VOL. 1. No. 10. A MUSIC JOURNAL THE REPORT' THE OFFICIAL JOURNAL OF THE INCORPORATED SOCIETY OF. MUSICIANS. 19 BERNERS ST W.1. CONTENTS. IMPORTANT NOTICE ΤΟ MEMBERS MIDDLE-CLASS MUSIC MUSIC MASTERS ASSOCIATION SECTION EURHYTHMICS, ART AND EDUCATION COMPRISING & MUSIC AT OUNDLE- NEW MEMBERS PAGE 209 210 211 THE MEDIUM OF ART BY ALFRED GAZEY MUSIC MISTRESSES SECTION 214 212 213 214 215 223 Ÿ 11 PP1945 hah JULY, 1930 'THE BULLETIN' THE OFFICIAL EDITORIAL PUBLICATION OF THE . . . BRITISH MUSIC SOCIETY, 117-123 GT PORTLAND ST W.1. CONTENTS PAGE 218 BRITISH MUSIC IN HOMBURG 219 GRAMOPHONE NOTES MUSIC IN AMERICA BY HUBERT J. FOSS LIEGE. BY W. W. COBBETT THE LIÉGE FESTIVAL MY REPLY TO THE QUERISTS BY "QUERULUS" BRANCH NEWS THE TEST OF TIME- 220 221 223 224 225 227 228

Two GREAT MUSICAL PRODUCTIONS "The Seasons Ballet" (Glazuno). ALEXANDRE GLAZOUNOV and Symphony Orchestra. 12-inch LIGHT BLUE LABEL, 6/8 each. THE SEASONS BALLET (Glasounov, Op. 67)- 1.-Winter-Introduction; 2.-Winter (a) The Frost; (b) The lee; (e) The Hail; (d) The Snow (Part 1); LX 16 LX 17 LX 18 LX 29 { Played by LX 30 3. (a) The Snow (Conclusion) ; (b) Spring (Part 1); 4. (a) Spring (Conclusion); (b) Summer; 5.-Summer-(a) Waltz of the Cornflowers and Poppies; (b) Barearolle; 6.-Summer-(a) Variation; (b) Coda ; 7.-Autumn-Bacchanal; 8.-Autumn-Petit Adagio; 9.-Autumn-Finale, Les Bacchantes Dance of the LUCERNE Flowers, Valse KURSAAL (Le Pas des Orchestra. Fleurs. Le Corsalre" Ballet (Delibes) ** A Descriptive Leaflet is presented with Part One (Record No. LX 16), Catarkis Feearts MAGICNOILS TRADEMARK "Scheherazade" Suite Symphonique Played by the PARIS CONSERVATOIRE ORCHESTRA Conducted by Philippe Gaubert. 12-inch DARK BLUE LABEL, 4/6 each. SCHEHERAZADE- DX 1 DX 2 DX 3 DX 4 DX 5 DX 6 (Rimsky-Korsakov). 3 Suite Symphonique (Rimsky. Korsakov)- Parts 1 and 2.-First Movement- The Sea and Sinbad's Ship (Parts 1 and 2); Part 3.-First Movement-The Sea and Sinbad's Ship (Conclusion); Part 4.-Second Movement-The Story of the Kalandar Prince (Part 1); 5 and 6.-Second Movement-The Story of the Kalandar Prince (Part 2 and Conclusion); 7 and 8.-Third Movement-The Young Prince and the Young Princess (Parts 1 and 2); 9-(a) Third Movement-The Young Prince and the Young Princess (Conclusion); (b) Fourth Movement Festival of Bagdad; The Sea (First Part); 10. Fourth Movement-Festival of Bagdad; The Sea (Second Part); 11. Fourth Movement (Conclusion) -The Ship is Wrecked. L'ARLESIENNE SUITE-Adagietto No. 1 for Strings (Bizet). Mengelberg and His Concert- gebouw Orchestra. The above Six Records in Album (Price 4/6) with Descriptive Notes. Complete 31s. 64. NOW ON SALE AT ALL DEALERS. _Columbia Fully detailed leaflets of these records and complete catalogue of Columbia "New Process Records, post free-COLUMBIA, 102-108 Clerkenwell Road, London, E.C.I

THE INCORPORATED SOCIETY OF MUSICIANS MUSIC "THE REPORT" VOLUME I. No. 10. A ida THE WAL BRITISH MUSIC SOCIETY JOURNAL COMPRISING: "THE BULLETIN" JULY, 1930. THE REPORT THE OFFICIAL JOURNAL OF THE INCORPORATED SOCIETY OF MUSICIANS. All contributions, notices, and reports of meetings must reach the Society's offices, 19 Berners Street, London, W.1, on or before the 15th of the month. The Editor will be pleased to con- sider original articles, but cannot guarantee their insertion. IMPORTANT NOTICE ΤΟ MEMBERS THIS number of the Journal completes the issues for the current session, and the Committee desire to thank all those members who have con- tributed articles, lectures or notes. The amount of space available each month has not been sufficient to allow all Notices and Reports of meetings to be published, the space available being used at the discretion of the Editor for printing important articles and notices. The next. issue of the Journal will appear on October 1st, 1930, and it will be issued monthly up to and in- cluding July 1st, 1931. A friendly critic recently stated that the Journal had been "gratuitously foisted upon an unwilling world." The word "gratuitously" is correctly used since the Journal is issued free to all members, but the phrase "unwilling world " is surely incorrect. In this world, for example, it is the exception to receive even periodicals without payment, and our sphere of influence is so "particular" that its small and peculiar domain. can hardly be termed an "unwilling world." We recognise, however, that the conditions of publi- cation have been rather unusual. The combination of professional and amateur in a journal designed. to meet the particular needs of both parties has provided occasional problems for the General Editor, but the amateur may have been brought to realise some of the present difficulties which the professional musician has to meet, and the pro- fessional musician has had brought to his notice. many activities conducted by amateur musicians on behalf of Music, with no thought of pecuniary reward. This policy in publication has perhaps prevented the Council from making the fullest use of the Journal as a means of communication. to members. Notices of meetings and Conferences. have appeared, but it has not been possible to give full and detailed information on questions which have been discussed by various Com- mittees. There is much clear and cheering evidence that the work accomplished by Sub-Com- mittees of the Executive during this past year. has not only greatly enhanced the prestige and public affairs, but has influence of the Society been of real service to many individual members. of the Society. On such a leading political ques- tion as that of proprietary examinations, the Council's activities have definitely made this matter one of the major issues in the attempt. to elevate the status of music as profession. Apart from the Annual Conference, there are few opportunities for the Council to meet the members in consultation, and the monthly Journal is the most convenient means of informing them of developments in the Society's policy or organisa- tion. It is essential, therefore, that the members should co-operate in this endeavour to establish a channel of communication, and month by month read the notices and reports, and when invited to forward information of a particular nature, which may be urgently required by the administration, to send the information without delay, either on the form provided or in the manner suggested. With regard to the future, members may rest assured that the Journal will be issued each month from October, 1930, to July, 1931, and that everything possible will be done to make it read- able, useful, informative and authoritative. 209

