VOL. I. No. 5. A MUSIC JOURNAL THE REPORT' THE OFFICIAL JOURNAL OF THE INCORPORATED SOCIETY OF. MUSICIANS. 19 BERNERS ST W.1. CONTENTS. NOTICES OF MEETINGS - IMPRESSIONS OF THE CONFERENCE RETROSPECT AND PROSPECT 97 COMPRISING & LIST OF NEW MEMBERS HAPAHAYA REPORT OF THE ANNUAL GENERAL MEETING COMPETITIVE FESTIVALS AND ADJUDICATORS PAGE 98 99 IOI 105 A RURAL MUSIC SCHOOL 107 108 FERF P.P.Gus. Rah EDITORIAL 'THE BULLETIN' THE OFFICIAL FEBRUARY, 1930 PUBLICATION OF THE . . . BRITISH MUSIC SOCIETY, 117-123 GT PORTLAND SI W.1. CONTENTS. BRANCH NEWS THE MONTH'S CONCERTS MUSIC AND THE MAN IN THE STREET. BY JOHN HALL- PIPER PAGE THE I.S.M. CONFERENCE CARICATURES SIR HENRY WOOD AND THE COLISEUM ΙΙΟ III MUNICH TO-DAY. BY THEODORE HOLLAND - 115 113 117 118 I 19 120

The APOLLO Ideal for Schools and Small Churches Built to R.C.O. Dimensions SEATED at the "Apollo" keyboard for the first time, the organist experiences no sense of uncertainty, because its scale and positions are identical with those of the modern church organ, making it an ideal substitute for purposes of practice and study. The "Apollo" Organ is the instrument selected for innumerable small churches, chapels and schools, where the pipe-like quality and wide variety of its tone are admirably suited to the accompaniment of public worship. Built in our Liverpool works by craftsmen responsible for the con- struction of Rushworth & Dreaper pipe organs in many famous Churches, Civic Halls, Colleges and Public Schools, the "Apollo" Organ is fully guaranteed in every detail of material and work- manship. RED ORGAN PEDAL It can be specially voiced for the Home or Studio. Ask for a copy of the New Apollo Organ Book contain- ing illustrations and full fication. Y RUSHWORTH & DREAPER, Ltd. Builders of Church, Concert and Chamber Organs, LIVERPOOL

THE INCORPORATED SOCIETY OF MUSICIANS MUSIC JOURNAL CONTA "THE REPORT" VOLUME I. No. 5. 30 COMPRISING: THE BRITISH MUSIC SOCIETY "THE BULLETIN" THE REPORT THE OFFICIAL JOURNAL OF THE INCORPORATED SOCIETY OF MUSICIANS. All contributions, notices, and reports of meetings must reach the Society's offices, 19 Berners Street, London, W.1, on or before the 15th of the month. The Editor will be pleased to con- sider original articles, but cannot guarantee their insertion. BEFORE I come to the subject of my address to-day I would like to congratulate the Society on the work the President has done for us all during his year of office. He has set an example of untiring service in the interests of the Society. He has exercised his office with great decision and unparalleled patience, and the Council and Committees working under him have been allowed to waste no time nor to contemplate with any complacency the importance of the position they hold under your pleasure in the organisation of the work of the Society. Mr. Boult goes into the satisfying position of Past- President with the unanimous goodwill of all members, and when during the years to come he takes over his new and very responsible work for the B.B.C. he will carry into it the confidence and affection of the professional musicians of this country. And now for a note of sadness mingled with. much gratitude and unbounded affection. Dr. Mann, who passed his days in simplicity of living and kindness of heart, has set out on journey for which no one was ever more fittingly equipped, or more prepared to take. That one so little wordly and child-like should have been the Treasurer of any Society must seem strange, but that for many years he was our Treasurer is proof, if proof be needed, of his belief in us and of our mission in life. Some of us remember him at these annual gatherings, happy as a bird, brim- ming over with humour, making himself, without FEBRUARY, 1930. RETROSPECT AND PROSPECT (NOTE The Editor is of the opinion that no better Editorial could be suggested than the opening and concluding portions of Sir Hugh Allen's Presidential Address to the members, convened in Annual Conference on December 31st, 1929). knowing it, the focus of just that spirit of com- panionship which we most need. He was the life and soul of the surroundings in which he happened to find himself. A few of us who were privileged to know him more intimately will remember occasions at Cambridge, in his own College of King's, when in Common Room he would inveigle us into a special game of chance in which he was always the loser, or on a certain night which some of us will never forget, when as our host at dinner in Hall he spoke of the struggles of his boyhood and of those steps which led him upwards to his beloved King's, and to the work he was permitted to do for over fifty years in its glorious chapel. Pride and humility were blended in lovely proportion as they were in him also. Someone once said "Mark the perfect man. and behold the upright man, for the end of that man is peace," and so it is. anup Members of the Incorporated Society of Musicians, to you is committed a trust. In your hands lies the future. We have all chosen. to follow music as a profession, some for one reason, some for another. All of us are of it because we felt the call. All of us are in it with some definite talent to develop. All of us live by it and owe to it our complete allegiance. The finer work we do as musicians the higher will stand our profession. The higher our profession stands with its consequent prestige, the greater 97

February, 1930 browno odt pisto 1 on 1001 BRITISH MUSIC SOCIETY Matwor THE olisi (Founded in 1918 by Dr. A. Eaglefield Hull). Incorporated 1919. The Patron: THE RT. HON. THE EARL OF BALFOUR, P.C., F.R.S., O.M. President: THE LORD HOWARD DE WALDEN. SIR HUGH ALLEN, K.C.V.O., M.A., D.Mus. PROFESSOR GRANVILLE BANTOCK, M.A. SIR THOMAS BEECHAM, Bart. MAJOR-GENERAL SIR W. S. BRANCKER, K.C.B., A.F.C. ALBERT COATES, Esq. baodi sol W. W. COBBETT, Esq., F.R.C.M. SIR FREDERICK COWEN, Mus.Doc. SIR H. WALFORD DAVIES, Mus.Doc., LL.D. MRS. VERNON DEAN, M.A. al shorn Isips tous buse bas noise THE BULLETIN THE OFFICIAL ORGAN of Jacita FREDERICK DELIUS, Esq., C.H. MRS. JAMES DYER. SIR EDWARD ELGAR, O.M. to abimat REV. E. H. FELLOWES, Mus.Doc. SIR DAN GODFREY, Hon.R.A.M., L.R.A.M. vllee Bastag sitt mi su esbised as sibero sit a CECIL H. BATESON, Esq. ADRIAN C. BOULT, Esq., M.A. GERALD M. COOPER, Esq. EDWARD J. DENT, Esq., M.A. d Vice-Presidents: ant nobo A MUSIC JOURNAL SIR HENRY HADOW, C.B.E., M.A., Hon.D.Mus., SIR HAMILTON HARTY. SIR WILLIAM MCCORMICK, M.A., LL.D. J. B. MCEWEN, Esq., D.Mus., F.R.A.M. MRS. W. LEE MATHEWS. SIR S. ERNEST PALMER, Bart, F.R.C.M. SIR LANDON RONALD. Full Membership: One Guinea per annum. Committee of Management: Chairman: SIR. HUGH ALLEN, K.C.V.O., M.A., D.Mus. Vice-Chairman: W. W. A. ELKIN, Esq. MISS KATHARINE EGGAR. MAJOR J. T. BAVIN. DR. S. H. NICHOLSON, OO W. RUSHWORTH, Esq. GRAHAM PEEL, Esq. DAME ETHEL. SMYTH, D.B.E., Mus.Doc. SIR ARTHUR SOMERVELL, Mus.Doc.. THE RT. REV. THE BISHOP OF OXFORD, D.D., G.B.E., Hon.D.Mts. PROFESSOR DONALD TOVEY, B.A., F.R.S.E. LADY MAUDE WARRENDER. SIR HENRY WOOD. 109 596 odw COL. J. C. SOMERVILLE, Hon. Treasurer: COL. J. C. SOMERVILLE, C.M.G., C.B.E. Secretary: W. H. KERRIDGE, Esq., M.A., Mus.Bac., A.R.C.M. Hon. Representative of London Centres: MRS. R. LUCAS. Hon. Representative of Northern Centres: W. R. FELL, Esq. Offices: 117-23 GREAT PORTLAND STREET, LONDON, W.1. Telephone: Langham 3021. F.R.S.L. bus nobadas pullen? slows d C.M.G., C.B.E. LT.