and - Nahal Joy A Porter Musicians. k बts wmust THE INCORPORATED B. with preceding. PP. 1945 hdk JAM THE SOCIETY OF MUSICIANS MIMOAARLIAMO BRITISH MUSIC SOCIETY MUSIC JOURNAL tom olise to batnio COMPRISING: "THE REPORT" ibni lo "THE BULLETIN" VOLUME I, No. 1.. OCTOBER, 1929 Kibw noisilivio THE REPORT 619 THE OFFICIAL JOURNAL OF THE INCORPORATED SOCIETY OF MUSICIANS. All contributions, notices, and reports of meetings must reach the Society's offices on or before the 15th of the month. The Editor will be pleased to consider original articles, but cannot guarantee their insertion. Jon goob to 120 A NEW JOURNAL By the PRESIDENT of the Incorporated Society of Musicians AT first sight, October does not appear to be an appropriate time to write of the beginning of a new venture. But to many musicians, amateur and professional, the coming of autumn marks the beginning of a new year, when concerts, societies, lessons and other musical pursuits spring into fresh activity. And so it is hoped that former readers of the I.S.M. Report and the B.M.S Bulletin will welcome the new child, and that members of both Societies will exercise a virtue usually associated with yet another season of the year, and bear towards it that active good- will without which no life can be fully lived, and no power fully used. The new Journal is the result of what can fairly claim to be a most healthy liaison between the two representative Societies in the country, i.e. the Societies who aim at the general encouragement and improvement of all aspects of musical life and thought, in contrast to those which pursue some particular object. It might be urged that two Societies with common aims should enter into a closer union than that represented by the monthly issue of a Journal, but an entente is both more powerful and more workable than a fusion. The I.S.M., to take an example, is occupied with professional questions which do not concern the general music-lover, and its likeness to parallel bodies like the Law Society and the British Medical Association has sometimes been noted; the B.M.S., too, has activities like the Contemporary Music Centre, the British Branch of the International Society for Contemporary Music, which are better managed by a general Society than by one restricted to professionals. On the other hand, I when they work together to achieve some common aim, the combined weight of two separate organisations, representing different elements but uniting together all music-lovers and musicians, should prove to be irresistible. The two Societies will have separate charge of their sections of the Journal, under a general editor. It is to be hoped that readers will find interest in a far larger part of the Journal than that allotted to their own Society. Branch news will be found in both sections, but will be reported in such a way that interest and guidance may be extracted by other branches, and so the very large membership that both Societies enjoy throughout the country may derive its fair share of interest and benefit. We are passing through a time of great change, and anxiety must often be felt and expressed as to the future of music and of all who are interested in it. It is the duty of every one of us to watch events as they occur, to guide and advise when opportunity offers, but all to keep our minds open and unprejudiced, alert always to see whether a new idea or move- ment that may first arouse our suspicions may not have within it a useful or valuable germ which, under proper guidance, can be productive of good. The greater our difficulties the more good-will we need to meet them. The birth of this Journal is a sign of the good-will and good feeling existing amongst many of those whom music-lovers have honoured with their confidence; it is their earnest hope that its life may be worthy of that confidence, and of the ideals of the two great Societies it is to serve,

A MUSIC JOURNAL IT RATIONALISATION IN MUSIC is a commonplace that well organised co- operative effort in any field of work will bring results far more valuable than can be attained by any amount of disjointed or sectional activity. In these days this commonplace finds expression in terms such as " rationalisation" and in attempts to bring together parties in our industrial and commercial life which have hither- to maintained a tacit or avowed mutual hostility. Slowly it is coming to be recognised that the end to be served is far greater than the satis- faction of individual aims or the gratification of sectional ambitions. In the vain effort to be supreme each party tends to neutralise itself, beating the air when it should be advancing to- wards a desirable end. These considerations apply with equal force in the field of aesthetic or intellectual work. Little is to be gained by mutual antagonism beyond the satisfaction, it may be, of some paltry desire to score a minor point or to demonstrate one's own importance by proving that someone else or some other body is less important or influential. Yet it is extremely difficult to secure an application of these commonplace truths and perhaps the difficulty is greatest in those forms of human effort which are, by their very nature, a means of expressing the individual temperament and outlook. Music is such a form of effort, demand- ing from those who follow it a great intensity of personal concentration with a consequent and inevitable reluctance and inability to dwell at any length upon the views or prejudices of others, save for the purpose of pointing out their defects or absurdities. Rationalisation in music is there- fore a problem of extreme difficulty, not to be solved by passing a series of kindly resolutions nor even by refraining from open hostility, but calling for positive and active effort to bring into harmony the great diversity of opinion and out- look. Where the musician is a teacher as well the difficulty of securing this harmony is perhaps enhanced by the circumstance that all teachers are compelled to do their work alone save for the presence of their pupils. This provides a further cause of narrow individualism and a hindrance to well organised co-operative effort. The teacher is accustomed to depend upon his own efforts and too often this makes him un- mindful of the possibilities of free discussion and organised effort. In every department of educational work much would be gained if those concerned were accustomed to bring their minds together, putting their ideas into the common stock, as the phrase goes, and regarding one another not so much as competitors or rivals but as coadjutors and friends friends, that is to say, in the professional sense at least. Ideas such as those outlined are not to be realised in a moment nor will they become effec BRITIS 5 OCT 29 even October, 1929 tual solely as the result of conferences and resolutions. These things are excellent in their place; they must be supplemented by personal effort based on resolute goodwill. It is not suggested that there should be any submerging of individuality or any sacrifice of necessary and desirable independence on the part of many organisations which now exist. What is rather required is the fostering of a habit of neighbour- liness. Perhaps this aim is best illustrated by considering the position of the individual citizen in the community. Civilisation, which means literally the habit of living as a citizen, demands from the individual a constant regard for certain principles of social life. To some extent he is required to suppress his personal inclination, but in a well-governed community such limita- tions are made as few and infrequent as possible, the governing principle being that the individual should have complete freedom so long as his exercise thereof does not run counter to the general interest and well-being. He is not ordered to display affection towards his next- door neighbour. He may dislike him intensely, but he must not throw bricks through his drawing room windows or lie in wait for him in a dark lane for the purpose of attacking him with a club. Such manifestations of personal feeling would, if permitted, speedily destroy the fabric of social life and make an end of civilisa- tion. Similar principles operate in more restricted fields, and it is essential to recognise that among musicians and teachers of music the over-riding consideration must always be the advancement of their art. It is a mere waste of time and effort to engage in mutual hostility and it is waste of opportunity to refuse to work together in all that concerns the general good. Thus, while it is necessary and indeed desirable that the person- ality and self-respect of the individual should be maintained, and while it is also inevitable that groups working in particular similar fields of activity should be allotted sectional organisation for the purpose of safeguarding their own par- ticular interests, it is neither necessary nor desirable that individuals should try to secure their own position at the expense of their colleagues, or that organisations and institutions should seek to enhance their own prestige by hampering or impeding the efforts of other bodies. Subject to these general considerations, and giving them their full weight, it is possible to imagine the development of a great society to serve as a unifying medium for all forms of individual and sectional effort, and as a clearing- house for ideas and aims, providing machinery by which every kind of commonly accepted opinion among musicians may find proper expres sion and gather due weight. Perhaps its chief function will be to develop and make known the

October, 1929 61 standards of attainment and professional skill which are appropriate to those who practise the art of music for a livelihood. There is also the more delicate but nevertheless necessary task of engendering and fostering a sense of what in colloquial language is described as good form," or sometimes in a more repellent way as "pro- fessional etiquette." The former phrase is prefer- able as being more generally understood and less tinged with the idea of an artificial code, for what is called professional etiquette among barristers, doctors and the rest is, in reality, nothing more than the expression of certain simple principles which should govern the attitude of those working together in one calling. Thus, while competition is inevitable, unfair methods and attempts to steal a march on a colleague are manifestly to be deprecated. All forms of blatant advertisement of oneself or one's work are as much to be avoided in the professional sphere as are ostentation in dress and attempts to call attention to one's own achievements in the ordinary circles of social life, and it is evident that such rules and conventions and many others like them are best upheld by an organisation which is able to gather and collate the views of all those individuals and sectional bodies which may be ready to accept in principle, at any rate, the idea that every member of a profession is bound to observe all rules and conventions which the combined wisdom of the profession decides to be for the general good. A MUSIC JOURNAL What has been said may serve as a complete justification for the existence of the Incorporated Society of Musicians, a title which is comprehen- sive in its wording. It may be regarded as what the commercial man would call "a holding company," an organisation which aims at bring- ing to a focus the activities of many associated parts, including individuals as well as organisa- tions. The word "musician" is itself comprehen- sive enough to suggest that none who practise the art of music, whether as composers, performers, teachers, or authors, are outside the scope of the Society's work, provided always that they are willing to deserve the honourable title of musician and are not content to be mere charlatans, trading for their own advantage upon spurious or inadequate qualifications. To maintain and enhance the dignity of the great calling is no light task, and the Incorporated Society of Musicians aims at nothing less. THE DELIUS ONE of the most important events of the London Musical Season will be the Festival of works by Frederick Delius, to take place from October 12th to November 1st. This event is due to the imagination and energy of Sir Thomas Beecham who, apart from having rendered magnificent service to the cause of music in this country, is well known as a devoted admirer of Delius, and one who has laboured untiringly to make this great composer better known. To achieve its aim it asks for the cordial goodwill and co-operation of all musicians who recognise that in seeking to gain for themselves a means of livelihood and personal status through music they incur a corresponding obligation to the art itself and to all those who practise it. This obligation is best met by exhibiting comradeship and by supporting the efforts of the Society to improve and consolidate the prestige of the pro- fessional musician. FESTIVAL Miss Lilian Baylis and the late General Booth- are known to all, the pre-eminence of Delius in the world of music is still insufficiently realised. The Committee of the present Festival desires to give the public an opportunity of appreciating the fact that in Frederick Delius England has produced not merely a great British composer but one of the greatest composers of all time. A proper estimate of his stature cannot be formed from the sporadic performances of individual works with which the public have had, hitherto, to content themselves. UJA TA Of all living composers Delius is most remote from our active musical life. Though of British origin he has spent the larger part of his life It is therefore proposed to hold a Festival in abroad, and to this day lives, a victim of ill-his honour in London during October next, con- health, in France, on the outskirts of Chantilly. Sir Thomas Beecham, who will conduct all the con- certs, has issued a preliminary announcement of the Festival, of which we print a summary:- "It is now more than thirty years since the name of Frederick Delius was first made known. to the London public by means of a concert of his works which was given at the old St. James's Hall in the spring of 1899. The inclusion of his name in the Birthday Honours List this spring was an expression of the nation's belated recognition of his genius. But while the fine achievements of those with whom he shared the Companionship of Honour 3 sisting of six concerts, at which practically all his most important Choral, Orchestral, and Chamber compositions will be performed. Realising that this Festival is an occasion of national importance, three of our greatest musical organisations, the Royal Philharmonic Society, the British Broadcasting Corporation, and the Columbia Gramophone Company are participating in the scheme." The concerts will be given in the Queen's Hall and the Aeolian Hall. The dates are to be found in the Concert List in the B.M.S. section of this Journal. The Festival deserves the hearty support of all keen musicians.