July, 1930 BRI THE BULLETIN THE OFFICIAL ORGAN of THE BRITISH MUSIC SOCIETY (Founded in 1918 by Dr. A. Eaglefield Hull). Incorporated 1919. President: THE LORD HOWARD DE WALDEN. SIR HUGH ALLEN, K.C.V.O., M.A., D.Mus. PROFESSOR GRANVILLE BANTOCK, M.A. SIR THOMAS BEECHAM, Bart. MAJOR-GENERAL SIR W. S. BRANCKER, K.C.B., A.F.C. ALBERT COATES, Esq. W. W. CORBETT, Esq., F.R.C.M. SIR FREDERICK COWEN, Mus. Doc. SIR WALFORD DAVIES, Mus.Doc., LL.D. MRS. VERNON DEAN, M.A. FREDERICK DELIUS, Esq., C.H. MRS. JAMES DYER. SIR EDWARD ELGAR, O.M. REV. E. H. FELLOWES, Mus.Doc. SIR DAN GODFREY, Hon.R.A.M., L.R.A.M. Vice-Presidents: CECIL H. BATESON, Esq. ADRIAN C. BOULT, Esq., M.A. GERALD M. COOPER, Esq. EDWARD J. DENT, Esq., M.A. A MUSIC JOURNAL SIR HENRY HADOW, C.B.E., M.A., Hon.D.Mus., SIR HAMILTON HARTY. SIR WILLIAM MCCORMICK, M.A., LL.D. J. B. MCEWEN, Esq., F.R.A.M. MRS. W. LEE MATHEWS. SIR S. ERNEST PALMER, Bart., F.R.C.M. SIR LANDON RONALD. GRAHAM PEEL, Esq. DAME ETHEL SMYTH, D.B.E., Mus.Doc. SIR ARTHUR SOMERVELL, Mus.Doc. THE RT. REV. THE BISHOP OF OXFORD, Full Membership: One Guinea per annum. PROFESSOR DONALD TOVEY, B.A., F.R.S.E. LADY MAUDE WARRENDER. SIR HENRY WOOD. 217 D.D., G.B.E., Hon.D.Mus. Committee of Management: Chairman: SIR ARTHUR SOMERVELL, Mus.Doc. Vice-Chairman: W. W. A. ELKIN, Esq. COL. J. C. SOMERVILLE, MISS KATHARINE EGGAR. MAJOR J. T. BAVIN. W. RUSHWORTH, Esq. Hon. Treasurer: COL. J. C. SOMERVILLE, C.M.G., C.B.E. Secretary: W. H. KERRIDGE, Esq., M.A., Mus.Bac., A.R.C.M. Hon. Representative of London Centres: MRS. R. LUCAS. Hon. Representative of Northern Centres: W. R. FELL, Esq. Offices: 117-23 GREAT PORTLAND STREET, LONDON, W.1. Telephone: Langham 3021. F.R.S.L. LT.-COL. R. H. TATTON. FRANCIS TOYE, Esq. C.M.G., C.B.E. OB CTS OF THE SOCIETY The British Music Society exists to promote the organisation and development of music in the British Isles and the British Empire, to build and music lovers are at stake, and to spread the knowledge of music wherever the interests of music up a body of musical opinion capable of making itself felt.itish and of all periods at home and abroad. es its members, wherever they may be situated, to work towards this end by cultivating every kind of musical activity, and not least by making music among themselves, believing that thus the love and knowledge of music are chiefly stimulated and strengthened. The Society is not intended to supplant or compete with any existing organisation; it desires rather to co-ordinate scattered musical activities for the prevention of waste and overlapping. It enrols not only practising musicians, presional and amateur, but all who are conscious of the importance of music as as an element national

A MUSIC JOURNAL VEDITORIAL T WE have much pleasure in announcing that Mrs. Philip Snowden has accepted the Committee's invitation to become a vice-president of the Society. Mrs. Snowden is a great power for good in music and is one of the five directors. of the B.B.C. But apart from any official or social capacity she is a true lover of music, and would do much that others might share her. experience and enjoyment. She gave a reception. at No. 11 Downing Street, on June 22nd, when Princess Helena Victoria, the Prime Minister, Mr. Philip Snowden, the Italian and Polish Ambassadors, the Austrian Minister and many other notable people, including Miss Harriet Cohen, Mr. Eugène Goossens, Mr. John Bar- birolli, Count McCormack and Colonel Blois of Covent Garden listened to music provided by the Italian Opera Singers now appearing in the London Season. In a happy speech Mrs. Snowden welcomed her guests, calling attention to the fact that the Prime Minister and others had tempor- arily forsaken politics for the joy of music, which, she declared, could form a bond between people of different political and religious views, thus creating an atmosphere of peace and good- will. We may be sure that the Italian artists will return to their country not only with pleasant memories of the occasion, but also with the assurance that people in high places in England appreciate Italy at its best; and that assurance will carry much weight with the Italians, who one and all regard their music as an embodiment of national significance. Since Mrs. Snowden holds such strong and lofty views on the power of music to raise men's minds to spiritual con- cord, she will be in full sympathy with that "wider view. of the Society, of which we have heard so much recently, and will both give and receive encouragement by becoming a member. IT was encouraging to find Dr. Adrian Boult the other day speaking seriously and cordially on the subject of amateur music. The occasion. was a meeting of the East Anglian Association of Musical Societies, and the question of the influence of broadcasting on non-professional musical effort was somewhat anxiously discussed. Dr. Boult is particularly well qualified to see both the amateur and the professional point of view, his experience of life having brought him into contact with the vital forces of both all over the country, and at the present moment he is not. only the Musical Director of the British Broad- casting Corporation but also a member of long standing and great devotion of the British Music Society's Committee of Management. We know. that the sympathy which he expressed for amateur music-makers on the occasion referred. to was no empty phrase, but that he has himself that true love of music which unites the purpose of all sincere professional and non-professional musicians. When he says that he feels that the B.B.C. can and will do more than it has been. doing to help amateur musical effort, we may take it to mean that he will do all in his power to prevent rough treatment of those faithful friends of music, to whom one of our articles last month alluded. July, 1930 MR. ANDERSON last month suggested that the B.M.S. should regard itself as remem- brancer to the B.B.C., and allow no occasion of musical sacrilege in broadcast programmes to pass unrebuked. Dr. Boult apparently allowed himself to say that he had found it a great help to receive abusive post-cards from listeners! So what with one thing and what with another, it is quite evident that Jack the Giant-Killer, B.M.S., should be confident in using his little sword. sk THE CONSTANT LAMBERT concert of British Music to be given in Homburg on July 16th, details of which are in another column, will be of special interest to members of the B.M.S., as it was to this Society that Herr Walter Höfner, Director of the Kuraktiengesellschaft in Bad Homburg, addressed his invitation to arrange such a concert. He has since proposed another concert of Chamber Music, and personally asked Miss Harriet Cohen to collaborate in both con- certs, she having made so deep an impression on the public in her recent tour in Germany. Herr Höfner is showing commendable enter- prise in his endeavours to make British music and musicians known to the many visitors from all parts who come at this time of the year to the famous German watering-place. The B.M.S. much appreciates all that Herr Höfner is doing for British music in Germany and has readily been of what assistance it could. The Society is also grateful that its request to the B.B.C. has been successful, and that in consequence members of the B.M.S.-and indeed all in possession of a wireless-set-will have the unique opportunity of hearing an "all-British" concert, conducted by one of our youngest and already most famous British composers, relayed from a concert hall in Germany. * 218 IN Mr. W. W. Cobbett the B.M.S. has an exemplary member, for he is a true amateur at heart with the serious mind and much of the pro- ficiency of a professional musician. His descrip- tive article on Liége, which he has written (Continued on next page)