-COL, R. H. TATTON. FRANCIS TOYE, Esq. JS M 201 OBJECTS OF THE SOCIETY The British Music Society exists to promote the organisation and development of music in the British Isles and the British Empire, to build 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 at It encourages its members, wherever they may be situated, to work towards this end by cultivating every kind of musical activity, and not least by making music among themselves, believing that thus the love and knowledge of music are chiefly stimulated and strengthened. The Society is not intended to supplant or compete with any existing organisation; it desires rather to co-ordinate scattered musical activities for the prevention of waste and overlapping. It enrols not only practising musicians, professional and amateur, but all who are conscious of the importance of music as an element in national culture. edo wielora

A MUSIC JOURNAL EDITORIAL HT THE Musical Copyright Bill is arousing opposi- tion steadily cumulative and increasingly articulate. Protests are being prepared by various musical bodies, and letters to the Press are voicing opinion far and wide. Most people who have any acquaintance with the profession of music, and have any conception of the hard- ships that that profession entails, are amazed that the Bill ever saw the light of day. They may charitably attribute its existence to the obvious fact that one half of the world does not know how the other half lives. We may be certain that when the protesting deputations confront the Special Committee in the House of Commons they will ask that Committee, not so much if it knows how a composer lives, but if it can suggest, when the Bill becomes law, how a composer shall ever keep himself alive! THE B.M.S. has sent in a Memorandum to the Special Committee, with the request that a representative of the Society should be accorded an opportunity of giving evidence before that Committee. It is hoped that Sir Granville Bantock, who is a Vice-President of the B.M.S., will represent the Society when the occasion arises. MR. CYRIL SCOTT has lately returned from Germany. He has been engaged to play his Pianoforte Concerto next season at Berlin, Frankfurt, Wiesbaden and other German towns. This work was first produced here with success, by Sir Thomas Beecham some years. back, at the Queen's Hall, with the composer at the piano. Cyril Scott has since performed it at a concert of British music conducted by Goossens, at Bournemouth under Sir Dan the B.B.C. in Manchester. It is interesting to note that whereas the work has been performed four times in England since its publication many years ago, it will be given in Germany three times within a period of a few weeks. * * MR. THEODORE HOLLAND, well-known as a composer and a Professor at the Royal Academy of Music, has contributed to this number in dual form-an article on Munich and pencil sketches giving some of his impressions of the I.S.M. Conference in Chester. Versatility among musicians is not uncommon. Mr. Holland has a happy knack of caricaturing his friends, and a few examples from his "Chester Collec- tion" are reproduced with this number. As one watched the sheets of paper flying from his sketching pad, one might have supposed that Mr. Holland was so engrossed in the outward expression of the speakers that he had but little leisure to consider the weighty questions under discussion. Any such suppositions were speedily dissolved, however, when it was known that Mr. Holland had been charged, in a special session, with the delicate task of expounding the Musical Copyright Bill to the assembled. members, of explaining its practical implications, and exposing absurdities. While recognising that "imitation is the sincerest form of flattery Mr. Holland has deemed it prudent to retain his most striking portraits for his private collection! February, 1930 EVEN for those who take a deep interest in modern music the number of contemporary composers of equal calibre and importance, though of varying tendencies, has become so large that it is extremely difficult for most people to keep abreast of their well-nigh bewildering output. To take the case of Italy alone and the names of Pizzetti, Respighi, Malipiero, Casella, and Castlenuovo-Tedesco, one needs to be excep- tionally well-informed and clear-headed to keep count of their individual characteristics, and to appreciate their relative position in the present. world of music. But England, Germany, Austria, Poland, Czechoslovakia, Hungary, besides Russia, Holland, and Spain, have also to their credit an astonishing wealth of creative activity in music, which though it may not all be of equal merit is nevertheless worthy of consideration and study. Indeed there must be at least a hundred com- posers at the moment who claim attention. MR. EDWIN EVANS has done good service in promising to give a general survey of contemporary music in a lecture to the C.M.C., on Tuesday, March 4th. This lecture, which will take place in the National Institute for the Blind, 224 Great Portland Street, W., will be open to all members of the B.M.S. It is hoped that a large and keen audience will take advantage of this unrivalled opportunity for becoming acquainted with the general trend of modern music, and with the particular tendencies dis- played in their works by contemporary composers. * IIO EVEN if the B.M.S. had not pronounced its official blessing on the Imperial League of Opera, as it has done quite recently, each member of the B.M.S. must surely feel that the League is worthy of his immediate support, and that B.M.S. as a body should rejoice over this (Continued on page 111).

