* ''A Song of Praise'', Festival Anthem for soloists, chorus and orchestra, Op. 12 (1923); words by [[Reginald Heber]]; composed for the 269th annual festival of the [[Corporation of the Sons of the Clergy|Sons of the Clergy]]
* ''Rosa Mystica'', Carol for mixed voices with tenor solo (1925); the words from the Mediaeval anthology collected by Mary Segar

'''Writing'''
* ''Harmony, Counterpoint and Improvisation'' by Benjamin Dale, [[Gordon Jacob]], Hugo Anson

==Recordings==
* ''Complete Music for Violin and Piano'': Sonata in E major, Op.11, ''English Dance'', ''Prunella'', ''Holiday Tune'', ''Ballad'', Op.15. Dutton Epoch CDLX7157 (2006)
* ''Music for Viola and Piano'': Suite, Op.2, ''Phantasy'', Op.4, and two piano pieces (''Impromptu'' and ''Prunella''). Etcetera KTC 1105 (1991)
* ''Music for Viola'': Suite, Op.2, ''Phantasy'', Op.4, ''Introduction & Andante for Six Violas'', Op.5, ''English Dance'' (arr. York Bowen). Dutton Epoch CDLX7204 (2008)
* Piano Sonata in D minor
** Mark Bebbington. SOMMCD 097 (2010)
** Danny Driver. Hyperion CDA67827 (2011) (plus ''Night Fancies'', ''Prunella'' and York Bowen's ''Miniature Suite in C Major,'' Op. 14)
** [[Peter Jacobs (pianist)|Peter Jacobs]]. Continuum CCD1044 (1991) (plus ''Night Fancies'' and ''Prunella'')
* ''The Romantic Viola'': Suite, Op.2, ''Phantasy'', Op.4, ''Introduction & Andante for Six Violas'', Op.5. Naxos 8.573167 (2013)

== References ==
{{reflist}}

==External links==
* {{IMSLP|id=Dale, Benjamin James}}
* [https://www.ram.ac.uk/museum/item/33403 Royal Academy of Music] {{Webarchive|url=https://web.archive.org/web/20180801034545/https://www.ram.ac.uk/museum/item/33403 |date=1 August 2018 }} Portrait of [[Rowsby Woof]] and Benjamin Dale

{{Authority control}}
{{DEFAULTSORT:Dale, Benjamin}}
[[Category:1885 births]]
[[Category:1943 deaths]]
[[Category:20th-century English classical composers]]
[[Category:20th-century English male musicians]]
[[Category:English male classical composers]]
[[Category:Alumni of the Royal Academy of Music]]
[[Category:Academics of the Royal Academy of Music]]
[[Category:Fellows of the Royal Academy of Music]]
[[Category:People from Holloway, London]]
[[Category:World War I civilian detainees held by Germany]]

Benjamin Dale - Revision history

imported>RR424: added category