July, 1930 BRITISH MUSIC IN HOMBURG S the Bulletin, Mr. Constant Lambert will con- duct an orchestra of British music in Bad Hom- burg, Germany, on Wednesday evening, July 16th. The concert, which will be played by the Frankfurt Radio Orchestra, will be broadcast from the Frankfurt Radio and relayed by the London B.B.C. from 8-35 to 9-30 p.m. For this reason the concert, which will begin at 8-15 p.m., will be given without interval. Miss Harriet Cohen, who has recently had a triumphant success at a Bach recital she gave in Bach's birthplace, Eisenach, will be the pianist for this special occasion. The programme, which varies slightly from that given last month, will be :- Symphony No. 4 in F I arranged by Constant Lambert) Boyce (1710-79) "Idyll" from Serenade Symphonic Variations for Piano and ... Arthur Bliss. ... Arnold Bax ... Arthur Bax ...Constant Lambert ... E. J. Moeran Orchestra............. Music for Orchestra ....... In the Mountain Country ...... Sinfonia Concertante for Piano and *** Orchestra .................. William Walton Her Walter Höfner, Director of the Kurak- tiengesellschaft in Bad Homburg, to whose initia- EDITORIAL (Continued from previous page) specially for this number, will prepare us for the charm of the Walloon town, to which many of us are going for the Music Festival in September. As long ago as 1901 Mr. Cobbett read a richly illuminative paper on Walloon Music before the members of the Musical Association. To our request for an article on that same subject Mr. Cobbett responded with characteristic and kindly promptitude. His recent monumental book on Chamber Music, reviewed by Mr. Edward Evans in the May number of the Bulletin, has already. become a classic contribution to the world's musical literature. Mr. Cobbett carries on the tradition of the late Sir George Grove, who although an engineer by profession was, by vocation, a keen and learned musician. He has spent a large part of his life in organising and developing concerns in various parts of the world; yet he has found time not only to study music and write about it, but to play it as well. There is not much concerted string music of which he has not, at some time or other, played a violin part, and he still keeps up the practice. We have therefore good reason to call him an exemplary, member of the B.M.S. tive the project is due, has since arranged for a concert of British Chamber Music on the follow- ing day, July 17th. Miss Harriet Cohen will again play in the Arnold Bax Quartet and with Herr Lenzewski in the second Violin Sonata by Delius. The following is the programme chosen for that concert, which will be played by the Lenzewski Quartet of Frankfurt :- ... E. J. .. J. Moeran ... Arnold Bax ... Delius Arthur Bliss *** String Quartet Piano Quartet Violin Sonata, No. 2 ... Oboe Quintet A MUSIC JOURNAL *** ... *** Herr Höfner, determined to leave nothing undone that shall contribute to the understanding and enjoyment of these two concerts, has invited Professor E. J. Dent to lecture on the works to be heard on July 15th. As Professor Dent is unable to go, Dr. Anton Mayer has consented to give the lecture. Dr. Mayer, well-known in Ger- many as the translator of Purcell's Dido, Vaughan Williams' Sir John in Love, and Professor Dent's book on Mozart, has always been an enthusiastic supporter of British music, and is admirably qualified to give such an explanatory lecture. 219 publishes music which many other firms might not run the risk of publishing. Moreover he com- poses, plays, conducts, lectures, and writes on music and musicians in trenchant style. He has lately returned from America, where he dis- coursed widely on British music generally and in particular on the music he publishes. Before he sailed for the New World he subjected practi- cally the whole of the musical journalism of this country to searching criticism in Music and Letters, from which none escaped-not even A Music Journal, though this modest paper, repre- senting the official organs of the two respective Societies, is not on sale to the general public, and therefore does not fall into the category of ordinary musical journalism. The fact that Mr. Foss, though having higher game to kill, thought. fit to call attention to our paper was an unex- pected compliment, and no time has been lost in inviting him to contribute to our columns. His article on Music in America will therefore be read with unusual interest. bir millenty AN APPOINTMENT Mr. W. H. Kerridge has been appointed Principal of the Education Department in the H.M.V. Gramophone Company and will take up duties in September. By arrangement with H.M.V. he will be at the B.M.S. office on two MR. HUBERT J. FOSS is the enterprising afternoons a week, and by re-organisation of the office work as of the Music of Oxford University Press; as such he boldly B.M.S.