February, 1930 peligres Feb.Day. Time. Name. 7 Fri. 8-30 Gerald Cooper.. 12 Wed. 8-15 T. McGuire . 13 Thur. 8-15 London Concert Orch. 15 Sat. 3-0 Harriet Cohen.... 17 Mon. 8-15 Evlyn Howard-Jones 18 Tues. 8-30 Gerald Cooper.. 20 Thur. 8-15 Beatrice Desfosses .. 21 Fri. 8-30 Rudolf Serkin .. 25 Tues. 8-15 Lisa Lisona 26 Wed. 8-30 Ronald Chamberlain.. 27 Thur. 8-30 Frank Merrick.. 28 Fri. 8-30 Gerald Cooper .. MON 21 Fri. Feb.Day. Time. Name. 7 Fri. 8-0 Halle Orchestra 8 Sat. 3-0 Schumann 10 Mon. 8-0 11 Tues. 8-0 12 Wed. 8-0 14 Fri. 8-0 15 Sat. 3-0 17 Mon. 8-0 20 Thur. 8-0 8-0 22 Sat. 3-0 25 Tues. 8-0 26 Wed. 8-0 28 Fri. 8-0 Mar. 7 Fri. SOME FORTHCOMING CONCERTS AEOLIAN 8-0 .. HALL .. .. QUEEN'S HALL .. B.B.C. Symphony Orchestra . London Symph. Orch. Schnabel .. London Choral Society B.B.C. Symph. Orch. Lener Quartet .. British Women's Symphony Orchestra Royal Philharmonic Society .. B.B.C. Symphony Orchestra Lener Quartet ... Lehmann Courtauld-Sergent B.B.C. Symphony Orchestra .. .. .. Performance. Chamber Concert. Orch'tral Concert. Orch'tral Concert. Piano Recital, Piano Recital. Chamber Concert. Song Recital. Piano Recital. Song Recital. Piano Recital. Piano Recital. Chamber Concert .. Performance. Orch'tral Concert. Song Recital. Orch'tral Concert. Piano Recital. Choral Concert. Orch'tral Concert. Chamber Concert. Orch'tral Concert. Orch'tral Concert. Orch'tral Concert. Chamber Concert. Recital. Symp'ny Concert. Orch'tral Concert. Orch'tral Concert. EDITORIAL (Continued from previous page) ** opportunity to promote the organisation and development of music in the British Isles "-to quote from our Prospectus. The fact that the League includes in its aims the production of operas by British composers, the engagement of British artists, and the performance of operas in English, should alone be sufficient to rally all members of the B.M.S. to its cause, and to enlist their practical sympathy with Sir Thomas, so shortening the anxious period through which he has yet to pass before he can put his splendid scheme into operation. * AT the I.S.M. Conference in Chester, it was remarked that all discusions on musical WIGMORE HALL Feb. Day. Time. 1 Sat. Name. 3-0 Moiseiwitsch 3 Mon. 8-30 Shula Doniach.... 4 Tues. 8-0 Helen McGregor ... 5 Wed. 8-30 Wednesday Evening Concerts. 8-15 Ivy Herbert. 3-0 Moiseiwitsch 10 Mon. 8-30 Fay Ferguson 12 Wed. 8-30 Moiseiwitsch 13 Thur. 8-30 Arturo Bonucci.. 14 Fri. 8-30 May Harrison 3-0 Elly Nev 15 Sat. 17 Mon. 8-30 Jean Hamilton. 19 Wed. 8-30 Wednesday Evening Concerts " 20 Thur. 8-30 Georges Pitsch 8-30 Elly Ney .... 21 Fri, 22 Sat. 3-0 Dorothy Hesse 24 Mon. 8-30 Jean Hamilton. 25 Tues. 8-30 Sumner Austin 26 Wed. 8-30 Budapest Trio 27 Thur. 5-30 Gabriele Joachim 27 Thur. 8-30 Sydney Harrison 28 Fri. Mar. I Sat. 4 Tues. 8-30 5 Wed. 8-30 A MUSIC JOURNAL 7 Fri. 8 Sat. 35 education were concerned exclusively with school children. As in most other conferences on education, professional educationists seem to III ** .. .. .. .. 6 Thur, 8-30 7 Fri. 8-30 Alfredo Campoli .. .. .. Feb.Day. Time.. 22 Sat. 11-0 Children's Concert .. …. .. 3-0 Adila Fachiri Elena Gerhardt..... Wednesday Evening Concerts " Cicely Halford 31 ..... 8-15 Murray Lambert .. Orch'tral Concert. .. Performance. Piano Recital. Piano Recital. Violin Recital, Chamber Concert. Piano Recital. Piano Recital. Piano Recital. Piano Recital. 'Cello Recital. Violin Recital. Piano Recital. Piano Recital. .. Chamber Concert. 'Cello Recital. Piano Recital. Piano Recital. Piano Recital. Song Recital. Chamber Concert. Song Recital. Piano Recital. Violin Recital. Song Recital. CENTRAL HALL, WESTMINSTER Name. Chamber Concert. Song Recital. Violin Recital, Performance. Orch'tral Concert. have no direct interest in the development of young people over eighteen. Movements in favour of adolescent or adult education have nothing comparable with the organisation and the highly systematised schemes, projects, and experiments that command attention at every conference on education in schools. It is true, of course, that the foundation must be laid in school; yet much more might be done to ensure that interests encouraged in school shall be main- tained by young people when they leave. Broad- casting alone demands that education shall not. be regarded as having reached the age-limit at eighteen, so to speak, and the I.S.M. will be well advised to come into line with the B.B.C. by devoting some time at the next conference to the problem of following up in after-school life. the good work already being done in schools. Mr. Kennedy Scott's Junior Philharmonic Choir and Mr. Ernest Read's Junior Orchestra are admirable attempts to ensure that the work done in schools shall not end there. W.H.K.