Columbia New process RECORDS SEVEN GREAT COLUMBIA OPERAS "CAVALLERIA RUSTICANA "-In English A brilliant Ten Records by the Principals, Chorus and Orchestra of BRITISH NATIONAL OPERA COMPANY. series that has achieved an overwhelming success. In Masterworks Album (Price 3s.) with printed English words Ten Records, Nos. 5127 to 5136-3s. each. IN ART ALBUM "PAGLIACCI"-Sung in English 338. Twelve Records by the Principals, Chorus and Orchestra of BRITISH NATIONAL OPERA COMPANY. The First and Most Successful Grand Opera complete Electric Recording. In Masterworks Album (Price 3s.) with printed English words. Twelve Records, Nos. 4347 to 4358 3s. each. IN ART ALBUM 6❝ - TRISTAN AND ISOLDE "-Three Acts 398. Recorded at the Bayreuth Festival, 1928. In Twenty Records in Three Volumes with English and German Text and Special Descriptive Notes written by Ernest Newman. Twenty Records, Nos. L2187 to L2208-6/6 each. IN THREE ALBUMS Vol. I (Act I) Seven Records Vol. 2 (Act II) Nine Records Vol. 3 (Act III) Four Records Complete Three Volumes £6 105. "AIDA"-Sung in Italian 45s. 6d. 58s. 6d. 26s. By Famous Italian Artists. Eighteen Records in Two Albums (Price 4s. 6d. each) with Italian Test and English Prose Translation by Herman Klein. Elghteen Records, Nos. 9726 to 9748-4s. 6d. each. IN TWO ALBUMS Vol. 1 (Acts I & II) Ten Records Vol. 2 (Acts III & IV) Eight Records Complete Two Volumes £4 10s. "CARMEN"-Sung in French Fifteen Records, sung by Principal Artists of PARIS OPERA-COMIQUE, including Nespoulous magnificent production in Masterworks Album (Price 4s. 6d.) with printed English and French Text. Nos. 9527 to 9541-4s. 6d. each. IN ART ALBUM - "LA TRAVIATA "-Sung in Italian 49s. 6d. 40s. 6d. and Thill, A Fifteen Records £3 12s. Fifteen Records sung by Famous Italian Artists and La Scala Chorus. The finest Italian opera yet produced. In Album (Price 4s. 6d.) with printed Italian Text and English Prose Translation by Compton Mackenzie. Fifteen Records, Nos. 9629 to 9643-4s. 6d. each. IN ART ALBUM 66 LA BOHEME"-In Four Acts £3 128. Thirteen Records by specially selected cast including Pampanini. A Masterworks Album (Price 4s. 6d.) with Itallan Text and English Prose translation by Compton Mackenzie. Thirteen Records, Nos. 9846 to 9858- 4s. 6d. each. IN ART ALBUM £3 3s. ELECTRIC RECORDING Complete Catalogue of Columbia New Process" Records, post free- COLUMBIA, 102-108 Clerkenwell Road, London, E.C.1 Colembie Records WITHOUT SCRATCH MAGIC NOTES TRACE MARK 4

October, 1929 PROFESSIONAL IDEALS A MUSIC JOURNAL From notes of two addresses given at the Holiday Course for Music Teachers at Eastbourne, on the 9th and 21st August, 1929. By the GENERAL SECRETARY VACATIONS are periods of refreshment, and it is, therefore, peculiarly appropriate that we who are assembled here in a vacation course should give a little time to the consideration of professional ideals. Most of us present to-day are engaged in the practice of music as a pro- fession, the great majority as teachers. It has been said that the best teacher is the performer: -the person who makes the music live-but we are teachers in a pedagogic sense, engaged in teaching children and adolescents the elementary principles of the Art which we practise. If asked to define our occupation, we use the term "Pro- fessional Musician." Why the adjective? In what sense do we use it? What is "the profession of music"? Can it be defined? If so, in what terms? In what exact sense is the word "profession' used, and what does it signify? 15 Let us assume for the moment that there are some thousands of individuals engaged to-day in composing, performing, teaching or writing about music for a livelihood, and that all these individuals have no other occupation. In every community there are some, who, by force of personality, intellectual vigour, and diligence achieve eminence; others remain mediocre and respectable but, whatever branch of music they practise, they are all at the mercy of their environment. Experience, perhaps, assists to solve difficulties as they arise, but all these thousands of individual units, with a latent corporate power sufficient to move mountains, are, as units, dependent entirely upon themselves. This state of affairs breeds irresponsibility-every man becomes a law unto himself, and the musician with a tradesman's mind can com-. mercialise his occupation and meet with very little criticism. What then is the remedy? What is the best method of organising and directing this latent corporate power for the ultimate benefit of music and musicians? The problem before us is not one of fees or remuneration alone: it is not solely a material problem it is not concerned entirely with the development of music as an Art. Important as these things are, they are mere details when compared with our responsibilities as professional musicians. If we are to promote our ideals, the problem is nothing less than that of creating a profession, and, incidentally, defining the position and status of the profession of music. This can only be done by the individual units of the profession co-operating for the express purpose of creating a Professional Representative Body. This co-operation demands good-will and courageous leadership, but it is well worth doing, 5 for an influential professional representative body can deal with individual difficulties and national problems corporately, and its activities will protect both the profession and the public. The influence of such a body will elevate the status of music as a profession and materially affect the professional interests of its members, What then should be the objectives of such a professional Society in relation to its main responsibilities? A professional Society has two responsibilities. First, responsibility to the public, and, secondly, responsibility to the profession. In view of these responsibilities, what should be the special objectives of a professional Society for musicians? They are surely these :- 1. The promotion of the Art of Music: The maintenance of the honour of the Pro- fession 2. 3. The maintenance of the interests of the Profession. The Promotion of the Art of Music The maintenance of a high standard of musical culture is surely the province of the musical profession. A high standard of musical culture will be the surest encouragement to the native composer. We must never forget that the future of music in this country is dependent upon the native composer for although Art knows no national boundaries, the development of the Art of music is most subtly dependent upon the activities of our native composers. Again, to achieve a high standard of musical culture, teachers must be educated and trained, and it is the special province of a professional Society to create facilities for professional train- ing, and to assist the public to discriminate between the trained and qualified and the un- trained and unqualified, Again, a high standard of musical culture is dependent upon music being a recognised school subject. To obtain the general acceptance of this proposal, we must not be unpractical propa- gandists. Education is a vital matter, and pro- posals with regard to music in schools must fit into general educational schemes. I often refer with great satisfaction to the late Sir Hubert Parry's argument for the acceptance of music as a subject in general education. The progress of the world" he wrote, "is maintained by the efforts of infinite varieties of mind and tempera- ment, contributing in accordance with special aptitudes in all manner of different ways-often in apparent conflict, but sifting out the things which prove serviceable from the mass of the un-

19 Carnegie Collection of British Music CHAMBER MUSIC BUSH, ALAN. For Two Violins, Viola and Violoncello. Length of performance-time, 16min. Parts Net £0 7 6 String Quartet in A minor Score £0 36 DYSON, GEORGE. Three Rhapsodies Score £0 4 6 EVANS, DAVID. Concerto. For String Orchestra. Score.. £0 4 0 Phantasy Concerto For String Quartet (Two Violins, Viola and Violoncello). Length of performance-time, each, 10 min. String Parts £0 7 6 Pianoforte Duet Length of performance-time, 20 min. String Parts, each £0 2 0 £0 40 FARJEON, HARRY. For Pianoforte and Chamber Orchestra. Length of performance-time, 20 min. Pianoforte Solo (with Second Pianoforte arranged from £0 6 0 Extra Parts each £0 1 6 Orchestral Score) Complete Parts £0 12 6 FARRAR, ERNEST. Three Spiritual Studies Score... A Severn Rhapsody Score .... For String Orchestra. Length of Performance-time, 8 min. £0 20 Parts £0 3 6 Extras, each £0 09 FINZI, GERALD. For Flute, Oboe, Two Clarinets, Horn and Strings. Length of performance-time, 6 min. £0 2 6 Parts £0 4 0 Extras, each £0 0 6 GURNEY, IVOR. Ludlow and Teme.... Six Poems by A. E. HOUSMAN. (Song Cycle for Tenor Voice). String Quartet and Pianoforte. Length of performance-time, 25 min. Pianoforte Score Full Score £0 4 0 £0 5 0 String Quartet £0 6 0 Extra String Parts, each £0 20 The Western Playland. Eight Poems by A. E. HOUSMAN. (Song Cycle for Baritone Voice, String Quartet and Pianoforte). Length of performance-time, 20 min. Pianoforte Score 11 Full Score String Quartet Scottish Suite For Violins and Pianoforte. £0 40 £0 5 0 £0 6 0 Extra String Parts, each £0 20 MARK, JEFFREY. Score Extra Parts £0 3 6 m Length of performance-time, 10 min. Complete Parts ... £0 4 0 each £0 10 STAINER & BELL, Ltd. 58 BERNERS STREET, LONDON, W.1 6