A MUSIC JOURNAL DA GRAMOPHONE NOTES Columbia Upon a Bank (Ward) and Sweet Suffolk Owl (Vautor) (5549). Jelli d'Aranyi has recorded Délibes' Pessepied, her spiccato being particularly effective; on the other side is Albeniz' Tango (DB 108). His Master's Voice The St. George's Singers complete their series Of the new orchestral records Rimsky-Kor- of six records with two charming madrigals- sakoff's Scheherazade is of outstanding merit. In monthly parts it has appeared on six discs (DX 1-6) made from the playing of the Paris Conservatoire Orchestra, conducted by Philippe Gaubert. This symphonic suite is a fascinating musical commentary on the Arabian Night tales told by the Sultana Scheherazade. Unity is imparted to the Suite by the frequent re-appearance of some of the principal themes, whereby the several movements become linked into a structural whole. These records, with their haunting Eastern charm, will recall, for those who saw it, the Russian Ballet of Diaghileff. Conspicuous features in this dazzling music are the alluring effect of the higher violin notes and the monotone rhythm of the tambourine. Tschaikovski's Piano Concerto, played by Solomon in most refreshing manner and con- ducted by Sir Hamilton Harty, has appeared in a special album (LX 19-22). Delicacy of brass is conspicuous in the orchestral part. Mozart's String Quartet in G (K 387) has been recorded by the Lener Quartet (LX14-27), where- by their reputation as the finest string players in the world is considerably strengthened. Brahms' Variations on a Theme by Handel, played by Moiseivitch, appear on three discs (D 1828-30). Handel's Alcina Suite (1735) has been recorded. by Mengelberg and the Philadelphia Orchestra with delightfully crisp and clear playing (E 548-9). MACDOWELL'S MASTERPIECES WOODLAND SKETCHES (Op. 51) Ten immortal miniatures, including the exquisite To a Wild Rose, To a Water Lily, etc. A neverfailing treasury of beautiful things. Complete 5/; or, in two books, 3/- each. SEA PIECES (Op. 55) Eight pieces, portraying the varying moods of the sea with a vividness unequalled by any other composer. Complete 5/; or, in two books, 3/- each. July, 1930 NEW ENGLAND IDYLS (Op. 62) MacDowell's last and most mature work. This set includes the lovely From a Log Cabin, recalling the home in the woods where most of MacDowell's later work was written. Complete 5/, or, in two books, 3/- each. Organ music is well represented by two con- tributions. Bach's great Fantasia and Fugue in G minor, played by Mr. G. D. Cunningham on the organ at St. Margaret's, Westminster, gives a specially bright effect in the upper register. The Fantasia is played well up time and none too. fantastically. In the Fugue the upper voices stand out well, but one misses, especially towards the end, the deep sonorous tones that organ pedals. alone can give. This work appears on a double- sided disc (C 1812). César Franck's Chorale No. 1 makes the other record, with Mr. Guy Weitz at the organ. 220 TWELVE STUDIES (Op. 39) A splendid example of the blend of the technical and musical. Each study, while giving the fingers something definite to do, is also a work of art. In two books, 3/6 each. Each study is also published separately. FORGOTTEN FAIRY TALES A delicious collection of stories in sound," not really difficult, which may be played either by or to children. Complete 3/-. THIRD ("NORSE") SONATA 6/- FORTH (KELTIC") SONATA 6/- No finer piano sonatas have been written since the death of Schumann. Steeped in legend, they are remarkable for their deep thought, their wide range of mood and feeling, and their "pianistic" effectiveness. May we send you (free) our booklet, "The Pianoforte Works of Edward MacDowell," written by Mr. Alec Rowley, the well-known composer and lecturer? Elkin & Co. Ltd., 20 Kingly Street, Regent Street, London, W.1

July, 1930 Hand MUSIC IN AMERICA By HUBERT J. FOSS IN the "movie" world the search is for ideas. The means are have to be found. When the American had finished invent- ing talkies, he had a great sense of completeness. Into his fervent mind there had entered no con- sideration of what the actors were to talk about. That came later, and he is still searching in the future without an intelligent view of the past. Such a generalisation about a vast community of interests like the United States of America is, as usual, only moderately true and totally un- sympathetic. We, from our own little point of view, cannot help thinking poorly of a race which could so blunder over a fundamental question. On the other hand, we didn't even invent talkies. We have, apparently, accepted them. The same odd question could be asked equally of us who only stand and wait-what do we hear them say? The Americans have the projective intelligence to conquer us in this way, and I try to think when (not so much how) we shall conquer them in a better way, and so deserve the praise we bestow on ourselves for being the leader of the English speaking nations. Not that they deny us the title; only that so much that is excellent of what we do is concerned with ourselves rather than with the rest of the world, from which we are cut off by sea. There is some gratification in finding a minis- terialist who has fully realised that the Atlantic is not the biggest barrier between ourselves and the American nation. Lord Eustace Percy, whose two excellent articles on American education in The Times have aroused, I am surprised to see, no comment in the correspondence column, hast discovered that though these two great English speaking nations have similar languages on their tongues, they have utterly different thoughts in their heads. The difference is fundamental. Be- tween musique, musik, musica, and music, there is less variation in meaning than about the same- sounding word that serves both America and England. The divergent connotations of that one word are not comparable, though the word itself is spoken in approximately the same way by the two peoples. That one little noun, so important for us musicians, is only a type of general differ- ence in attitude. mind, which as far as educa- tion is concerned is amply summed up by these two studies, by an educationalist, of the systems. established by England and the U.S.A. and their results upon the community. The first of them comments at the openings on the magnitude of America's undertaking. It develops the theme to the interesting conclusion that:--- 221 A MUSIC JOURNAL "Education seems to teach the Englishman to be sceptical about intangible things, such as politics and religion, social standards and social organisation. But he seems to be inclined to take tangible things as he finds them, to be content with the scientific discoveries of last year and the mechanical inventions of five years ago. The educated American is just the opposite-pro- foundly sceptical about machines, inclined to regard every invention as obsolescent as soon as it has been made, but naively trustful about. political platitudes or philosophical half-truths and almost sheeplike in his acceptance of social conventions." Our Let us focus this comment upon the art of music and restrict its applications to teaching true. is thus profoundly practice. It scepticism about intangible things" leads us, sometimes by hard and bitter failures, to an arguably truc concept of the function of music. But our discussions of the methods of teaching are vitiated by their inability quickly to absorb innovation of method, novelty of idea, or improvement of apparatus. American education is governed by the reverse position. The American is desperately interested in method, and has but too little idea of the end he is serving. We care for the thing to the neglect of the "how." The American has a great respect for the "how." However much he may in others, in one sense he does not neglect the thing. Remember he has orchestras of which we have never dreamed. Remember that Toscanini came to England for the first time as the guest of an American citizen, who sent his orchestra too. We have never sent. a first-rate orchestra, nor even a great adopted conductor, as a visitor to the States. As a counter- weight against this disgraceful lack of enterprise (for Toscanini is an elderly man), we can claim that America absorbs with wonderment our litera- ture on music, never ceasing to be delighted with its clear philosophic expression and its funda- mental grasp of the essentials. They have nothing like it. Their academic theorising is loose, their frequent aesthetic outpourings merely amusing. There are many ways in which we can show them the thing by example and precept. In another of those half-true generalisations it might be said that where we think they act; where we are *personal they are national; while they accept the theoretical nonsense of "pedagogy," we are educationally afraid (for example) of class instruction. The English are not doing enough, but they are doing it very creditably. The Dare I, in the small type of a footnote, spell it Percynal?

