Charles King Hall

King Hall's entry in A Biographical Dictionary of Musicians calls his German Reed operettas "his most popular works.

[5] King Hall's mother, Eleanor Eliza Jane Vining, came from a family of well-known dramatic and comedic actors.

The newspaper covering the event described King Hall as "the promising young Professor of Music, and son of the well-known conductor at the Princess's Theatre."

The composer's younger son, Ernest Vincent King-Hall (1885–1941) was a Royal Navy officer who married Hylda May Shallard, a chorister in the D'Oyly Carte Opera Company from 1907 to 1909; he died during the Second World War.

[14] King Hall collaborated with such librettists as Arthur Law, F. C. Burnand, Gilbert Arthur à Beckett, Walter Frith and J. Comyns Carr, composing the scores for Foster Brothers (1877), A Happy Bungalow (1877), Doubleday's Will (1878), A Tremendous Mystery (1878), The Artful Automaton (1878), Grimstone Grange (1879), A Christmas Stocking (1879–1880), A Merry Christmas (1880–1881), A Strange Host (1882–1883), The Naturalist (1887), The Verger (1889–1890) and Missing (1894).

From 1867 ("Golden Moments Gallop for the Pianoforte") to the year of his death ("An Emblem of Life; A Duet for Female Voices"), his work appeared regularly in both England and America.

[18] He specialized in arranging for piano and voice the theatre scores of other British composers, such as Arthur Sullivan's Haddon Hall and Ernest Ford's Jane Annie.

"[24] That same year, King Hall wrote a short piece for a popular girls' magazine about the challenge of playing the harmonium, urging frustrated novices to persevere and "not let your disappointment keep you from trying again.

[30] A notice of his death in a Scottish newspaper recalled King Hall's "connection with the old German Reeds’ entertainment, to which he contributed a large number of operettas and musical sketches.