October, 1929 serviceable by just interpretation of experience." Music must be accepted as a School subject by "just interpretation of experience." A high standard of musical culture presupposes a profession with a high standard of professional qualification. The conditions prescribed for every into the professional Society must guard the status of the profession. The conditions should not be too restrictive, they need not necessarily demand specific tests; they should, if possible, have some relation to the existing educational facilities, but the standard of requirement should be sufficiently high to ensure and stabilise the status of membership. I look forward to the time when no student will be accepted as a candidate for a professional examination unless he can give evidence of hav- in passed the First School Examination in England, the School Leaving Certificate Exami- nation in Scotland, or of having passed a University Matriculation. Examination. Mr. Holst said recently that Parry worked all hist life for music in English culture, and for culture in English musicians-and that was a noble enterprise. As a profession, we must stand level in professional equipment with other professions, and we cannot do so, unless we, with Parry, combine those two objectives. Culture may be a by-product of life, but a professional body must raise the cultural status of the profession. The Maintenance of the Honour of the Profession The profession being, in essence, a corporate body, its public responsibilities demand certain obligations. In private life rules of conduct are: unwritten. There are some things which are not done. In professional life there are also certain things which are not done, but they are more. difficult to define, and therefore there are, in all professions, codes of professional etiquette. In a strongly organised and well-defined pro- fession, unprofessional conduct is a blow aimed at the heart of the profession. One member, in offending, damages the whole profession-lowers its status, and undermines public confidence. The fundamental basis of all professions is idealistic -corporate professional unity for great objec- tives. The public will respect and honour those ideals, but unprofessional conduct makes dis- corporate what was corporate. The honour of the profession must be maintained. The Maintenance of the Interests of the Profession. A corporate body, active through an elective Council in promoting these objectives, has also to discharge a domestic responsibility to the profession which it represents. In the profession of music each branch of professional practice has different problems. The private teacher is faced with many diffi- culties, such as the activities of the proprietary A MUSIC JOURNAL examining bodies, which produce whole armies of badly equipped and incompetent teachers, complete with cap and gown, year by year. There are questions of income tax, insurance, nuisance, leases of houses and studios, pros- pectuses. There is the School Music Master and Music Mistress with problems of scales of salaries, pensions, contracts, insurance. There is the Solo performer, with problems of contracts, fees, performing rights. There is the Composer and Author, with problems of publication, copyright, and perform- →ing rights. 7 There is the Organist, with contractual prob- lems. Special sectional difficulties are not peculiar to the profession of music. They occur in other professions; but in whatever branch of the profession a member may practise, he has, through the professional Society, the support of the whole profession in any particular matter in which he may require support. The effectiveness of a professional Society organised on this basis depends, however, entirely upon the measure of support it receives from the profession. With unity and good-will in the pro- fession, there is no limit to the potential useful- ness of such a body. Newman, in his well known Essay on the Functions of a University, wrote that "A University is a great ordinary means for securing a great ordinary end, the improvement of the intellectual tone of Society, giving principles and fixed form to popular aspiration." A professional Society, founded upon the ideals I have outlined to you to-day, has the same functions. It is a great ordinary means for securing a great ordinary end, the improvement of musical culture, giving fixed form and principles to professional aspirations. These, then, are the basic ideals which form the foundation of all professional institutions. We have considered them in the abstract as theories. Let us now consider first, and briefly, the necessity for the promotion of these ideals in relation to the profession of music, and secondly, the practical application of these theories through the activities of the Incorporated Society of Musicians. The needs of the profession are obvious. The Art of Music is a dominant intellectual force in our social life. Musical activities are developing in new forms and the development of "mechanised music" has brought into existence many new problems and difficulties for the individual professional musician-difficulties which it is impossible for him to contend wth individually. It is also most important that the individual professional musician should be reminded that, as a member of a profession, he

A MUSIC JOURNAL has public responsibilities. A professional engagement is not a highly specialised form of casual labour. The professional musician is in a position of responsibility, and it is this responsi- bility which distinguishes him from the amateur. If, therefore, there are these responsibilities to be discharged, abuses to be remedied, musical activities to be co-ordinated, professional aspira- tions to be defined and the public status of the professional musician defined and dignified, there is no other method of achieving these objectives except by the creation of a Professional Representative Body. This can only be done with the good-will of the profession, for co-operation surely implies a friendly working together for common ends. The needs of the profession being so urgent, the Council of the Incorporated Society of Musicians made a gesture to the profession by changing its policy and altering its constitution in order that it might function more effectively in the interests of music and musicians. It may interest you to know that the basis of the new constitution is formed by those same ideal objectives which we have discussed in theory, namely, the promotion of the Art of Music and the maintenance of the honour and interests of the Profession. What has been the response of the profession to this gesture, and by what methods is the Council meeting its responsibilities? During the past year, the membership of the Society has practically doubled, and for the first time in the history of the profession all the recognised institutions are represented in the Society by members of their professorial staffs. Principals and Directors of Institutions, members of the profession eminent in academic distinc- tion and achievement, have recognised their responsibility to the profession and are loyally supporting this movement. This present member- ship is, however, only the foundation of a potential membership of many thousands. The acknowledged leaders of the profession have responded to the gesture, but we must have the support and the good-will of the general body of professional musicians. The Council of the Society is representative of all branches of professional practice, drawn from all parts of the country. The administrative work of the Society is dis- charged by various Sub-Committees appointed by the Executive Committee, which is elected by the Council. The Sub-Committees appointed are as follows:- Work of the Society Committee, which deals with all routine matters of administration, discipline and, what is most important, policy. Membership Committee, which receives and advises the Council on applications for mem- bership. 8 October, 1929 Arrangements Committee, which is in charge of local organisations, such as local Centres and Districts. Finance Committee, which is responsible for the financial administration of the Society. Charitable Funds Committee, which receives charitable funds. all applications for grants from the Society's During the past year, the Executive has also appointed an Education Committee to consider the position of music both from the point of view of curricula and staffing in connection with the re-organisation of Primary and Secondary education which is now being dealt with by the Board of Education. The work of these various Sub-Committees is co-ordinated by the Executive Committee, which, of course, is responsible to the Council. edifice is but the scaffolding of the Society's You may suggest that this administrative. structure. That is perhaps true, but the work which these Sub-Committees have performed during the past few months is conclusive evidence to me, at least, that a professional musician ship is a good business proposition. cannot afford to be outside the Society. Member- have been considering and will recommend to the Apart from routine matters, the Committees Council in the immediate future several schemes which will increase the value of membership. The Council have now decided to establish Specialist Sections in order that the difficulties and problems, differing as they do in the various branches of professional practice, may be con- sidered by Committees which are experienced in that special branch. Specialist Sections have been established for Music Masters and Music Mistresses and a Section for Solo-performers will be established in the autumn under the leadership of many prominent members of this branch of practice. In addition to these sections, the private teacher, the composer and the con- ductor will also receive special consideration. Sir Hugh Allen, our President-Elect, said recently that "it was unified command which at last achieved the success of the war, and it came only by the cheerful pooling of common resources to one end. The pooling of wisdom, the sinking of petty suspicion and small prejudices, the individually, but to us all as a body responsible in laying hold of the things that matter, not to us our time and generation for the well-being of a most precious and beautiful Art-that is what we must hold in mind. Let us, therefore, meet together in the House of Music as friends, convinced that we are doing the right thing in the right way." Let us therefore, go forward with courage and work steadily for the realisation of these objectives.

October, 1929 OBITUARY A MUSIC JOURNAL It is with much regret that we have to record the decease of the following:- Alfred H. Essam Kettering Dr. T. E. Pearson Miss Grace McLearn Halifax Glasgow MR. HUBERT W. HUNT. (BRISTOL). The great services of Mr. Hunt to the cause of Music in Bristol, both as Organist of the Cathedral and as a Violinist, his knowledge of music of all schools, especially of Tudor church and polyphonic music, have received public recognition by the conferring on him by the Archibishop of Canterbury of the degree of DOCTOR OF MUSIC Honoris causa. Mr. Hunt has been Organist of Bristol Cathedral since August 18th, 1901. He has also been an active member of the Bristol Musical Club since its establish- ment in 1903, and Musical Director of the Bristol Madrigal Society since 1915, and the various Societies and Institutions with which he has been connected for many years have decided to mark this occasion by making a presentation to him. THE LATE MR. CHARLES HANCOCK. The late Mr. Charles Hancock had a large circle of friends among members of the Society, who may be interested to know that a Memorial to his long life and service in Leicester, from 1875 to 1927, is now being promoted. The Memorial will be connected with the rebuilding of the Cathedral organ, to which he had looked forward for many years. It has been agreed that the Memorial should be the case of the new Cathedral organ, and that a Memorial Tablet, suitably inscribed, should be erected upon it. The case has been designed by Sir Charles Nicholson, Bart., the Cathedral Architect, the total cost being between £1,000 and £1,100. Copies of the Appeal, containing a list of first donations, and a perspective drawing of the pro- posed Memorial, may be obtained from Mr. J. B. Bannister, Shilford," Osmaston Road, Leicester, and donations may be forwarded to Major L. V. Wykes, 24 Friar Lane, Leicester. LOCAL ORGANISATIONS ANNUAL Centre meetings are due to be held this month, and the following information is supplied for the use of members. It should be noted that notices of motion should be received by the hon. secretaries of Centres at least twenty- one days before the date fixed for holding the meeting. For the election of officials, where no notice of motion has been received, a resolution in general terms is placed upon the Agenda. The information given is stated under Districts. LONDON & HOME COUNTIES DISTRICT. LONDON.-Annual Centre Meeting, Saturday, October 12th; it is proposed to hold a meeting for propaganda purposes immediately following. It is suggested that members make this an opportunity for inviting their friends in the pro- fession to attend. Notices and full information will be posted to members early in October. BROMLEY-Annual Centre Meeting, the Royal Bell Hotel, Bromley, Saturday, October 19th. Hon. secretary, Mr. Sydney Smith, Dunelm, Valley Road, Shortlands, Kent. CROYDON.-Annual Centre Meeting, the Music Studio, 1 Altyre Road, East Croydon, Saturday, October 12th, at 6-30 p.m. Hon. secretary, Mr. Walter Adrian, 1 Bingham Road, Croydon. 9 READING. Annual Centre Meeting, the Uni- versity, Reading, Saturday, October 19th, at 7 p.m. Hon. secretary, Mr. W. Probert Jones, B.Mus., 16 Melrose Avenue, Reading. SOUTHERN DISTRICT. BRIGHTON. Annual Centre Meeting, the Old Ship Hotel, Brighton, Saturday, October 19th, at 5-30 p.m. Hon. secretary, Mr. Michael Dawson, B.A., Stonyhurst, Offington Lane, Worthing. BOURNEMOUTH.-Annual Centre Meeting, St. Peter's Small Hall, Bournemouth, Saturday, October 12th, chairman: Mr. James D. Chandler, B.Mus., F.R.C.O. Hon. secretary, Miss A. C. Shinner, A.R.C.M., 37 Suffolk Road, Bourne- mouth. SOUTH-WESTERN DISTRICT. EXETER. It is proposed to arrange the first annual meeting of this Centre during October. Members will receive a formal notice and agenda from the General Secretary in due course. PLYMOUTH. Annual Central Meeting, the Duke of Cornwall Hotel, Plymouth, Saturday, October 5th, at 7-30 p.m. Chairman: Dr. Harold C. Lake, Hon. secretary, Miss Muriel Nicholson, A.R.C.M., Wedderlie, Dousland, Yelverton, S. Devon.