A MUSIC JOURNAL Americans are doing a great deal at present, not entirely well. It is unfortunate that the Englishman, so prone to go to sea as a sailor and so familiar a figure as a tourist in Southern Europe, should have so little instinct for going abroad to learn new ideas. The American at least tries to. The Guggenheim Fellowship for composers insists on foreign resi- dence it is his sense of insufficiency that sends nearly every intelligent American on his bi- or triennial trip to Europe. Let us allow that he nearly. always comes at an educationally unfortunate moment, when, owing to our school system, he can take away mistaken ideas of our work: one visitor. last year discovered that two part singing is not done in any English schools! But the point is that the lady in question came to learn, and I suggest that it is vitally important for us to visit the American schools, at the right period in the "semester," with the same object. The plea is hopeless, I know. We don't think that way, rather to our discredit. The expenditure on fares to America does not appear to an Englishman to be a investment: educatio authori- ties have never thought of such a thing, as a method of training teachers in a new way. But it means we are tacitly assuming that that concourse of over one hundred million people, who under- stand our language and are, some of them, descended from us and, all of them, related to us in a way, have nothing, with all their vast prob- lems, that they can teach us. To anyone who knows the American schools and their work this is entirely untrue. I am intensely certain that we can and must learn a vast amount from America. I am certain too they can learn from us: I want England to give to them, as I feel sure they can give to us. Could anything be better for those who are brought up on the rivalry of the Associated Board and Trinity College examinations than to see a similar but compulsory system of state "credits" working in American educational systems? That is but one example. The whole point is that a conflation of ideas is necessary- we to offer X, and they Y, to the other. "Let me not to the marriage of true minds admit impedi- ments." An opportunity to begin this intercourse has been found in the Anglo-American Congress on Music Education, held at Lausanne last year, and to be held there next year again. We must not think only of our gain as the aim of this con- ference. It is much. But we can too give, though. perhaps what we give is what we are least con- scious of. The concatenation of similar interests is what matters, and so only can the thing live. But at least our general enterprise ought to vie with theirs, and if they come across to us as they are doing, we ought to be prepared for our own benefit to go to them. We have much to gain from July, 1930 it, and though I realise how alien a suggestion this is to the English mind, I cannot but blame the mind and not the knowledge it might gain-a commonly reversed sentiment-for its reluctance to take the step. Meanwhile, we ought to be able to set down what is our chief contribution to educational advancement in music to-day. In my view it is not our theoretical ideas but our music, which happily our educational thought has accepted. Our music " for educational purposes. (usually a hateful conception) outclasses the world. Isolated figures like Heller have brought to the easy piano piece the same ideal, but nowhere. known to me has there ever existed such a cor- pus of first-rate music for practical use. Here is one result of our particular insularity: our composers, one and all, have been content to write their best not always for the world but for a purpose. It is to be hoped that thus they will conquer the world. Their aim is sufficient. The English revival has created a new kind of music, a journalistic music. As the so recently lamented Haslam Mills and C. E. Montague proved (among many others still living), journal- ism can and must be first-rate, under a well- organised, self-sacrificing, and cultural system of society. Journalism, indeed, need not be anything else but first-rate, if it is tackled rightly. It seems to be our function to take to that country where journalism rules, a new conception and a new and high ideal of daily music. Their failing is our strength. We can physically show that the music is better than the method. We can then learn the best in method at the same time. HUBERT J. Foss. BRANCH NEWS Blackheath An enjoyable concert was given by members at the Blackheath Chambers on May 29th. The programme included a charming Sonata- Trio of Dr. Arne's for two violins and piano (Mr. E. St. Clair Hobbins, and the Misses Worsdell and Perman), Dohnányi's Sonata for violin and piano (Misses Worsdell and Perman), piano solos by Rachmaninoff (Miss Beatrice Thomas), a most interesting group of songs by M. de Falla-Canciones populares Españolas (Mr. B. E. C. Davis, with Mrs. Lucas at the piano), and a group of modern songs by Vaughan Williams, Hamilton Harty and Cyril Scott (Miss Marjorie Dence). As this concert showed, the Centre is to be congratulated on numbering among its members. some very talented young musicians. There will be no further meetings until early October, when the Stratton String Quartet will visit the Centre. E.J.W. 222

July, 1930 LIÉGE By W. W. COBBETT THE forthcoming festival of the I.S.M. at Liége lends especial interest to the music and musicians of the Walloon provinces of Belgium. This was the subject I chose for treatment in a lecture given on January 9th, 1901, to the members of the Musical Association, and the Editor suggests, with characteristic optimism, that an article incorporating a few of the remarks I then made, would be acceptable just now to readers of the Bulletin. I have, however, this avowal to make. Since my last visit to Liége, in the summer of 1901 (on which occasion I received a very hearty welcome from Monsieur J. Théodore Radoux, principal of the local Conservatoire), the subject has lain fallow in my mind, and these hasty notes are consequently far from being up to date. Before touching on the musical side of my article, may be well to point out that the popu- lation of Belgium is divided into two sections; the Flemings, of Teutonic origin, speaking a language which is practically Dutch, and the Walloons, of Celtic origin, speaking French and Walloon. The latter occupy the S.W. provinces of Liége, Namur, Hainault, South Brabant and West Luxembourg, and speak a Romantic dialect. very akin to Northern French of the thirteenth century. There is, I believe, little difference in point of numbers between the two races, but they are quite distinct, as much so as Welsh and English, and for similar ethnical reasons. The very word Walloon has the same signification as the word Welsh, both meaning foreigner." Neither Fleming nor Walloon belies his origin. The former is fair, phlegmatic and often greatly addicted to the pictorial art, the latter dark, sanguine, lively and almost always a lover of music. The Walloons were ever to the fore in revolutionary struggles, of which readers can learn in a very pleasant way from Scott's Quentin Durward and Michelet's Louis XI. Of the musicians born in the Walloon district. the most famous was César Franck, though he became French by the naturalisation of his father at the age of twelve; and is accounted the founder of the modern school of French composers, of which Mons. Vincent d'Indy is the most distinguished living representative. I do not need to dwell upon the supreme qualities of musicianship of César Franck. Everyone knows that they have given him his position of master musician of world-wide fame. A MUSIC JOURNAL It is perhaps less known than many of the great Netherlandish composers of the polyphonic school were born in Wallonia, also at a later period Grétry and (I think) Méhul, whilst two leading composers of the present day, Jongen, present principal of the Brussels Conservatoire, and Lekeu, are both of Walloon origin, and have used native folk song largely in their works. As space is limited, I will now take a short cut and point out that musical Wallonia is before all famous for the cult of the art of string play- ing. Vieuxtemps (b. Verviers) put this in a nut- shell when, in a letter addressed to his friend Radoux, he wrote: "Decidedly our country is dedicated to the violinist-il en pousse comme des champignons." Liége is a nursery of violinists world, forming a tributary stream to the great and 'cellists who spread themselves all over the river of art. Walloon folk song, strongly tinged with French influence, and allied on festive occasions (like our own "Furry Faddy," in Cornwall) with the dance, is of extraordinary interest. This alliance is known as the Cramignon, once described as the "farandole of Liége" -danced and sung at every Kermesse and village fête in the province of Liége. When out for a holiday, the pollity of the Walloon people takes lyric and terpsichorean form. A voice sings a couplet to a popular Cramignon tune and a few, with hands enlaced, join in the refrain. More come in till the numbers spread to dozens, whilst the fun grows fast and furious, the merry jingle louder and louder. The crowd swells to larger propor- tions, spreads the adjacent streets, and other singers start singing the same couplet. It is like so many bees swarming. The crowd by this time. numbers perhaps two or three hundreds, all gambolling along after a leader holding a flag aloft, jigging in at one door and out of another 223 Here are a few of the names, besides Vieux- temps, who have done honour to the land of their birth Ysaye (a giant of the executant's art), César Thomson, Marsick, Prume, Debroux, Parent, Ovide Musin, Rémy, Léonard and the 'cellist Jean Gerardy, whilst orchestras of Europe and America have been filled for genera- tions with competent performers whose musical education was received in the Walloon towns of Liége (this city contains the oldest Conservatoire in Belgium) Tournai, Verviers, Namur and Charleroi, all subsidised, I believe, by their. respective municipalities-in any case fostered by them. In short, there is no country in the world so redolent of string music, with the possible exception of Hungary, where the Gipsies play their violins morning, noon and night, but do not quite rank as artists.

