Beurling." acesofww2.com'. Retrieved: 3 August 2009.</ref> Prince Emanuel Vladimirovitch Galitzine was the great-great grandson of Catherine the Great. He fled Russia with his parents and siblings in the wake of the October Revolution in 1917, and settled in England, where he was educated. Galitzine joined the RAF Volunteer Reserve on a Short Service Commission in late 1938, but left again to go to Finland in early 1940 to fight the Soviets attempting to occupy the country. Returning to London again in October 1940, after his mother was killed in the Blitz, Galitzine rejoined the RAFVR, but had to do so as an aircraftsman, though he was recommissioned in September 1941. Galitzine saw operational service in several squadrons before joining 41 Squadron as a Fg Off in May 1943, and he claimed a probably destroyed enemy aircraft with the unit in October. Following his tenure with the squadron, he was rested as personal assistant to Air Vice-Marshal Sir William Dickson, then commanding 83 Group, which was preparing for the Normandy invasion. When Dickson was posted to Italy, Galitzine accompanied him, adding Italian to an already impressive list of languages he spoke. Following the War, Galitzine worked in the civil aviation industry, but maintained links with Russia and, in 1998, attended the reburial and funeral service of the murdered Tsar and his family in St Petersburg. Flying Officer Peter Gibbs was a generally unassuming character who served with 41 Squadron between January 1944 and March 1945. He was an active pilot during his tour and an avid musician. He became a professional musician after he left the RAF in August 1945 and joined the Philharmonia Orchestra in 1954. Within two years, he had joined the London Symphony Orchestra and during this time became (in)famous for a dressing down he gave to one of the Century's most celebrated performing artists, Herbert von Karajan. The orchestra felt von Karajan had been unprofessional when conducting smaller, ‘less important’ concerts during a tour of the United States in 1956. He had often just bowed once and left the stage at the end of concerts, refusing to return for encores, despite the applause from the audience. The orchestra was slighted by this behaviour, and eventually had had enough. The last straw came when von Karajan left the stage in Boston after the last note was played, neither waiting for applause nor calls for an encore. The orchestra,