A MUSIC JOURNAL TAGRAMOPHONE NOTES MOR Columbia Company Recent issues show astonishing variety. Of orchestral works César Franck's Symphony is the largest single contribution. Played by the Paris Orchestre de la Société des Concerts du Con- servatoire, and conducted by Phillipe Gaubert, it is recorded on six discs (9902-9907). Whether in the rich colouring of strings and wood-wind or in the magnificent swelling of the brass, the wide range of orchestral tone is faithfully recorded. On the reverse of the sixth disc is the Nocturne, To the Stars, by Henri Duparc, a pupil of César Franck. A more vivid orchestral scoring is heard in Moussorgski's Prelude to Khov- anshtchina, played by the ITallé Orchestra under Sir Hamilton Harty. This work depicts dawn spreading over the Red Square in Moscow. Characteristic Russian melody is heard, deep bells adding a religious solemnity to the occasion. On the reverse side is The Flight of the Humble Bee, by Rimsky-Korsakov; its delicate scoring for strings and wood-wind is in striking contrast to the richer orchestration of Moussorgski. Liszt's symphonic poem, Les Préludes, recorded by Mengelberg and his famous Concert-Gebouw Orchestra, makes one of the greatest concert-hall recordings. Elgar's Violin Concerto, with Albert Sammons and Sir Henry Wood is on six discs. (L.2346-2351); this beautiful work now appears in new issue, electrically recorded. Albert Sammons has also joined with Lionel Tertis in presenting Handel's Passacaglia in violin and. viola form, arranged by Halvorsen. Such is the wealth of tone in the double-stopping that one might imagine a full quartet playing. Beethoven's Sonata in E flat, Op. 81, played by Godowsky, is the outstanding feature of the piano works. This sonata, which is on two 12-inch discs, was recorded in a concert-hall; the real piano tone has therefore had better chance. of reproduction. Two quartets have also made their appearance -Haydn's in G, Op. 70, on two discs, made delightful by the Poltronieri Quartet; and the Brahms in Bb, Op. 67, played by the Lener Quartet with the perfection for which they are famous the world over. Gertrude Johnson's clear voice is to be heard in two songs by Cyril Scott, the composer at the piano; Miriam Licette is responsible for two Arias from Mozart's Don Giovanni (Batti, batti, and Mi Tradi); Emanuele Salazar (Tenor) has contributed two excerpts from Verdi's Otello, with orchestral accompaniment; and Norman Allin and Harold Williams give a capital render- ing of two Purcell duets-Awake! ye Dead and Sound the Trumpet. February, 1930 give much joy by their remarkably spirited sing- ing of Purcell's Nymphs and Shepherds, and the Dance Duct from Hansel and Gretel, conducted by Sir Hamilton Harty in the Free Trade Hall, Manchester. In the opening bars one at once detects the extreme youthfulness of the voices and the spaciousness of the hall where they are sing- ing. This is a most cheering, record to put on when one is out of sorts, and constitutes a triumph for the children, the conductor, and the Columbia Company. His Master's Voice Three discs devoted to Bach's Brandenburg Concerto, No. 2, in F, played by Leopold Stokowski's superb Philadelphia Symphony Orchestra, make a noble contribution to recorded music. Rimsky-Korsakov's May Night Overture, with its attractive fugal theme and the highly original orchestration, makes a splendid record by that great interpreter of Russian music, Albert Coates. An interesting orchestral novelty is the brilliant work of the Spanish composer, Turina, entitled Danzas Fantasticas, consisting of three numbers and recorded on two discs. It abounds in Spanish rhythm and is rich in orchestral. colour; the last dance, brilliant and exhilarating, works up to a tremendous climax. The recording of Eugène Goossens with the New Symphony Orchestra is extremely effective. Beethoven's Kreutzer Sonata for pianoforte and violin, by the two ideal artists for this great. work-Alfred Cortot and Jacques Thibaud-pro- vides a wonderful enrichment of the chamber- music library. Bach's Passacaglia for the Organ is recorded on two discs by Marcel Dupré, the famous blind organist. Compared with the tone of the manuals, which is beautifully clear, the theme of the bass is at first somewhat subordinate, due probably to the extreme difficulty of adequately recording notes of very slow vibration; in the fourth record the pedal part is heard to much greater advantage. Decca Company Among the many new recordings are several of special importance and merit. Handel's Concerto in F, No. 6, is delightfully recorded on six discs by Ernest Ansermet and the Decca String Orchestra. William Walton's breezy Portsmouth Point, which made such an impression at the International Society of Contemporary Music, at Zürich, a year or two ago, has been accorded a lively performance by Anthony Bernard. Vaughan Williams' On Wenlock Edge has appeared on three discs. Steuart Wilson has provided a jolly record with two English Folk- songs-Rio Grande and The Crocodile, and Roy Henderson has to his credit Simon the Cellarer and King Charles. The Manchester Children's Choir, consisting of 250 infants whose average age is nine, will 112

February, 1930 tinuato iw banni BRANCH Isle of Man Music Society Mr. W. H. Kerridge, M.A., Mus.Bac., the secretary of the British Music Society, gave a lecture before the members of the Isle of Man Music Society on January 7th, at S. Andrew's Hall, Douglas, on The Romantic Period in Musical History. The lecture was illustrated by pianoforte solos played by Mr. Kerridge himself, and by songs given by Miss Lilian Pickard and Miss Eileen Pickard, two local singers who were accompanied by Mrs. Harry Towler, L.R.A.M., the president of the Society. The gramophone was also employed to demonstrate the Overture to Oberon, with whom romantic music may be said to have originated. Mr. Kerridge's pianoforte pieces included Moments Musicaux and Impromptu in Ab, both by Schubert, the Romance in F#, and portions of Kreisleriana (Schumann). The former of the Schumann pieces in particular was most charm- ingly rendered and received great applause. In his address Mr. Kerridge emphasised the fact that the romantic composers aimed at giving emotional expression in their works. They tried to get away from the rigid lines of the previous composers in much the same way that the modernists are now endeavouring to liberate themselves from romanticism and sentimentalism. The Isle of Man Music Society will certainly look forward to a further visit from Mr. Kerridge at some future date. Both his address and his pianoforte illustrations were most highly appreciated by his audience. The next meeting of the members of the Society takes place on February 4th, when Maurice d'Oisly gives a lecture-recital. B.E.S. A MUSIC JOURNAL NEWS to the points where they were to be observed-a valuable guidance in the art of listening. Moreover, a great help in the setting of this old music in its