A MUSIC JOURNAL like a gigantic serpent, surrounding passers-by of the better class, dancing round them and chaffing them, then dropping back in single file, and so the fun proceeds till fatigue sets in. Such is the Cramignon. I have omitted to mention that one among the dancers-he who brings up the rear-always carries a large bouquet. I might also mention that the Cramignons often contain an under- current of satiric meaning, and are almost always. un peu leste, like the more audacious of Béranger's songs, but without the touch of sentiment which, as Robert Louis Stevenson remarked, the poet infused into all he wrote. But the songs of the folk of Gallo-Romanic stock were ARRANGEMENTS for the Festival (Sep- This Application can also be made direct 1 tember 1-8) are now well in hand. The Belgian Committee has just issued its official circular, an English version of which was given WAS in the June Bulletin. Messrs. Thomas Cook have also issued a circular in French from their Brussels office; they have also prepared one from the London office specially for visitors who wish to travel from England. This circular, to- gether with the detailed programme of events, will be sent to enquirers who will to the B.M.S. office, 117 Great Portland Street, W.1. D... to Messrs. den W Thomas Cook, Berkeley Street, London, W., in which case envelopes should bear the indication : Continental Department, Liége Music Festival. Messrs. Cook wish to state that, though they are issuing a circular involving the complete. ircula itinerary from London to Liége and back, they will be only too pleased to quote special fares. for those members who may not find it con- venient to travel out and home in accordance. with the planned itinerary. They will, in fact, quote for any desired variation from the full itinerary-i.e., accommodation alone, or for fewer days than the whole Festival. foron July, 1930 ever so, and one need not be offended at what is merely frank and primitive. Visitors, especially students in search of novelty and possibly adventure, will be glad to know that it has been decided to provide a "hotel flottant in the shape of a boat on the river Meuse. Accommodation in this will be much less expensive than in an established hotel, as the following tariff will show. The rate of exchange being approximately 170 Belgian Francs to the English pound, the cost can be estimated with reasonable accuracy :- I once possessed, but have mislaid, a collection of Cramignons compiled by the late Mr. Leonard Terry, a work which gained a gold medal offered by the Liége Society of Walloon literature. Hel pointed out the curious antique tonality of some of the songs, and the frequent irregularity of the rhythms Serious folk song is found in the slow move- ment of Guillaume Lekeu's sonata, and the jolliest of tunes in the Finale of Victor Vreul's sonata, both composed for pianoforte and violin. LIÉGE FESTIVAL I hope the visitors to Liége will have a splendid time, and regret my own inability to be present. 33 2nd Class: 3rd Class: HOTEL FLOTTANT SUR LA MEUSE. 1st Class :-Cabin with one berth, 45 fcs. per day. two berths, 75 large bed, 60 two berths, 45 two (ladies12350 12.50 (gentlemen) 12.50, 11 73 3+ . 75 Dormitory P 91 H 31 25 22 ** "" " 23 Though this in hotel flottant" is not included office will be glad to make reservations for cabins Messrs. Cook's English circular, the London and berths, if specially asked. For the benefit of those who did not see the announcement in the June Bulletin the following information is added :- There is one subscription to both Festival and Congress. A member's card entitles the holder to be present at all the events contained in the programme, whether musical or scientific. The subscription has been fixed at 25 Belgian francs (about 3/-) for members of the National Sections of the I.S.C.M. and of the Society of Musicology; and 150 Belgian francs (about 18/6) for all persons, not members of the above Societies, who wish to participate in the Con- gress and attend the Festival at Liége. The sub- scription for ladies of a member's family will be half the foregoing. No money should be sent to the B.M.S. office; cards are to be paid for on claiming them at the Festival Bureau in Liége (Conservatoire Royal, Rue Forgeur). All arrangements for travelling, hotels, etc., have been placed by the Belgian Committee in the hands of Messrs. Thomas Cook & Son, of whom inquiries should be made at their Head Office, Berkeley Street, London, W. It is of course open to visitors to go to the Festival independently of Messrs. Cook, in which case, however, accommodation cannot be guaran- teed. 224

July, 1930 MY REPLY TO THE QUERISTS By "QUERULUS" tributed to the May Bulletin, has drawn fire from several quarters; courtesy alone demands that some reply be made. I should per- haps explain that the article was not originally intended for the Bulletin, but was written for the magazine of a College where little interest in music is displayed by the students (of both sexes), sport being predominant and music being resorted to chiefly when a College Social has to be organised; hence the apparently uncalled-for reference to sporting proclivities" in relation to music. The article being too late for the magazine in question, I, being a member of the B.M.S., thought it might interest other members. I should like to refer to some of the "queries' addressed to me in the June number. Mr. Jervis-Read very naturally takes exception to my jibe concerning "able-bodied men and women passively absorbed in listening to music, while so much of the world's work is waiting to be done." I had in mind not only those "sporting students" but the people who must be for ever "up and doing something," and who regard any form of reverie or contemplation as mere "Day- dreaming." There are many active people for whom the act of sitting still at a concert amounts almost to physical torture. That brilliant prophetic author, Lord Birkenhead, several years ago declared at a public dinner, to which he was invited by the Federation of British Music In- dustries, that he would rather give fifty pounds. than sit through a symphony concert. Bergson himself has suggested that in listening to music we are voluntarily submitting to hypnotic influence; people who may never have read his books may be excused for coming to the same opinion. It was of such that I was thinking. Argumentative" plays entirely into my hands in paragraph (3) of her reply-I had asked what happened to the children who enjoy children's concerts, but appear not to carry over their enjoyment of music into adult age. She openly declares she may be speaking only for herself- that "school children welcome an outing of any sort..... if it meant music in the school hall, without the glamour of the outer world.... the majority, if given the choice, would choose a hockey or cricket match in preference to the con- cert. When they are older, concerts have lost the possible glamorous novelty they had in school days, and being part of the school curriculum are left behind as such." I myself had this appre- hension but had not the moral courage to express A MUSIC JOURNAL just the spirit of examination and competition among the young people which is responsible for the decline of interest in music among our adults." He then says: "We degrade the Art (of Music) to the level of sport-entertainment-examination competition, instead of regarding it as a means of filling our souls with Eternal Beauty and the expression thereof." He further says he has "had the good fortune of teaching music in India, where pupils have quite spontaneously uttered sentiments similar to the above." This is strong indeed! To give a general reply to the "Queries for 'Querulus'" I ought to point out that my article was intended to drive home the danger, peculiar to our national musical life, of engaging in music with some other object in view," instead of fostering it for its own sake and for none other. As a nation we lack perhaps what Continental philosophers would call the Will to Music." Post-war France, Italy and Poland have deliber- ately set out to cultivate a "Will to Sport," with marked success in all three countries. We should be, and indeed are, cultivating a "Will to Music through our children's concerts, examinations and competitions, all three of which are almost un- known on the Continent. But unless "the Music's the thing," and until through our efforts people spontaneously make or demand music for them- selves and for itself, we shall not have achieved. our purpose. My reference to the "competitive spirit" in music and its probable origin in our sporting proclivities may have led Mr. Jervis-Read and others to suppose that I was inimical to the com- petition movement. On the contrary I have com- plete faith in its ultimate power for good. I do feel, however, that in a country like ours, where. sport" occupies the general interest and fills the newspapers to an extent unparalleled in any other nation on earth, there is a peculiar danger lest many enthusiasts forget that the competition is only a means to an end. Hence I am in passionate agreement with those Competition Adjudicators who publicly declare that the chief event in a competition should be the combined concert at the end, when competition is sub- limated into co-operation. In most walks of life competition is the very salt of that life; yet there are some features, in both our personal and national experience, which we instinctively feel would suffer hurt if exposed to the competitive spirit. Why do most of us object to Beauty Competitions"? Surely not because we fear they will encompass the sub- sequent ruin of the fair competitors. If it is laudable for a dozen singers to sing a song, pre- sumably a thing of beauty, competitively in it! "Anti-Querulus" is such only in name, for he puts my case even more forcibly than I did myself! He says it is his conviction. that it is 225