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October, 1929 TORQUAY, Annual Centre Meeting, the Wesley Church School Room, Babbacombe Road, Torquay, Saturday, October 5th, at 3-30 p.m. On the conclusion of the business agenda, a piano- forte and vocal recital will be given by Mr. N. McLeod Steel, L.R.A.M., and Mrs. N. McLeod Steel, L.R.A.M. Hon. secretary, Mrs. Crystella Oyston, L.R.A.M., Gifton, Oxlea Road, Torquay." WESTERN DISTRICT. BRISTOL Annual Centre Meeting, Saturday, October 19th, at 5 p.m. Hon. secretary, Mr. W. E. Fowler, L.R.A.M., A.R.C.M., 5 Priory Road, Tyndall's Park, Bristol. CHELTENHAM. Annual Centre Meeting, Thurs- day, October 3rd, at 8 p.m., at the Ladies' College, Cheltenham. Hon. secretary, Miss A. C. Crawley, A.R.A.M., 5 Bath Parade, Cheltenham. WALES DISTRICT. CARDIFF. Annual Centre Meeting, the Angel Hotel, Cardiff, Thursday, October 10th, at 4 p.m. A lecture on Eurhythmics," with illustrations, will be given by Mr. E. W. Osborn, Hon. secretary, Mr. H. F. Nicholls, A.R.C.O., 63 Caerau Road, Newport, Mon. SWANSEA. The first Annual Centre Meeting will be held at the Hotel Metropole, Swansea, on Thursday, October 24th, at 7 p.m. The Mayor of Swansea has kindly consented to act as chair- man, and the meeting will be attended by Dr. J. B. McEwen, M.A., and the General Secretary. MIDLAND DISTRICT. COVENTRY. Annual Centre Meeting, Wednes- day, October 16th. On the conclusion of the business meeting an Organ recital will be given. at Holy Trinity Church; a collection will be made for the Benevolent Fund. WOLVERHAMPTON.-Annual Centre Meeting, the Star and Garter Hotel, Wolverhampton, Satur- day, September 28th, at 6 p.m., which will be followed by an Open Meeting; Hon. secretary, Mr. Harold E. Hale, L.R.A.M., A.R.C.M., Ivy House, Clarendon Street, Wolverhampton. NORTH-MIDLAND DISTRICT. LEICESTER. Annual Centre Meeting, the City Hall, Leicester, Saturday, October 5th, at 7-30 p.m. Hon. secretary, Miss Jessie H. Adcock, L.R.A.M., The Knoll, Kirby Road, Leicester. NORTHAMPTON. Annual Centre Meeting, the Grand Hotel, Northampton, Saturday, October 19th, at 4 p.m. Hon. secretary, Mr. R. Richard- son Jones, F.R.C.O., 59 Victoria Road, North- ampton. NOTTINGHAM. Annual Centre Meeting, Satur- day, October 19th. Hon. secretary, Miss Emily Roseblade, L.R.A.M., 23 St. Jude's Avenue, Nottingham. II A MUSIC JOURNAL YORKSHIRE DISTRICT. BRADFORD. Annual Centre Meeting, the Great Northern Victoria Hotel, Bradford, Saturday, October 19th. Hon. secretary, Mr. Arthur T. Akeroyd, A.R.C.M., Kirk Ella, Leeds Road, Harrogate. HULL. Annual Centre Meeting, Powolny's Restaurant, Hull, Saturday, October 26th, Hon. secretary, Miss Kate Tunley, 41 Park Avenue, Hull. LEEDS. Annual Centre Meeting, the Hotel Metropole, Leeds, Saturday, October 19th, at 4-45 p.m. Hon. secretary, Mr. Albert Jowett, B.Mus., Oxon., Heathfield, Moorland Drive, Harrogate Road, Leeds. SHEFFIELD. Annual Centre Meeting, the Grand Hotel, Leopold Street, Sheffield, Monday, October 7th, at 7-30 p.m. On the conclusion of the business agenda a meeting for propaganda purposes has been arranged. Hon. secretary, Mr. Stanley Jepson, Firwood, 99 Meersbrook Park Road, Sheffield. NORTH-WESTERN DISTRICT. BLACKBURN. Annual Centre Meeting, the Old Bull Hotel, Church Street, Blackburn, Saturday, October 12th, at 6-30 p.m. On conclusion of the business agenda a lecture will be given by Mr. B. Sandberg Lee, A.R.C.O. Hon. secretary, Mr. Harry Pemberton, L.R.A.M., 14 Cedar Street, Blackburn. BLACKPOOL. Annual Centre Meeting, Feld- man's Arcade Cafe, Promenade, Blackpool, Saturday, October 12th, at 3 p.m. Hon. secretary, Miss M. Brierley, L.R.A.M., 415 Lytham Road, South Shore, Blackpool. BURNLEY. -Annual Centre Meeting, the Cafe Royal, Manchester Road, Burnley, Wednesday, October 9th, at 11 a.m. Hon. secretary, Mr. Ernest Hutchinson, A.T.C.L., 303 Colne Road, Burnley. LANCASTER. Annual Centre Meeting, The Devonshire Cafe, Grange-over-Sands, Saturday, October 26th, at 3 p.m. Hon. secretary, Mr. J. W. Aldous, M.A., West Road, Lancaster. LIVERPOOL. Annual Centre Meeting, the Royal Institution, Colquitt Street, Liverpool, Saturday, October 19th, at 3 p.m., chairman: Mr. Albert E. Workman. On the conclusion of the business agenda Mr. Frederick Green, B.Mus., F.R.C.O., will read a paper entited "Class Teaching of the Pianoforte." Hon. secretary, Mr. B. Sandberg Lee, A.R.C.O., 40 Devonshire Road, Birkenhead. MANCHESTER. -An important meeting will be held at the Grand Hotel, Aytoun Street, Man- chester, on Saturday, October 5th. The meeting is arranged for the purpose of developing the membership of the Society in the Manchester Centre. The chair will be taken by Mr. R. J.

A MUSIC JOURNAL Forbes, Principal of the Royal Manchester College of Music, and he will be supported on the platform by well-known members of the pro- fession resident in the district. The meeting will be attended by members of the Council and the General Secretary. PRESTON. Annual Centre Meeting, Orient Cafe, Friargate, Preston, Thursday, October 3rd, 1929, at 8p.m. Hon. secretary, Mr. W. Haydn Staveley, L.R.A.M., 15 Lune Street, Preston. NORTHERN DISTRICT. NEWCASTLE-ON-TYNE.-Annual Centre Meeting, Saturday, November 2nd, at 5 p.m. Hon. secretary, Dr. J. E. Hutchinson, 73 Osborne Road, Newcastle-on-Tyne. SCOTTISH DISTRICT. EDINBURGH. Annual Centre Meeting, Messrs. Methven Simpson's Concert Room, 83 Princess Street, Edinburgh, Friday, October 18, at 8 p.m., chairman : Mr. H. Kinniburgh Robertson, B.Mus., L.R.A.M. The President of the Society and the General Secretary will attend this meet- ing. Hon. secretary, Dr. A. T. Lee Ashton, 22 East Claremont Street, Edinburgh. GLASGOW. Annual Centre Meeting, the October, 1929 Ca'doro Restaurant, Union Street, Glasgow, Saturday, October 19th, at 5 p.m. This meeting is intended for propaganda purposes, and to that end all professional musicians in the district will receive invitations in so far as their addresses Society and the General Secretary will attend. have been ascertained. The President of the The Centre was only instituted last February and already numbers 130 members; efforts are being made to increase the membership as rapidly as possible. SCOTTISH DISTRICT COMMITTEE. It is pro- posed to convene the first meeting of the Scottish District Committee either on the 18th or 19th of October. The notice and agenda will be forwarded in due course to the members com- prising the Committee. CARDIFF CENTRE. A meeting was held at Penarth, on Thursday, June 20th, which was very well attended. Mr. A. J. Thompson, B.Mus., presided, and a paper was read by Miss E. A. Watkins, A.R.A.M., of the Glamorgan Teachers' Training College, on "Music in the Schools." The members were afterwards entertained to tea by Mr. and Mrs. Powlson. Incorporated Society of Musicians MUSIC MISTRESSES SECTION INTERIM COMMITTEE. MISS MARY ALCOCK, L.R.A.M., (Maynards School, Exeter). MISS NETTIE ATKINSON, A.R.A.M., (Roedean). MISS SYBIL BARKER (Royal Holloway College). MISS EMILY DAYMOND, D.Mus. MISS MARGARET DONINGTON, L.R.A.M., (Mary Datchelor, Camberwell). MISS ETHEL HOME (Kensington High School). MISS MAUD V. STELL, L.R.A.M. (Manchester Central High School). SPECIAL OBJECTS. 1. The advancement of Music as a subject of education in Schools for Girls, and matters connected therewith; 2. The discussion of questions relating to Scales of Salaries, Pensions, Appointments, and any other matter affecting members in their professional practice. 3. To form Committees to act in an advisory capacity to the Council and to the members of the Section on matters noted in paragraphs 1 and 2. Conditions of Membership will be sent on application to- THE GENERAL SECRETARY, 19 BERNERS STREET, LONDON, W.1. 12