perspective was the constant reminder that the accompaniments were written. for the lute, and lantern illustrations of this lovely instrument were given. Its intimate nature was thus brought home, and a sidelight thrown on the true appeal of these songs as communings in domestic tranquility with a poet's mind, not as vehicles for platform show- manship. For an interpreter with this contemplative attitude to beauty, Dr. Whittaker could not have found a better collaborator than Miss Lawton. No thought of vocal technicalities was present, but the varied moods were deeply felt; each word being full of meaning, the intensity of Dowland's thought and feeling was readily grasped by the audience. Among the songs sung were: Come away, sweet love (encored at the close of the lecture); Lacrymae; Flow not so fast, ye fountains; In darkness let me dwell; and Thou mighty God. W.D. Blackheath The Blackheath Centre announces an interest- ing series of chamber concerts for this season. The opening concert will take place on Tues- day, February 4th, at All Saints' Parish Hall, when the Pirani Trio (Leila Doubleday-Pirani, Charles Hambourg and Max Pirani) will play works by Beethoven, Ravel and Delius. Other fixtures include a recital of works for oboe and string quartet by Helen Gaskell and the Griller String Quartet, a violoncello recital by Thelma Reiss-Smith, assisted by Joan Black (pianoforte) and Joan Coxon (soprano), a piano- forte recital by Reginald Paul and a Members' Evening. The Annual General Meeting will be held at 10 St. German's Place, Blackheath, on Monday, January 27th, at 9 p.m. M.L. Belfast Alnwick The third evening of the B.M.S. Session in Alnwick was held on December 14th, when Dr. W. G. Whittaker, president of the Alnwick Branch, gave an illuminating lecture on John Dowland's Songs, assisted by Miss Annie Lawton, who sang examples of these lovely works. In welcoming Dr. Whittaker once more to the Alnwick Branch, Professor Bosanquet referred to the lecturer's world-wide reputation and offered, on behalf of the Society, congratulations and good wishes on his new appointment as Professor Music at Glasgow University. Opening his remarks by setting Dowland among the best six song-writers of the world, Dr. Whittaker pointed out the qualities which contributed to the composer's greatness: his sensitiveness to the poet's thoughts, and his power of clothing them in beautiful melodic curves and balanced phrases. Throughout the evening, before the singing of each song, these two principles were stressed, and attention drawn 113 tants Owing to illness, Mrs. Marjory Kennedy-Fraser was unable to give her lecture-recital on Songs of the Hebrides at the meeting on December 21st. The gap was filled by Mr. Reginald Paul and Mr. Harold Fairhurst, who ave a pianoforte and violin recital. The most important work in a very interesting programme was the Arnold Bax Sonata No. 2 in D. It had been played at a meet- ing of the Centre a few years ago and a further. hearing confirmed the high opinion which had previously been formed about the work. The pro- gramme also contained solo groups for both violin and piano. Mr. Fairhurst played with consummate technical ease and great beauty of tone, especially

A MUSIC JOURNAL in the Delius Lullaby for a Modern Baby, Prokofief's Melody and Rebecca Clarke's Chinese Pussle. Mr. Paul, who played among other things César Franck's Prelude, Choral and Fugue, Ravel's Ondine, and Albeniz's Triana, showed a natural aptitude for the piano and a promising style. At the fifth meeting of the Centre, on January 10th, a song and pianoforte recital was given by Miss Frances Allsom and Miss Flora Shaw, a very promising local player. The programme showed a finely discriminate taste both in choice and arrangement, and gave great enjoyment in performance. Miss Allsom sang groups of Italian, German, English, and French songs. Her singing had fine clarity and tone, and especially in such lovely things as Die Nacht, by Strauss, Wolf's Das verlassene Mägdlein, Armstrong Gibb's Silver, and Debussy, Duparc, and Webber songs, a warm and imaginative temperament. Mrs. Herbert Warnock played the accompaniments in a very sympathetic way. Miss Shaw, too, showed a musical temperament in Bach's C minor Partita and in Preludes, by Rachmaninoff, Debussy's Puck's Dance, and Gardens in the rain, and three pieces by Brahms. N.F. East Grinstead On December 11th, a concert of Christmas Music was given-organised by Mrs. Powell and Mrs. Rigg-which proved a great success and was subsequently repeated the following week. The B.M.S. Choral Society were responsibie for all the choral music and sang with a very nice tone and balance. A small orchestra accom- panied throughout, and all were under the very able conductorship of Mrs. Powell. The programme included various numbers. from the Messiah, the Hymn to Jesus, by Richard de Castres, which was specially well sung, and a carol by Sir Edward Elgar. The soloists were Mrs. Rigg Madame Gladys Rowe-Mr. J. Harrison and Mr. Jack Power. Muswell Hill Annie Laurie Trewman and Mr. E. L. Jones were the singers at the informal evening, held on December 17th. The instrumentalists were Mr. Sellers, Mrs. Mackay, and Mrs. Sellers, who played a Beethoven trio for two violins and viola. by Madam Trewman, ably accompanied Frederick Jackson, is a real artist in song; her diction is good, her voice beautiful, her render- ing sympathetic. This was especially evident in such songs as A Soldier's Wife (Rachmaninoff), for which she was encored. Mr. E. L. Jones, also a favourite in Muswell Hill, was in excellent form and he certainly deserved the encore which the song, Some Rival has stolen my true love away, and others gained for him. February, 1930 The evening finished with Community singing led by Mr. George Swidenbank and vigorously supported on the piano by Reginald Paul. Manchester Central High School for Girls The whole school attended the performance of Dr. Rootham's beautiful setting of the choruses from Achilles in Scyros, which was given by the members of the choral section of the branch, accompanied by the school orchestra, on Friday, December 20th. Between the songs, Miss Stell gave a brief summary of the poem, and read short extracts from it. Both the chorus and orchestra are preparing scenes from Patience this term, in readiness for the joint meeting with the Literary and Debating Society. E.M.H. Torquay Held their December matinée on the 10th, Mr. E. H. Burt-Smith presiding. Mr. Vernon S. Read, F.R.C.O., gave a most interesting illustrated lecture on Sixteenth-Century Music, making a feature of the Cryes of London from the watch- man and the sweep. Some excellent part-singing was given by a quartet-Mrs. N. McLeod Steel, Miss Taylor, Mr. McInnes and Mr. N. McLeod Steel. The ensemble was perfect and the singing of the following was highly appreciated :- O Lord, increase my faith (O. Gibbons); April is in my mistress' face (Thomas Morley); and Come again, sweet