A MUSIC JOURNAL public, why should we discourage twelve young people, presumably objects of beauty, from publicly proclaiming and comparing their beauty likewise? I cannot give the reason. To create the beautiful in public is worthy of encouragement; to be beautiful and call attention to the fact is contrary to our "moeurs." amorous Love and the "love-life," as the Americans call it, is unthinkable as a subject for competition. Love, from one point of view, may be regarded as one huge competition, considering the element of jealousy to which in some form or other it inevitably gives rise. But while hardly a play or an opera is without a love-scene, no enter- prising impresario has ever yet staged a public competition in love-duets between couples. Yet, there being more ways of making love than one, an exceedingly interesting com- petition can well be conceived, where couples could be awarded marks for sentiment, finesse, passion, tempo, reserve and other "points relative to the technique and art of procedure. Men and women normally without ecstasy, realis- ing by comparison with others what they were missing, might be spurred on to emulation; and soured domestic couple might be sweetened by competition, which to quote Mr. Jervis-Read, "the reward and public recognition of fine work finely done." It is to be feared, however, that an apprehensive Home Secretary might drastically affect the experimental side of such a Festival. many a Religious life on a competitive basis-to take an example from an entirely different source- would strike most people (outside Soviet Russia perhaps) as gross sacrilege amounting to blas- phemy. All missionary work and religious propa- ganda is of course fundamentally competitive in spirit, however much the protaganists might hate to think so. Musical competitions can breed. such magnanimity that conductors of choirs have been known to recommend certain of their choristers to join a better choir in the choristers' own interests. But there is no record of any spiritual pastor's having suggested that one of his own flock should go over to another church or sect, on the ground that he was too good for his present congregation. In some respects, therefore, an element of competition might make for that wider communion that so many of the churches desire. July, 1930 for such a Festival. I appear to have laboured the point. My sole concern is to show that while competition is a healthy and even indispensable factor in many of our varied activities, whether business or pleasure, there are certain phases in our life. where competition would be out of place, if not positively detrimental. It may be said that even in a non-competitive concert we instinctively compare the performance with others we have. heard; but while comparison enters into all com- petition, it is not the same as competition. True art suffers comparison but is beyond competition. All Art ultimately tends to the condition of Music," declared Walter Pater. It may be no more than a pious hope that the truly musical life should tend to the condition of the truly religious life. For the devoutly religious are such by virtue of an inner personal need; the really musical seek music for no other reason. When the British people demand music because they have a personal need for it, in the way that many con- tinental nations prove their need by allowing without protest State and Iunicipal money to be granted as subsidies to opera-houses, orchestras, choirs, conservatoires, etc., so that music becomes an integral part of cultural and even civic life- then, and not till then, can we call the British a really musical people. But despite the oft-heard cry of empr churches, no one has yet proposed a public com- petition in the intoning of the Litany or in the reciting of a prescribed Liturgy as a means of stimulating public interest in religion. There may be numbers of the recalcitrant clergy in the Bishop of Birmingham's diocese aching for such a competition, who would love to score "points" over the less "advanced" brethren in ritual minutie; yet none has ever made public demand. What is a really musical man?" One surely who will join a choir or orchestra, who will play Bach to himself, will go to concerts or listen attentively to the B.B.C. for no other reason than that he "wants music." In so far as examinations and competitions help him to discriminate and encourage him to aspire to fuller knowledge and higher attainment they can be productive of nothing but good. But we English, being what psycho-analysts call "extraverts' and specially prone to an undue regard for externals, are peculiarly liable to mistake appearance for reality. Dr. Ernest Walker, in A History of Music in England, makes similar comment and says: "The love of tangible results in the shape of titles and certifi- cates is indeed, in the field of music, a specially British characteristic." I wrote in my article that, whereas in a pre- vious generation there was much talk of "Art for Art's sake," an apt description of much of our present musical activity would be "Music for the sake of Something Else." Thinking of the people who are religious because of an inner need. and conviction, who pursue science in their search for truth, who love because they cannot help it, who walk or swim or dance for the sheer joy of such activity, I am merely hoping that we shall ultimately become a people who, awakened to a vital necessity, shall want music and make it-for no other reason than that it is music and that "they won't be happy till they get it." 226