October, 1929 A MUSIC JOURNAL THE BULLETIN THE OFFICIAL JOURNAL OF THE BRITISH MUSIC SOCIETY THE NEW BULLETIN THE issue of the Bulletin in a different setting naturally calls for comment. In the first place, despite the necessary compression and the disability that compression invariably brings, the new Bulletin will strive to maintain the character and preserve the excellent qualities of the old. It would be folly and presumption to attempt otherwise. Under Mr. Basil Maine's direction the Bulletin, though small, made a definite mark in current musical journalism. No other musical paper contained articles of finer distinction than those Mr. Maine himself wrote, or procured from his large circle of established brother critics. It may not be generally known that a Bulletin rally known that Sub-Committee meets once a month to guide its destiny. At this juncture the attitude of that Committee is one of lively hope rather than high promise. For instance, with a wistful eye on the old, it hopes in the Journal of the future to secure at least one article that shall endure comparison, in so far as author and content are concerned, with the contributions of the past. It hopes to be able to continue the short notices of new music, books, and gramophone records, hitherto given, though the notices are certain to be shorter. It hopes further to make the Journal a really live and useful organ to members of the B.M.S., but perhaps, most of all, to enlist the practical interest of members themselves in their own paper. The endeavour first and foremost will be to make the Bulletin fulfil its proper function as the organ of a Society-a Society, be it said, with an uncommonly large, though very definite and specific object in view. To this end, therefore, members are invited to contribute. The Committee will welcome letters, critical and provocative rather than complacent; enquiries of a general nature or requests for particular advice; articles or suggestions offered in the interest of the Society, its members, and incidentally of the magazine itself. Contribu- tions such as these will be gladly received, and considered, though the Committee must use its discretion in selecting what is most likely to hold the attention of all its readers. An illustration of the difficulty of providing uniform satisfaction and contentment is worth quoting. The Bulletin has regularly published a short, selective list of forthcoming London concerts. At a recent B.M.S. gathering a member, living in the provinces, voiced the quite reasonable opinion that even that short list was taking up valuable space, and was of no use or 13 interest to him and people in his circumstances. Knowing nothing of this remark, another member shortly after gave spontaneous thanks for that very information, saying it enabled her to keep in touch with London musical life, and was of great practical use to her when she came to town. A Trio in a Duo Mr. W. R. Anderson's part in this twin Journal, which is apparently in the hands of a triumvirate (see page 184 of the July Bulletin), merits a word of explanation. From the July notice it might perhaps hastily be supposed that Mr. Anderson, receiving the monthly material from the respective I.S.M. and B.M.S. Editors, is to attempt to co-ordinate the ideas and even the policy of the two societies. Now no man, however generous his ethical system may be, desires to be heid ultimately responsible for that for which he is not. Mr. Anderson's sole concern will be to set the matter in order for the printer and see it safely through his hands. He will sit with a pair of scales in one hand and a pair of scissors in the other, in the hope of preserving a nice balance between the contributions as they come to him from their dual source, and of checking any natural, if unintentional, inclination of the one to encroach upon the area reserved. for the other. In other words, he will be responsible solely for the quantity, and not at all for the quality of the matter published each month. Those who know Mr. Anderson's musical and literary experience may regret this circum- stance; they will never know what he really thinks of the material he is called upon to handle ! There is, however, always the possibility that, in his scrupulous regard for strict measure, he may be impelled to throw in his literary weight from time to time, now on this side, now on that, to preserve an even balance. He may then tem- porarily forsake Olympian heights and join with mortals in combat. Any such enforced skirmish on his part will be of happy augury for either party. A Friend of Both Houses Mr. W. R. Anderson, B.Mus., L.R.A.M., is an old friend of both sides. To professional musicians he is perhaps best known as the former editor of The Music Teacher, as reviewer and critic for Musical News some ten years ago, and as at one time a lecturer in the Teachers' Training Course at the I.L.A.M. Active amateurs know him as an adjudicator at many of the principal

A MUSIC JOURNAL competition festivals, and as an extension lecturer of the University of London and the W.E.A. During the absences of Mr. Percy Scholes, when music critic to the B.B.C., Mr. Anderson's voice was heard in the fortnightly music talks. Amongst his other present activities are included examining for the University, reviewing for Musical Times and other journals, annotating programmes, con- tributing to other than musical papers, coaching, and so on. He is a registered teacher, a member of the Institute of Journalists and of the Critics' Circle, and has twice served on the Council of the Union of Graduates in Music. Knowing both the profession of music and the general artistic life of the country from more than one long spell of practical experience (not the least valuable part of which was gained as a teacher and organist in Lancashire and Ireland), Mr. Ander- October, 1929 son is in the happiest position to appreciate to the full the goodwill and energy that increasingly are making the B.M.S. and I.S.M. powerful influences in the growth of our country's musical sense and sensibility. W.H.K. [May I say how happy I am to have my good friend Mr. Kerridge as co-worker again, and how fortunate I think the B.M.S. is to have as its Editor for the Bulletin? It will be realised, I am new Secretary one who will also make an alert sure, that the Society is to be congratulated upon securing for the dual post a musician of excep- tionally wide experience, whom his friends know to be in such genial sympathy with every well- founded musical activity, and whose ideals of ous.-w.R.A.]. service, they are satisfied, are high and gener- WHAT OF THE FUTURE? THE LARGER CONCEPTION AT the recent dinner of the Musician's Club Sir Edward Elgar, in his presidential speech, drew attention to the fact that the Royal Philhar- monic Society had existed continuously right down from Beethoven's time. He then made melancholy reference to the short life character- istic of much musical activity in this country. How many fine schemes for the promotion of musical enterprise have died a natural death! Some of these noble endeavours have died, per- haps, only to come to life in some other form: or they may have been superseded by some enter- prise more adequately organised and more fruit- ful of immediate result. But there has often been little continuity of purpose in view or even of method in practice. This may be the inevitable outcome of the British genius. It is said of us that we excel in administration rather than in organisation, in matters of immediate practical urgency more than in abstract problems. More- over, our talent for individual and collective. improvisation, when an unexpected difficulty confronts us, often carries us triumphantly over many an obstacle, which people of more reflective and less active nature do not so readily surmount; with the consequence that we are inclined to award first honours to a man who gets something done in record time, rather than to one who asks for indefinite time to bring his projects to maturity. Our very enthusiasm, intense while it lasts, may soon exhaust itself, for in the opinion of some continental people, at least, our emotional memory is notoriously short-indeed "Albion perfide" is a phrase but lately revived in the foreign press !* For good or ill our memories of the Great War are assuredly less acute than those of either the Germans or the French. The war is over; we origin in the past, nor discuss with the French will neither argue with the Germans as to its its possible effect on the future. Thus when we are persuaded that an idea or thing has served its purpose, we generally scrap it without regret, and pride ourselves on being the most equable and practical people on the earth. Reflections such as these may arise when we think of the British Music Society. People do forget. From the questions frequently asked it seems that many have forgotten the circumstances that led up to the formation of the Society. It may be well to recall those circumstances.- Dr. Eaglefield Hull, the founder of the B.M.S. in 1918, felt that something should be done to foster British music and encourage the British musician. The idea of a society for the further- ance of British music could have come at no more propitious moment. Men and women, distraught by four years of continuous war, had learnt to esteem, not only the sublimity of British fortitude and sacrifice, but also the supreme value, as a national asset, of British cultural achievement. Hence in 1918 people were eager and ready to rally to a cause that had for its object the enrichment of the inner life of the British people, especially if such effort should contribute to national consolidation and integrity. It was in the soil of an enhanced national con- sciousness, therefore, that Dr. Hull's idea took. root, with the result that the British Music Society soon acquired the spiritual significance of a mission. 14 But admirable and effective as that idea was in 1918, the B.M.S. would soon dissolve altogether if such were its single object in 1929, Sturdy protagonists of British music now see that

October, 1929 exclusive propaganda may even defeat its own object. On this very matter a timely and striking comment may be found in the August number of the Musical Times. Referring to this season's Promenade Concerts, in the repertory of which Thursday evenings are being devoted to contemporary British music, the writer asks: "Is this the kind of propaganda our composers need? Do they even need propaganda?" He then remarks: We think not. Propaganda almost invarably implies and provokes opposition." Still more intéresting is a letter on the subject in the Times from one of the British composers them- selves-Dr. Vaughan Williams. He regrets the revival of the old distinction between music" and "British music" and asks: Is it necessary to segregate the British composer as if he were unfit?" Comments such as these might seem to imply that the B.M.S., at this turn in our musical history, had become superfluous. They would, if the Society, adhering to a short-sighted policy, imagined it could best serve British music by exclusive devotion to the works of British com- posers. The time has now come for a larger. conception of the Society's function in our musical life for a reading into the very title, "British Music Society" of a connotation wider than that usually accorded it. Develop the theme, as a musician would say, and by slight variation that theme becomes "The British Society for Music," or "The Music Society of Britain." What vast possibilities such variation suggests! Yet who shall say that the title B.M.S. as it stands is not capable of such interpretation? The greater includes the less; therefore the primary object of furthering British music need suffer no obscurity. Indeed, how shall anyone be per- suaded to take interest in British music who is not first of all interested in Music? As the Musical Times says:- British composers would be much better served by the regular inclusion of a proportion of their works in the miscellaneous pro- grammes, side by side with established favourites." Provided therefore the B.M.S. centres have a regard for the regular inclusion of British works in their programmes, they will be acting in the best interests of British music and admirably achieving what the B.M.S. originally set out to do. That this larger conception of the Society's mission has long been recognised is amply shown by the paragraph in the Prospectus stating the objects of the Society. That paragraph may be A MUSIC JOURNAL iety exist aptly quoted here:- "The British Music Society exists to promote the organisation and development of music in the British Isles and the British Empire, to build up a body of musical opinion capable of making itself felt whenever and wherever the interests of music and music-lovers are at stake, and to spread the knowledge of British music of all periods at home and abroad. It encourages its members, wherever they may be situated, to work towards this end by cultivating every musical activity, and not least by making music among themselves, believing that thus the love and knowledge of music are chiefly stimulated and strengthened." Such a view of the Society's scope, should, we venture to think, never be out of date, and is one that can unite all lovers of music. It is the ambition of the Committee of Management to make the B.M.S. the representative body of musical amateurs for the Empire. But musical amateurs alone do not represent British music. Professional musicians are, so to speak, the Regular Army of our music, while amateurs are its Volunteers. Both together do nevertheless truly represent the music of the British Nation, and it is the recognition of this fact that has led up to the present partnership between our own. Society and the Incorporated Society of Musicians in the production of this new joint Music Journal. The Journal will be the mirror of the activities of both great Societies; and thus co-operating, both professional and amateur have it in their power to create a really forceful reciprocal body of musical zeal, representative of the best musical interests and activities in this country. Such are the aspirations of the British Music Society; they should not be too ambitious in character and too general in aim to admit of any definite realisation. To explore their practic- ability, therefore, some tentative suggestions will be offered in a subsequent issue of this paper. W.H.K. A coincidence, gives point to this statement. While these comments were being written a visitor appeared on the premises where the B.M.S. has its office. He was a voluntary collector for the St. Dunstan's Home for the Blind, and had with him an ingenious contrivance-a kind of Mother Shipton's Fortune-teller, specially constructed for the St. Dunstan's Fund, which, on the insertion of a penny, sets a rotary hand in motion to point to fortune. The secretarial mind, being human, will gladly risk a few pence to be told; "A great surprise awaits you," or "Beware of a dark man!" Asked what induced the St. Dunstan's Fund to make such concession to the frailty of mankind, the visitor replied, rather sadly: "Nobody sends subscriptions nowadays. People have simply forgotten us; feelings soon wear out, you know!" Shaking the large box with its loose copper foundation, he passed on to the next office. "Rhythm is the traffic; time is the policeman. You may regulate rhythm, hold it up or divert it, but it still flows on.. It is rhythm which is vital, not TEMPO..... Whatever the pace, rhythm moves on inexorably. If you get in the way of it, so much the worse for you." I5 PLUNKET GREENE.