days (Dowland). The fourth meeting of the present season was held at the Bath Salons, on Tuesday, January 14th. There was a large attendance of members and visitors. The concert was given by two artists, Miss Renée Sweetland (pianist), and Miss Denyse Holdaway ('cellist). Miss Sweetland played three groups of solos and joined Miss Holdaway in Saint Saëns' Sonata No. 1 for piano and 'cello-Miss Sweetland's fine technique. and beautiful interpretation made the audience. demand encores at the end of her second and third group of solos; she is a great favourite. with Torquay music lovers, many of whom have heard her play at the Pavilion. Miss Denyse Holdaway, who comes from Plymouth, gave enormous pleasure by her wonderful tone and excellent intonation; she is a young 'cellist with a great future before her. Mr. V. S. Read's sym- pathetic accompaniments added very much to the enjoyment of the concert. Tea was served by Mrs. Dale and Mrs. Slade, and the ladies who helped them, the tables being prettily decorated with flowers. The next meeting takes place on February 11th, when there will be a recital of modern. music with a lecture by Mr. E. W. Goss, F.R.C.O. E.H.B.-S. (Concluded on page 116) II4

February, 1930 SMUSIC. dain yd betal od bimore MUNICH By THEODORE has had charm. Despite the hardening effect of the war and a revolution within its own gates, it still retains that charm. Part of Munich's attraction for a foreigner lies. in its cosmopolitan character, and this, in turn, is derived from its geographical position-with- in easy reach of Italy, Austria, Switzerland and the old-world towns of Southern Germany. Thus it retains a distinct character of its own, moulded from varying influences that keep it fresh in outlook and sensitive to, indeed eager for, new impressions.. Art, represented by music and painting, has long had a recognised hold over the people. Its position is held to be a worthy one. It is not the plaything of the rich or the eccentric it is part of the city's life. Time has created a tradi- tion in such matters. And this tradition has long since taught Munich that no one school of artistic thought or endeavour is the only right one. Any phase of expression is accepted, pro- vided only it be good of its kind. As a typical instance of this well-balanced outlook the grouping at Munich's great Annual Exhibition of pictures comes to mind. Certain galleries are filled with academic productions, many of real distinction, others are labelled "Secession," and one enormous pavilion carries in big gilt letters the warning "Cubist Section." Each picture is judged by the standard and aims of its particular group. The same method of discrimination applies to music. And here again there is a public for every kind of work. In the course of a few weeks' stay, one can hear music ranging from Offenbach to Krenek, or from Palestrina to Hindemith. Tradition plays an important part in the Mozart productions, his operas being given with an exquisite feeling of delicacy and lightness of touch. The Residenz Theatre makes a perfect framework and is an inspiration for the stage. The singers are exceptional and can act as well as they can sing. Here are some outstanding Elisabeth Schumann, Felicie Hüni-- Mihacsek and Heinrich Rehkemper. The settings and costumes by Pasetti are modern in feeling and yet accentuate the picturesque period of the perruque.. names The same artist has designed the settings for the Wagner productions at the Prinz Regenten Theatre. One mentions them first because they are the first thing to attract one's attention. The result is a new Tristan with a ship in the First Act that really is afloat. A new Parsifal filled with poetry. A new Ring..... Yes, but here, somewhat to my disappointment, the scenery appeared to depict a golf course with a few bare. tree trunks added-and these minus the rustling leaves which Wagner's music would lead one to expect! The lighting, in contrast, is perfectly natural and extremely beautiful. In this strange yet intimate setting, the Ring loses something of its god-like proportions and one takes a more human interest in Walhalla's domestic affairs; Wotan becomes more querulous, and Fricka less alarming, while the decrees of Fate could be suitably included in the prophecies of Old Moore's Almanac. As for the Festival orchestra and its local con- ductors, their quality is best described by an adjective so often applied to the state of the sea. moderate. During the remainder of the year plenty of variety is obtained at the National Theatre. On my last short stay, for example, in addition to such standard works as Der Freischütz, Carmen and Madame Butterfly, I heard Strauss's Egyptian Helen, Pfitzner's rather ordinary Christelflein, and three short pieces in one even- ing by Krenek. These last merit attention. Krenek is very modern and an adept at character- isation. He is a master of the grotesque. In his third piece, a fairy opera, The Secret Kingdom, he combines with this quality an unexpectedly wistful tenderness. Some refreshing Schubert pieces for the stage were given on Sunday mornings at the Residenz Theatre one, an operetta called The Forgotten Sentry, in which lovely music was wasted on a poor book; another, a charming ballet, done with great simplicity. 115 What strikes an Englishman, and even causes a slight feeling of jealousy, are the comparatively favourable conditions under which Munich, owing to State-aid, can present this great variety of music. How different from the continual and necessary begging that is an inherent part of the musical activity here. The German orchestral player, too, can approach his task in a very different spirit from our own, assured, as he is, of a pension at the end of his term of service. When will our Government take a broader view of its obligations to music and musicians? A MUSIC JOURNAL TO-DAY HOLLAND part of July and August. Mozart is played in the historical rococo Residenz Theatre; Wagner in the Prinz Regenten Theatre-built on the Bayreuth model. A few words may of interest concerning the Opera in Munich and also its orchestral and choral concerts. There are three opera houses-the National Theatre (formerly the Royal Opera House), the Residenz Theatre, and the Prinz Regenten Theatre. At the first-named there is the repertory system throughout the year, excepting for a break in the summer. At the other two, the feature is the Mozart-Wagner Festival, covering

