Richard Stewart Addinsell (13 January 190414 November 1977) was an English 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). Biography Early life Richard Addinsell was born in Woburn Square, London, to William Arthur Addinsell, who was a chartered accountant, and his wife, Annie Beatrice Richards. The younger of two brothers, Addinsell was educated at home before attending Hertford College, Oxford, to study Law but went down after just 18 months. He then became interested in music. Early career In 1925, he enrolled at the Royal College of Music but lasted only two terms before leaving, again without obtaining any formal qualification. By this time Addinsell was already collaborating with Noel Gay, among others, in an André Charlot Revue. More work for Charlot in 1927 was followed in 1928 by a collaboration with Clemence Dane on Adam's Opera at The Old Vic. In 1929, he completed his informal education by touring Europe to visit major theatrical and musical centres such as Berlin and Vienna. In 1932, with Clemence Dane, he wrote the incidental music for the Broadway adaptation of the combined Alice in Wonderland and Through the Looking Glass by Eva Le Gallienne, starring Josephine Hutchinson (produced 1933). In 1947 it was revived, starring Bambi Linn. Career in film composition 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 scored Hitchcock's Under Capricorn (1949), referencing Irish folk melody in the score to support the Irish characters and their history. 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 the south of England from 1958 to 1981. 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, often reconstructed by musicologist and composer Philip Lane from the soundtracks