OXFORD MUSIC JOHN GOSS AN ANTHOLOGY OF SONG 55. net, in paper; cloth boards, 8s. 6d. net. This collection, the choicest part of Mr. Goss's own repertoire, contains fifty picked songs, from the Italian masters, the English Lutenists, the Classics and Romantics. They are finely printed, with new translations, and new accompaniments where needed. Every singer will find here whole programmes of little-known masterpieces; the collection is undoubtedly the best and cheapest volume of its kind yet published. Full list of contents on application. PERCY A. SCHOLES THE LISTENER'S HISTORY OF MUSIC Vol. II. THE ROMANTIC AND NATIONALIST SCHOOLS OF THE NINETEENTH CENTURY 6s, net. Vol. III. To THE COMPOSERS OF TO-DAY 6s. net. THE CLARENDON SONG BOOKS This series, to be completed in six books, of which the first is now published, is issued under the joint editorship of Dr. W. G. Whittaker, Herbert Wiseman, and John Wishart. Its aim is to provide within single covers examples of all types of songs, specially suitable for schools, institutes, and social clubs. Book I contains Nursery Rhymes, Folk Songs, Classical and Modern Unison Songs, Rounds and Canons; it is published in the following editions:- 2s. 6d. or linen lined, 38. Piano Melody (Staff) 6d. Sol-fa 35 6d. Book II will be published shortly OXFORD UNIVERSITY PRESS Aeolian Hall, New Bond Street, W.1 8d. 8d. The ASSOCIATED BOARD of The R.A.M. and The R.C.M. FOR LOCAL EXAMINATIONS IN MUSIC. Patron: HIS MAJESTY THE KING. President: H.R.H. THE PRINCE OF WALES, K.G. LOCAL CENTRE EXAMINATIONS (Syllabus A). Written Examinations held in March and November at all Centres. In practical subjects in March-April and November December at all Centres. Entries for the November-December Examinations close Wed- pesday, October 9th, or, with extra fee, October 17th, 1929. "SCHOOL EXAMINATIONS (Syllabus B). Held throughout the British Isles three times a year, vis., March-April, June-July and October-November. Entries for the October-November Examinations closed Wed- nesday, October 2nd, or, with extra fee, October 10th, 1929. ELOCUTION EXAMINATIONS will be held at certain fixed centres in March-April, June-July and November-December each year. See Elocution Syllabus. The Board offers annually SIX EXHIBITIONS, tenable at the R.A.M. or the R.C.M. for 2 or 3 years. Syllabuses A and B, Elocution Syllabus. Entry Forms and any further information will be sent post free on application to JAMES MUIR, Secretary, 14 and 151 Bedford Square, London, W.C.1. NO. YB.P * NEW TITLE The Year Book Press Series ITEMS NOW READY 319 The Trees in England.. 320 To-day 321 Sleep, my Baby 322 The Dandelion 323 Merry, merry Sparrow. 324 A May Song .. 325 A Cradle Song 326 Old Evening Prayer 327 Barbara Allan 328 Music, when soft voices die.. 329 A Shepherd's Roundelay 330 Hence away, begone A60 Magnificat and Nunc Dimittis A61 TheWay, The Truth, The Life A62 Father All-Holy COMPOSER PRICE Charles Wood U. 3d E. T. Chapman.. U. 3d Charles Wood +4 U. 3d H. G. Ley.. V. 3d H. M. Grieveson 2-PT. 3d C. H. Kitson 2-PT. 4d E. T. Chapman 2-PT. 3d .. H. M. Grieveson 3-PT. 3d P. Tomblings S.A.T.B. bd G. Leeds .. S.A.T.B. 4d E. L. Bainton S.A.T.B. 4d Charles Wood 8.A.T.B. 4d E. R. Daymond s.s-A. 4d J. B. Johnosn U. 3d Charles Wood s.A.T.B. 44 .. Charles Wood S.A.T.B. 4d .. Charles Wood S.A.T.B. 4d PUBLICATIONS A63 O be joyful in the Lord' A64 How dazzling fair STANDARD Kikirikee. 34 Unison Songs for children 3/- postage 4d *Kookoorookoo. 26 Unison Songs for children 2/6 postage zd A Little Organ Book. 12 Voluntaries. 6/6, 10/6 postage 6d Free Accompaniment of Unison Hymn Singing 7/6 postage 6d *Two Hundred Tunes for Sight Singing .. 2/6 postage 3d "Sent on approval, post free, by: H. F. W. Deane & Sons The Year Book Press, Ltd. 31 MUSEUM STREET, LONDON, W.c.i 16

October, 1929 PAUL KERBY AND THE SALZBURG THE Salzburg Festival, always an event of out- standing importance in the musical life of the Continent, had this year a feature of interest to English visitors and of special interest to mem- bers of the B.M.S. Mr. Paul Kerby, recently nominated Honorary Representative of the B.M.S. in Vienna, where he lives, conducted the Vienna Philharmonic Orchestra in a concert of British Music, this being the first occasion on which a British conductor has appeared at the Salzburg Festival. Mr. Kerby's achievement in bringing practical recognition to British music at this great international festival alone would give him a place of honour among the elect band of musicians who have, besides their music, a mission in life. Little is known in England of what Mr. Kerby has already accomplished. With justice the June number of the R.A.M. Club magazine speaks of him as a "Musical Ambassador," for such he undoubtedly is. Paul Kerby studied at the R.A.M., obtaining the Associateship in 1922, when he went to South Africa to conduct concerts of his own works in Cape Town and Johannesburg. Later he went to New York as musical director of the Capitol Theatre, and conductor of the Capitol Symphony Orchestra. In 1926 he was elected English mem- ber of the Directing Council of the Salzburg Festival, the other members being Max Reinhardt, Hoffmannsthal, Richard Strauss and Franz Schalk. Through Mr. Kerby's untiring activity there was a large increase in the number of visitors the following year. Since that time Mr. Kerby practically devoted all his energies to the task of getting British music recognised and performed on the Continent. Only a man in such special cir- cumstances and with such comprehensive attain- ments and experience could contemplate so arduous a vocation, for on the Continent the work of British composers still appears to be surrounded by a well-nigh impenetrable wall of indifference A MUSIC JOURNAL FESTIVAL and resistance. Yet in a short space of time Mr. Kerby made a definite breach in that wall. In 1927 the Vienna Philharmonic invited him to conduct that orchestra in Vienna. Seizing the brilliant opportunity Paul Kerby ran a consider- able risk in making a condition that the concert be devoted to British works. Under the patronage of the British Minister in Vienna and of the Austrian Government the concert became the great state event of the Viennese season. With this achievement already to his credit, Paul Kerby at his concert in Salzburg rose to still greater honour both for himself as a con- ductor and for the glory of British music, which he in person so worthily represents. His pro- gramme on August 18th included Elgar's Enigma Variations and Percy Grainger's arrangement of the Londonderry Air and Shepherd's Hey. Mr. Arthur Mason, whose name is well known to readers of the Music Bulletin, was in Salzburg for the Festival. The following remarks of his from the September Musical Opinion give an interesting impression of the concert. "This concert revealed Mr. Kerby as a con- ductor of skill and insight, obviously familiar with his scores and capable of securing from an orchestra the realisation of his own inter- pretative scheme. It was very interesting to hear the Vienna Philharmonic players in the Elgar Variations. Their approach to music not well known to them was clearly seen to be somewhat tentative, especially in the more delicate and more subtle sections of the work. But once they were embarked upon merely technical problems or engaged with masses of sound they were magnificent. Dorabella, for instance, did not flutter with the fairy light- ness we know it to possess; but, on the other hand, Nimrod revealed an overwhelmingly gorgeous wealth of tone. A full hall gave the orchestra much applause." BRANCH NEWS Reports and contributions should reach the B.M.S. office by the 12th of the month. Edgbaston Edgbaston Church of England Music Society and School Branch B.M.S. has had a very successful season. The membership and attend- ance have been unusually satisfactory. Four con- certs were held during the season. Miss Kathleen Arnold gave a most interesting Schumann Lecture-Recital. The programme included Kinderscenen, and the Carnival. The second meeting was a very enjoyable pianoforte violin recital by Mr. and Mrs. John Bridges. The Arts League of Service once again delighted the audience with a programme 17 of folk songs, dances, and one-act plays. Mr. Dale Smith concluded the season's meetings with a delightful song-recital with folk songs and songs from Morley, Playford, Brahms, Richard Strauss, Warlock, and Butterworth. Manchester Contemporary Music Centre At the monthly meeting, on Friday, June 7th, the programme was as follows:- Sonata No. 1, for Violin and Piano Honegger Solo for Pianoforte ... "Paan Arnold Bax (dedicated to Frank Merrick) Two movements of Sonata for Violin and Piano Ravel