July, 1930 BRANCH Bournemouth At the May meeting of this Centre a most enjoyable recital was given by Miss Olivia Hilder and Miss Dorothy Tresedee, who sang and played music of the Elizabethan, Romantic and Modern Periods. The first half of the programme was made as truly Elizabethan as possible, the ladies wearing the costumes of the time and the instru- ment used for solo and accompaniment purposes was the spinet. The composers drawn upon were thoroughly representative of that amazing genius which flourished in the time of Good Queen Bess. After the interval a Blüthner Grand was sub- stituted and works of Schumann, Brahms, Chopin, etc., were performed. Both ladies gave of their best and the recital was of a real educa- tional value, as well as being artistic. H.A.D. Salisbury The Salisbury Centre has enjoyed the most successful season in its history so far. In addition to the public concerts, four Conversaziones have been held at which the music has been provided by members and local artistes, and these have proved to be most pleasurable, and helpful in developing a corporate sense. The Sydney A Gramophone evening, devoted to the per- formance of records of interesting modern orchestral works, was given in Paling's Concert Hall, on April 11. A MUSIC JOURNAL NEWS chief themes played on the piano. On May 7th, a recital of modern piano music by Mr. Isidor Goodman, who has recently come to Sydney, drew a large attendance of members. to Paling's Concert Hall. The programme included L'Almanach des Images, Grovlez, Scriabine's Sonata Fantaisie No. 2 and an attractive group of pieces by Ravel, Debussy, Palmgren, Pick-Mangiagalli, Fagan and Albeniz. The compositions selected were Stravinski's Petrouchka, Delius's Brigg Fair, Falla's Night in the Gardens of Spain and Honegger's Pacific, and each was preceded by a foreword delivered by Messrs. Moore Macmahon, president, Lindley Evans, Wilfred Orlon and G. Vincent, the respec- tive composers' intentions being explained and the 227 The evening, one of the most successful of this nature given by this Centre, was thoroughly enjoyed. four public concerts held in October, December, January and April, have provided programmes of a most varied character, which have been thoroughly enjoyed ing played by Mr. Ungerson and good audiences, and members recall with the happiest memories the visits of the Entente String Quartet, the Elizabethan Singers, and the playing and singing of such artists as :- Misses May Mukle, Helen Henschel, Marie Wilson, Effie Klenau, Susanne de Livet, Joyce Rollitt, Mr. Boris Perker and Mr. George Parker. The Centre has an increased membership, and having for the first time successfully paid its way without adventitious aid, looks forward to the future with confidence. Woolwich most A meeting for members and their friends took place on Sunday evening, June 1st, from 6-30 p.m. until 10 p.m. We eived on this occasio welcome visit from Miss Ursula Kantrovitch, 'cellist, and Mr. Ronald Good, violinist. The with the Mozart Piano evening commenced Quartet in G minor, played by Messrs. Ronald Good, Julius Ungerson, Miss Ursula Kantrovitch and Mr. Robert Martindale, and this was followed and inna Weaver. by a Miss Philippa y a group of songs by The third item was the Grieg C minor (3rd) Sonata for violin and piano, the instruments be- Miss Dorothy Peacock respectively. The well-known Bach Concerto in C minor for two pianos has been very well arranged in D minor for two violins and piano by Ossip Schnirlin, and in this form it was played by Messrs. Ungerson, Good and Martindale. Neither of the violinists had seen this Concerto before, and both read their parts at sight. Congratulations! R.W.D. The fifth item was the Brahms' Piano Quartet in G minor. In all probability it was this great work which provided the greatest pleasure of the evening for the majority present. A second group of songs by Miss Weaver followed, in which she was again accompanied by Mr. Martindale. Next we had the pleasure of hearing the Ravel Sonata for violin and piano, played by Messrs. Good and Martindale. Three cheers for Ravel and his Son Sonata, and watch the Radio Times imes closely for the appearance of t of this work at noon on Fridays. The eighth and last item was the Mozart Piano Quartet in A major, played by Messrs. Good, Ungerson, Miss Kantrovitch and Mr. Martindale. No official time-keepers were present, so this cannot be accepted as a B.M.S. record sitting.

A MUSIC JOURNAL MELBOURNE Although there has been no news forwarded recently to the Bulletin, the Melbourne Centre. has held the usual number of concerts, and it is intended that our activities be reported more regularly in the future. Since the departure for Europe of our hon. representative, Mrs. James Dyer, the last three. years have been very difficult for the Melbourne. Centre. Through Mrs. Dyer's generosity members enjoyed a great number of extra concerts and evenings at her charming home, and the dis- appointment of having fewer concerts after her departure was in proportion to the pleasure pre- The membership list viously experienced. dwindled to less than one quarter of its previous number. However, by very careful expenditure, and the support of those members really interested in British music, the Centre is now on the upward grade. We are very fortunate in that Mrs. Thomas Smith lends her home for our evenings, and members had the opportunity of mingling after the programme for discussion of the music. and supper. THE TEST OF TIME THE idea suggested in the article entitled Co-operation, in the June number of the The Bulletin occurred to Miss Gwynne Kimpton and Miss Frances Marshall as long ago as 1902. They founded the Strings Club under the presi- dency of Mr. Alfred Gibson. The Club is still a flourishing concern, numbering about sixty members, the president now being the Rev. E. II. Fellowes, Mus.Doc., one of the vice-presidents. of the B.M.S. After the War the Club was re-organised under the musical and financial control of Miss Gwynne Kimpton. Meetings for practice are held on Thursdays from 10 a.m. to 6 p.m., at 9 Linden Gardens, the house of a member whose enthusiasm leads her generously to invite the Club. The entrance fee is 10/6, and the Club fee £1 11s. 6d. for ten weekly practices of one hour each; £2 2s. Od. for pianists. The scheme provides for personal coaching by a professional player in each party; but if another professional is desired an extra fee has to be charged. July, 1930 On March 14th an interesting programme was arranged by the Prockter Trio (Marjorie, Gwen and Mrs. É. H. Prockter). Included in the pro- gramme were the Dumky Trios, Nos. 1, 2, 3, and 6 (Dvořák), Miniature Trios (Frank Bridge), Symphonic Variations for 'cello (Boellmann) and piano and violin numbers. The Prockter Trio is noted for its ensemble and sincere musicianship, and the evening was of particular interest to members, as the Misses Gwen and Marjorie were leaving at an early date for Europe to continue their studies. On March 7th a delightful evening of English madrigals was given by the Victorian Singers, under the direction of Mr. Harold Browning. Morley's Ladies, you see time flieth, and Bate- son's Camilla fair trip o'er the Plain were par- ticularly successful items. The programme in- cluded other madrigals by Morley, also by Walmsley and Orlando Gibbons, part-songs by Dunhill and Morley, sea chantey and chorus, Rio Grande, arranged by Arthur Fagge and Hugh Roberton's quartet, King Arthur. Solos were given by Lola Edwards and Roy Warren. S.H. NEW MUSIC Edward Arnold's Singing Class Series, edited by Thomas F. Dunhill, has some good additions, including Unison Songs by Norman Demuth, Thomas Dunhill, Dorothy Howell, Percy Judd, Alec Rowley, C. Hylton Stewart, and Cyril Winn (3d. each). General Club meetings are held from time to time, at which the works practised are performed. The Secretary, New Strings Club, 9 Linden. Gardens, W.2, will give all further information. HILDA F. KEKEWICH. "48." The Oxford University Press maintains its reputation for vision, high aim and adventure. Vaughan Williams'.Sir John in Love, first per- formed at the R.C.M. over a year ago, is now published in vocal score. Admirers of Arthur Bliss will welcome the appearance of the piano score of the Serenade for orchestra and bari- tone. It consists of four movements The Seren- ader, Fair is my Love, Idyll, Tune on my Pipe- which may be obtained separately or complete for 7/6. Chamber Music publications include Granville Bantock's Sonata for violin and piano, which appeared a few months ago, and Gordon Jacob's String Quartet which is quite recent. This young composer's work is remarkable for rhythmic ingenuity and vigour and subtle phras- ing. While essentially modern in spirit, it con- tains nothing to give malaise "to a harmonically weak digestion, and should be eagerly played by all quartets worth the name. John Barbirolli has aptly arranged for 'cello or violin, and piano Sir Airs, which range from Purcell to Schumann; and Théodore Dubois has transcribed for piano duet several of the Bach

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