A MUSIC JOURNAL I also saw the powerful German version of The Beggar's Opera. Gay's story is treated here with an indescribably bitter touch which is accentuated by the up-to-date music of Kurt Weill, who, by the way, only retains one of the original old English airs. The Munich orchestral concerts with their classical leanings and the choral concerts with unconventional programmes are of excellent quality, but of more interest for us, perhaps, is the mention of a series of chamber-music concerts, called "The New Music Circle," run on similar lines to our own. Contemporary Music Centre." The president is a young, enthusiastic musician: he kindly invited me to one of their evenings. The atmosphere was alive. and each work a challenge. A piece by Hinde- mith, in particular, was of rare strength. During a chat with the president, I found to my surprise that he and his group hardly realised the varied extent of modern British composition. I sketched out possible programmes from the writings of Vaughan Williams, Holst, Bax, J. B. McEwen, Howells, Arthur Bliss and William Walton, amongst others. He eagerly welcomed the sugges- tion of their inclusion in his series of concerts, and BRANCH NEWS (Concluded from page 114) Contemporary Music Centre The second concert of the season was given on December 15th, when Ethel Bartlett and Rae Robertson played a programme of music for two pianos. The work upon which these two artists. are engaged must be a source of great joy to them. Their playing has attained to an ensemble so consummate, that a listener, if he shut his eyes, would be at pains to say for which particular group of notes in a given chord or passage each. instrument was responsible-if indeed he should be of such analytical bent as to wish, while listening, to know. Moreover the two artists must have an abiding satisfaction whenever they reflect on the pioneer work they have done at home and abroad. It is chiefly to them that the revived interest in music for two pianos is due; indeed they are directly contributing its creation. Several of our living composers, inspired by their example and achievement, have written works February, 1930 only made one stipulation that the programmes at a first hearing should be interpreted by British artists. His idea seems sound. It would introduce the foreigner to the excellence of our chamber. music players while giving a true perspective of the peculiar combination of delicacy and humour characteristic of British compositions. The reaction of this and similar concerts, if on a big enough scale, would surely be as great in the musical world as that of the Exhibitions of British pictures in Austria, Sweden and else- where has proved in the sister art. At present only Berlin, Vienna and Prague are partially aware of what is being done here in music. It cannot be too strongly emphasised that a representative combination of players introduc- ing modern British music would be welcomed in Munich to-day. For Munich, though critical, is at the same time responsive to foreign art. I understand further, that the broadcasting of a British programme from the Munich studio could be easily arranged; and that a group of towns, including Augsburg, would welcome the appearance of a British quartet. Altogether an well worth interesting opportunity and one support. specially for them. In fact, at the recital under notice, more than one half of the programme consisted of music "dedicated to Ethel Bartlett. and Rae Robertson," in other words, written specially that they might play it. To this particu- lar group belong Arnold Bax' Sonata for Two Pianos, The Poisoned Fountain, The Devil that tempted St. Anthony, Hardanger, and Hugo Anson's Lonely Sailing Ship; the rest of the pro- gramme being made up of Lord Berners' Valses Bourgeoises, Goossens' Rhythmic Dance, and Infante's Two Andalusian Dances. Future events in the season may be briefly enumerated. On February 18th, Franz Osborn, well-known in Germany as a brilliant exponent of piano music adventurously modern, will give a recital; he will also be heard about that date in a Broadcast programme. On March 4th, Mr. Edwin Evans will give a lecture (to which reference is made in the Editorial) on contemporary music and its significance; and on April 1st, the English Ensemble will play Piano Trios by Frank Bridge, John Ireland, and Waldo Warner, in a programme all-British. W.H.K. (The soul) demands that we shall not pursue broken ends, but great and comprehensive purposes, in which soul and body may unite, like notes in a harmonious chord. R. L. STEVENSON. He who sets limits to himself will always be expected to remain within them. W-3ac4 SCHUMANN. piovos levi 116

February, 1930 MUSIC AND THE MAN IN THE By JOHN HALL-PIPER To some business men and women music, either on one particular instrument or music in general, is a hobby. If they play an instrument they have their favourite tunes and composers, and if they take a general interest in music, they will have their favourite orchestras, conductors, and artists; but to them, this article does not apply. To the ordinary business man and woman, how- ever, music is not a hobby. It is probably the means of passing a pleasant evening, either fre- quently or only occasionally. The fact remains, nevertheless, that music in some form or other is part of nearly everybody's leisure hours. Such people will have no interest in, nor would they be capable of appreciating, the technique of music. Business people can roughly be divided into two classes. To the first class, music is a means to an end, as in the case of dance music, and to a less extent musical comedy and music hall tunes. This class is easily catered for, as it requires only rhythm, some sort of catchy tune and congenial surroundings. The other class will enjoy music alone, and is more difficult to cater for. Tired men and women listening to music, either directly or through the medium of a gramo- phone or wireless set, do not want to hear com- positions which resemble scales or arpeggios occasionally punctuated with discords! The music must not be too highbrow, but must be soothing and inspiring whilst possessing casily discernible There is plenty of really good music available by good composers to fulfil these requirements. and more; but business persons in the main are very badly provided for in this respect, and will not meet with this type of music unless they go out of their way to find it. Most musical pro- grammes seem to be composed of one of two extremes, either very highbrow music, or jazz, to which most ordinary people find it impossible merely to listen. The same remark applies to gramophone records. The point is that the seller does not take the trouble to suggest any music other than that which is advertised by the leading manufacturers. This is the reason why you hear so often that people do not care for music; the fact being that they have not had put before them music which is really worth listening to. The manufacturers quite naturally, perhaps, cater principally for the masses of jazz public. A MUSIC JOURNAL STREET B.B.C. Symphony and Promenade Concerts at the Queen's Hall. The amazing popularity of these concerts can be judged by the fact that people queue up for hours before the performance and hundreds are turned away nightly. This fact alone prevents thousands of business people from attending them, showing that the demand for this type of music is greatly in excess of the supply. Again, consider the fame achieved by the D'Oyly Carte company now playing at the Savoy Theatre. It is probably quite true to say that at least half its success is attributable to Sullivan's tuneful music. Another old favourite is Schubert's Lilac Time, which never fails to draw good audiences whenever it is revived. Very occasion- ally other plays are produced containing good music, but often too much stress is laid upon the star artists of the cast, with but little mention of the composer of the fine music. We are all looking forward to the day when dealers, manufacturers and theatrical produces will wake up and realise that it will be to their own advantage to place before the public that music which will add to general enjoyment. [This joint article has been sent in by two young business people, who represent what may be called the average point of view.