A MUSIC JOURNAL At the July meeting were heard Dohnanyi's delightful Variations for Orchestra (with Piano Concertante) upon a Nursery Tune (Opus 25), the work being given in an arrangement for two pianos. Reger's Variations and Fugue in Eb upon a theme of Telemann (for piano solo) were also performed. The concert given in the Memorial Hall, Man- chester, on June 20th, included:- Sonata for Violin and Pianoforte. Honegger Mr. Maurice Ward and Miss Lucy Pierce. Sonata for Piano Solo Miss Lucy Pierce. Trio for Strings.... J. Ireland Max Reger Mr. Maurice Ward, Miss Carline Crampton, and Mr. Carl Fuchs. Suite for Piano "Le Tombeau de Couperin" Ravel Mr. Frank Merrick. There was a considerable audience and the programme was enthusiastically received. At the close of the concert Mr. Carl Fuchs, in a short speech, paid tribute to Mr. Merrick's activity in the cause of modern music (as of music generally) in Manchester, and voiced our unani- mous regret at his approaching retirement from the city, expressing our good wishes to him for the future. Marylebone Last season's concerts maintained the custom- ary high standard in choice of programme and performance. On October 10th, 1928, Ethel Bartlett and Mercia Stotesbury played Mozart and Delius Sonatas for Piano and Violin, and Violette Browne sang a group of modern songs. The Spencer Dyke String Quartet played Haydn and Debussy quartets, as well as McEwen's Biscay Quartet on November 30th. Golders Green and Hendon combined with. Marylebone in providing a recital of music for two pianos by Ethel Bartlett and Rae Robertson, on January 29th, of this year. A varied pro- gramme was given on February 21st by Molly Iverson (Soprano), Paul Hermann (Violoncello), and Harry Isaacs (Piano). The season's events finished with a joint concert of the London C.M.C. and the Marylebone Centre at the Court House, on March 18th. Apart from songs by Scarlatti, Gluck, Palmgren, and Johan Backer-Lunde, sung by Soffi Schönning to the accompaniment of Sydney Harrison, the concert was devoted to music for wind instruments. The players were the Société Taffenel (René le Roy, flute; Louis Bas, oboe; Achille Grass, clarinet; Jules Vialet, horn; and Edouard Hénon, bassoon) with Erwin Schulhoff at the piano. Wind alone was heard in the Chansons et Danses of Vincent D'Indy. With the addition of the piano the same combination gave the Mozart Quintet, Albert Roussel's Divertissement and Joseph Jongen's Rapsodie, The coming season promises well. On October October, 1929 4th, Christopher Stone, London Editor of The Gramophone, will speak on Some Aspects of Mechanical Music. On November 5th, Anna Tibell (Contralto) will sing Leider, and Lyell Barbour will play works by Mozart, Delius, Cyril Scott, etc. The Pirani Trio will perform on November 5th, the works including the Delius Double Concerto and the Tchaikowsky Variations. These three concerts will be held at 4c Lang- ford Place, N.W.8, by kind permission of Mrs. Dalliba John. Marylebone is to be congratulated on securing as chairman of committee Mr. C. Kennedy Scott, in whose presence and guidance the Centre will have much cause to rejoice. With Miss Effic Bolton as hon. secretary, the Centre may be more fortunate than it knows; for in addition to circularising over five hundred people about next Question- season, she has recently sent out a naire" to members, inviting them to give their candid opinions of the last season's concerts. Other Centres may like to copy, so it is given below:- QUESTIONNAIRE. 4 1. Did you enjoy the Winter 1929 Concerts? If not, why? If so, which one did you like best? 2. Does the enclosed list of Autumn Concerts appeal to you? If not, why? 3. Have you anything to suggest which might add to the pleasure of the Marylebone Centre Evenings? 4. Is there any particular artist or work you would like during 1930? (Re-engagements or repetitions may be suggested)? 5. Will you write in the space below names and addresses of people you think would like an invitation for any one of the three Autumn Concerts? 18 Birmingham The Annual Meeting, held on June 1st, served two purposes, for at the invitation of Dr. Adrian Boult (chairman of the Committee) not only B.M.S. members but those of the Birming- ham branch of the I.S.M. were present, thus happily inaugurating the new relationship between these societies. Both Dr. Boult and Mr. Frank Eames, as president and secretary of the I.S.M., were able to give authoritative and interesting information on this subject. As to music, the singing of Mr. Keith Faulkner, accompanied by Mr. Michael Mullinar-and also a brief illustration of pipe and tabor music by Miss Joan Sharpe-concluded a meeting of exceptional musical interest. Between Christmas and Easter three recitals were given. At the first Miss Dorothy Robson included an interesting group of French songs, (Continued at foot of next page).

A 0 October, 1929 A MUSIC JOURNAL LONDON CONTEMPORARY MUSIC CENTRE MEMBERS of the C.M.C. will be sorry to know that the Court House in Marylebone Lane is no longer available for concerts. The Court House is, of course, primarily a restaur- ant, the upper room being reserved hitherto for concerts and other functions. As few concert halls have their own buffet, the dual capacity of the Court House made possible the pleasant adjournment for coffee to the room below, after the spiritual refreshment received upstairs. The management now finds it more profitable to cater for the body alone.. The demand for continuous material refreshment is so great that the concert. hall is to be converted into a restaurant for even- ing patronage, with the result that the hall can no more be hired for concerts. * * Considerable difficulty has been experienced in finding a substitute for the Court House, especially in view of the central position required, as the number of small halls in the West End is limited. Accommodation, provisional at least, has now been found; it is to be hoped that the new arrangement will prove satisfactory in more ways than one. Until further notice the C.M.C. concerts will be given in the Armitage Hall of the National Institute for the Blind, 224 Great Portland Street, a few minutes from the B.M.S. office. The Hall is easy of access-one minute from Great Port- land Street station on the Inner Circle and three minutes from Regents Park station on the Bakerloo railway. Moreover it is well served by omnibus: Nos. 3, 58, 59, 159, 536, pass the door, setting down almost opposite. A further consideration will appeal to members of the B.M.S. It is well known that, at the Institute, there is a regular School of Music for the Blind: thus a common link is established between the two contracting parties. The pro- ceeds derived by the Institute from our hiring of the Hall, the expenses of which will be less BRANCH NEWS (continued) whilst Mr. Bernard Shore gave members the only too rare pleasure of listening to the viola. Mr. Keith Faulkner ranged with equal charm and understanding from Bach to English folksong, and Miss Joan Willis ('cellist) and Mr. Mullinar (pianist) concluded a series of meetings which have been characterised by an admirable diversity and serious musical purpose. The programme for the coming season includes a visit from Dr. W. G. Whittaker as president of the branch, who, in conjunction with the Brosa String Quartet and Miss Margaret Corbold, will give a concert of his own chamber- 19 than those of the Court House, will be devoted to a special fund-"The Sunshine Home for Blind Babies." The fact that the modest expenditure connected with the C.M.C. concerts will directly help a philanthropic object, dear to the heart of everybody, will make members hope that, if for no other reason, the arrangement may prove to be permanently satisfactory. The Armitage Hall holds about two hundred and fifty people. It is panelled in light oak, has a platform and an organ, and is said to be ideally The suitable acoustically for small concerts. Institute, it may be added, will do its best to make adequate provision for the little ceremony that followed the concerts in the Court House. * Only a preliminary notice of forthcoming concerts can be given in these columns; a special notice will be sent to all members of the C.M.C after the meeting of the Committee which decides the programmes. It was hoped that the first concert of the series would be given by the "Pro Arte' Quartet. Owing to uncertainty about acquiring a suitable concert-hall, however, the arrangement with that Quartet has tempor- arily fallen through. Later negotiations, it is hoped, will have a successful issue. The first concert will now be a combined song and pianoforte recital by Signora Maragliano- Mori and Mr. Frank Mannheimer, and will take place on Wednesday evening, November 6th. Ethel Bartlett and Rae Robertson provide music for two pianos on December 11th, and the Brosa String Quartet will perform on January 29th, 1930. 72 *1000* The Committee may decide to give the first concert on Tuesday, November 5th, instead of the day after, owing to the fact that, since the original arrangement was made, one of the "Wednesday Concerts" at the Wigmore Hall, has been put down for November 6th. music. Dr. Boult, aided by Mr. Mullinar, will continue his invaluable series of lectures on the Symphony concerts of the Birmingham City Orchestra, and the branch will be further honoured by an informal visit from Dr. Walford Davies. Lectures by Mr. A. Holland (of the Liverpool Post), on "Purcell," and by Mrs. Herbert Jones on "Welsh Folk-songs," in addition to three recitals (by Miss Sybil Eaton, Miss Eleanor Toye, and Mr. Steuart Wilson), and finally, a Members' evening, complete a programme of unusual interest. Many of these meetings will only be completed by the invaluable services of Mr. Michael Mullinar as hon. accompanist.

T THE TRAINING SCHOOL FOR MUSIC TEACHERS 73 HIGH STREET MARYLEBONE, W.1 Council of Management: FRANK BONNER, A.R.A.M. NELLIE HOLLAND, A.R.C.M. PERCY A. WHITEHEAD, A.R.C.M. A centre where those already engaged in teaching, and those intending to become teachers, may gain the necessary theoretical and practical experience in all that appertains to the Art of Teaching, as distinct from the ordinary course of Musical Study. A wide variety of Courses has been arranged to meet the requirements of all Teachers of Music, including :- (a) The regular weekly EVENING LECTURE COURSE. (b) The MONTHLY WEEK-END COURSE (Saturday lectures). (c) HOLIDAY COURSES (Easter, Summer and Christmas). (d) Recitals, Short Courses and Lectures on special branches of musical work. The Full Course is recognised by the Teachers Registration Council Full particulars of all courses will be sent freely on application to The Correspondent, T.S.M.T., 73 High Street, Marylebone, London, W.1. THE LONDON SCHOOL OF DALCROZE EURHYTHMICS 23 Store Street, W.C.1. Visiting Principal: Emile Jaques-Dalcroze (Geneva). Director: Percy B. Ingham, B.A. Director of Musical Studies: Ernest Read, F.R.A.M. Mistress of Method: Ethel Driver, L.R.A.M., Dalcroze Diploma. The School Year in the Training Course begins OCTOBER ISt. Classes in single subjects, Children and Adults- begin OCTOBER 5th. CHRISTMAS VACATION COURSE FOR ADULTS, DECEMBER 30th to JANUARY 4th in- clusive. Details of all the above from THE DALCROZE SCHOOL 23 STORE STREET, LONDON, W.C.I. Tel.: Museum 2294, 10 to 1 and 3 to 5. KIMEY GUILLAIN is resuming her VIOLIN LESSONS - YSAVE METHOD Professional, Amateurs, and Children ENSEMBLE LESSONS TO PIANISTS Professionals and Amateurs Violin and Piano Sonatas (for accompaniments) Telephone: Primrose Hill 2714 16 Fairfax Road, N.W.6, 20

October, 1929 A MUSIC JOURNAL THE ANGLO-AMERICAN MUSIC CONFERENCE SUMMER holidays nowadays offer an almost tantalising diversity of attraction for musicians. There are the special Music Festivals such as Salzburg, Munich, Bayreuth and others. For those who wish to make music-study itself a holiday event there are innumerable courses from which to choose, the Oxford Summer Course, under the direction of Major J. T. Bavin, this year being of unusual scope and interest. The Anglo-American Music Conference, held at Lausanne in August, was in a class by itself. There were over four hundred members, the greater number coming from England, about one hundred and fifty from the United States, and representatives from Australia, New Zealand, Ceylon, Canada, and South Africa. The whole. Conference owed its initiation and success to Mr. Percy Scholes, who is now living at Montreux, in Switzerland. There were general lectures, sectional meetings, and concerts in the evenings, the honours in all three being equally divided among its American and English visitors. Though the B.M.S. was not officially repre- sented at the Conference there were two members of that body on the Committee-Mrs. James Dyer, from Australia, and Mr. W. H. Kerridge, the Secretary. Full reports of the gathering have appeared elsewhere. One aspect of this Conference, or rather of future Anglo-American Conferences, is of interest to members of the B.M.S. and indicates another direction in which the Society could act to advantage. A delegation from recognised musical bodies in Germany had come with the request to be admitted to the Conference. The request was readily accorded, with the result that, before the Conference was finished, a Sub-Committee was appointed to consider the possibility of making the next Conference more international in out- look. The language problem being the great difficulty in most international meetings, a compromise in regard to the next Conference was suggested and finally adopted. Needless to say, the B.M.S., through its London Contemporary Music Centre, is in direct touch with most of the Continental Countries represented in the Inter- national Society for Contemporary Music, and can be of direct assistance where communication with continental musicians is concerned. The following report of the final Committee meeting at Lausanne is therefore worthy of special notice :- At the Committee Meeting held at Lausanne on August 7th, with Sir Henry Hadow in the Chair, the following resolutions were agreed upon: 1. That the Anglo-American Music Conference be continued biennially, the next meeting to take place in 1931, at such place as the Execu- tive Committee shall determine. 2. That power be given to the Executive Com- mittee to send invitations to accredited musical organisations in other countries, asking them each to send one or more representatives to that Conference. 3. That all Sessions of the 1931 Conference be conducted in English alone, including any addresses made by representatives invited. It was further recommended :- 4. That at the Conference in 1931 there be considered the possibility of forming an Inter- national Music Conference, conducted simul- taneously in English, French and German, to be held in 1933 or at some more distant date. 5. That the following members of the present Committee be elected to form the American and British Executive Committees respectively, with the continuance of Mr. Percy Scholes as General Secretary of the whole Conference:- (a) (b) AMERICA: PROFESSOR PAUL WEAVER: (Chair- man and Hon. Secretary) Cornell Uni- versity. Miss MABELLE GLENN: (President of the Music Supervisors' National Con- ference). MRS. RUTH HALLER OTTAWAY: (President of the National Federation of Music Clubs). MR. WILLIAM ARMS FISHER: (Presi- dent of the Music Teachers' Association). With power to add to their number. GREAT BRITAIN: So far as Great Britain is concerned the following be elected, with power to add to their number, and with a recommendation that they keep in touch with representative musical bodies: MR. PERCY SCHOLES (Chairman). MR. HARVEY GRACE MR. A. FORBES MILNE. MR. W. H. KERRIDGE (Hon. Secretary). It was further recommended:- (a) That the Committee get into touch with Sir Henry Lunn in connection with the proposed Conference in 1931. (b) That the Conference take place in Lausanne, subject to the decision of the Joint Executive Committee. 21

MENDELSSOHN and "GROVE" MENDELSSOHN (From one of the many fine illustra- tions in ' "Grove") No less than 60 pages of the NEW GROVE'S DICTIONARY OF MUSIC are devoted to the life and work of Mendelssohn. Similar thoroughness is evident throughout. Over 4,000 Completely Revised and Up-to-date 5 Vols. 96 full page plates A first payment of 7s. 6d. brings the set to YOUR HOME AT ONCE I 1 Post this for FREE PROSPECTUS To the Globe Publishing Co. Ltd., 112, Strand, London, W.C.2 (Use unscaled envelope-d. stamp). Please send me Prospectus of the New Dictionary of Music, with full Grovears of payment-out-of-income and discount for cash. Name Address M.J.4. Unique Service for the Musical Public including Lectures on Music and Demonstrations of New and Classical Music is to be provided in FOYLE'S MUSIC DEPT. after mid-October when the De- partment has been re-organised and enlarged You are invited to visit the Department and to take advantage of the various features of the service provided. If unable to make a visit, write, outlining your requirements and enquiries 119-125 Charing Cross Road ga London, W.C.2 Telephone: Gerrard 9310 (5 lines) ( Authors and Songwriters Your poem or song lyric set to original appealing music and prepared for publication. All work guaranteed to please or your money refunded. Send for particulars or submit manuscript for estimate and free advice. No obligations. Easy Terms extended. MAX E. HASENBEIN Composer and Arranger of Music Steintor 36, Dept. M.J., Bremen, Germany (Correspondence in English invited) 22

October, 1929 GRAMOPHONE NOTES THE COLUMBIA Company has just issued a set of records of special historic interest- the veteran Sir George Henschel in songs of Schubert, Schumann and Carl Loewe. Among them are Schubert's The Organ Man, Schumann's The Two Grenadiers, and Loewe's setting of The Erl King. It is surely a remarkable feat for a man of seventy-eight, not only to sing such songs with a voice still lovely in quality but to play the accompaniments as well. The nine songs form a permanent memento of one of the most remark- able artists of the past generation and also of the present day. A delightful reminiscence of old English music is provided in the Fantasy for Six Viols (Richard Dering) and the two Fantasies for Two Viols (Morley) played by the Dolmetsch family. John Ireland's Sonata for 'Cello and Piano, with Antoni Sala and the composer also forms a special set. These are admirably recorded and reveal the composer in his characteristic manner and most intimate mood. " H.M.V. has produced four records of the Herzeleide" music from the 2nd Act of Parsifal, with Gota Ljungberg as Kundry, Walter Widdop as Parsifal, and Albert Coates conduct- ing the London Symphony Orchestra. They are valuable for a study of the intensely dramatic nature of the most characteristic Parsifal music. The L.S.O. has also made the first Oct. Day. Time. A MUSIC JOURNAL electrical recording of Wagner's Faust Overture, Albert Coates again conducting. A welcome addition to the library is Debussy's 1st Nocturne for orchestra, entitled Nuages. The extremely delicate orchestration comes out well under Piero Coppola, the conductor. The DECCA COMPANY has a great deal to its credit. The recording has much improved and the repertory is enlarging in all directions. In view of the forthcoming Delius Festival in London the six excellent records of Sea Drift are worthy of quite special mention. Roy Hender- son's rich, sustained tone comes out well and the choir rises to great heights of expression. The fascinating harmonies and orchestration are beautifully recorded, and the Decca company is much to be congratulated on the result. Lord Berners' Fugue for orchestra, conducted by John Ansell, is most pleasing. It is quite orthodox in its harmonisation and development, containing nothing whatever to discourage those to whom modern music makes little appeal. For a fugue the rhythmic element is noticeably strong. The work, composed in 1927, is obviously to be taken for a burlesque on a fugue. Decca's remarkable series of 2/- records, mostly of the lighter music, is a triumph of its kind. Reviews of New Music will appear next month. SOME FORTHCOMING CONCERTS AEOLIAN HALL Name. 2 Wed. 8-15 London Concert Orch. 5 Sat. 3-15 London String Quartet 7 Mon. 8-30 Clive Carey 9 Wed, 9-0 John Brownlee 14 Mon. 8-30 Clive Carey 16 Wed, 8-30 Delius Festival .. 17 Thur, 12-0 Mathilde Verne... 23 Wed. 8-30 Delius Festival 26 Sat. 8-16 Michael Zacharewitsch 30 Wed. 3-0 Armstrong Gibbs 30 Wed, 8-15 Gordon Bryan Oct. Day, Time. 3 Thur. 3-0 5 Sat. 3-0 8 Tues, 8-30 Performance. Concert. Concert. Song Recital. Song Recital. Song Recital. Concert. Concert. Concert. Violin Recital. Concert of Own Compositions. Chamber Concert. WIGMORE HALL Name. Lionel Tertis Lamond. Hart House String Quartet 9 Wed. 8-30 Wednesday Evening 10 Thur. 8-30 Maurice Cole 11 Fri. 8-30 Egon Petri Performance. Viola Recital. Piano Recital. Chamber Concert. Chamber Concerts. Piano Recital. Piano Recital. Violin Recital. 12 Sat, 3-0 Cecil Bonvalot George Chavchavadze. Recital. 14 Mon. 8-30 Beatrice Harrison and 'Cello and Piano Oct. Day. Time. Name. Ig Sat. 3-30 Zimmer String Quartet 21 Mon. 8-30 Reginald Paul... 23 Wed. 8-30 Wednesday Evening Chamber Concerts. Backhaus West London Male 26 Sat. 3-0 26 Sat. 8-0 28 Mon. 8-30 29 Tues, 8-30 Choir Budapest String Quar't Westminster String Quartet. 30 Wed. 8-30 Adila Fachiri and Oct. Day. Time. 5 Sat. 3-0 12 Sat. 3-0 Jelly d'Aranyi Performance. Chamber Concert. Piano Recital. QUEEN'S HALL Name. Myra Hess.. Delius Festival 1 14 Mon. 8-15 Cherkassy Malcolm Sargent Piano Recital. Concert. Chamber Concert Chamber Concert. Two-Violin Recital. Performance. Piano Recital. Choral and Orches- tral Concert. London Symphony Orchestra. Choral and Orches- tral Concert. Orchestral Concert 18 Fri. 8-0 Albert Coates Delius Festival... 22 Tues. 3-0 24 Thur. 8-0 24 Thur. 8-o Nov. Ditto. 1 Fri, 8-0 Delius Festival.... Ditto. 23 Royal Philharmonic Soc. Ditto. Delius Festival..

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