-Ed.]. A BRAILLE TRIUMPH THE year that has just closed-the Centenary Year of the invention of Braille's embossed script must be memorable in the history of musical so far as the blind are concerned. During the hundred years following Braille's invention, the Braille system of music notation became extremely diverse in style, till it was only. with difficulty that the style of one country could be deciphered by the natives of another country. But, although such a state of things was obviously unsatisfactory, years of negotiation and research were necessary to arrange a work- able universal system.. by Recommendations for a change had been made Braille music experts at an International Congress, held in Paris last April, but the accept- ance of those recommendations by all countries was not confirmed till the end of December. As a result of the new arrangement, there will henceforth be a system of music notation that can be readily understood by blind musicians of every nation. They will have access to the new music printed by all Braille publishing houses throughout the world, and the list of musical works available to them will thus be increased enormously. EDWARD WATSON. There is one place in London which comes at once to my mind, where at all too rare intervals really good, tuneful and gloriously produced music can be obtained. I am referring to the 117

A MUSIC JOURNAL THE I.S.M. ANNUAL CONFERENCE FOR membership of the I.S.M. none but pro- crudite but delightful summary of opinions on are therefore at the Annual Conference of that Society, held at the turn of the year in Chester, the subjects for deliberation and discussion were of primary con- cern for the professional-though not exclusively. The I.S.M.'s full report will be published else- where; a few comments may, however, be of interest to members of the B.M.S. music expressed by philosophers, writers and educationists, from ancient to modern times. He quoted extensively in support of his statements from the writings of Plato and Aristotle, and also from medieval English and Continental authors. Though it was the last day of the conference, Professor Shera so enraptured his audience by his attractive exposition that with unanimous support it was asked if steps could be taken to publish the paper and arrange for it to be broad- cast. The majority of the members attending the Conference being teachers of music, there were several lectures and debates on matters of an educational nature; hence a good deal of time. was spent in discussing music in schools or children's concerts. There were also lectures for organists, piano and singing teachers, and also two outstanding papers, one arousing exceptional curiosity, the other exciting universal admiration. Mr. Christopher Stone, in the absence through sudden illness of Mr. Compton Mackenzie, opened a debate on Mechanical Music with an admirably lucid and informative paper. After giving a succinct history of the development of the gramo- phone, Mr. Stone threw out a challenge. Musicians held aloof from the gramophone when it first appeared, regarding it as some infernal instrument (as in many respects it was in its early stages); they lost their early chance of guiding the destiny of the gramophone, but had since made good their initial error. Would musicians. take the same mistaken line in regard to the Tone- Film, allowing this great discovery with its potentialities for good (as well as bad) to fall under the exclusive control of hard commercial enterprise? February, 1930 Professor F. H. Shera's paper on Music and Liberal Education was an unexpected success- unexpected because he had come at short notice in place of Professor Campagnac, who was down for the lecture. The Annual Dinner on New Year's Day was a happy event, at which speeches were made by the guests of the evening-the Dean of Chester, the Archbishop of Wales, the Mayor of Chester, and others and also by Sir Hugh Allen, who presided, Dr. John B. McEwen, and Mr. Bernard Johnson. Indeed, the whole of the social side of ber found the evening devoid of interest or less the conference was a great success; if any mem- stimulating than the day it was not the fault of Mr. Eames and his staff. It is doubtful if the I.S.M. will venture to print in its otherwise full report an even approximate account of the revelry in which members indulged, when not in actual conference. Men of high repute and lofty aspiration came down to earth in more senses than one. They acted in charades, sang comic songs and even caricatures of comic songs; the women-folk too, when they did not actively participate, only encouraged the men to forget their professional dignity. It was even observed that while jazz-music was favoured with a good deal of criticism during the day, the jazz-band, which happened to be in the hotel, was favoured with considerable patronage on the last night, when a dance was in progress. It is perhaps desirable to say that the jazz-band was engaged for the purpose by the hotel proprietors, and that the I.S.M. officially had nothing to do with it! W.H.K. The vigorous discussion that followed showed that the general attitude of the assembly was one of appreciation of the benefits to be derived from judicious use of both gramophone and wireless, the benefits far outweighing the inevitable evils. attendant on any new invention. To judge from the distorted reports in the daily press, however, a reader would imagine that I.S.M. members had indulged in lachrymose bewailment over the loss to professional teachers of a number of private pupils; and had come to the conclusion, very natural perhaps to the British, that if a man is BRITISH MUSIC IN VIENNA not involved in some physical action he is merely MR. KERBY, the British conductor in Vienna indolent as if mental activity and concentration counted for nothing at all. and Hon. Representative of the B.M.S., gave the first performance in twenty-five years in that city of Elgar's Prelude to the Dream of Gerontius at an All Saints' Day concert of the Vienna Symphony Orchestra. He also included W. H. Reed's Elegy in his programme. Both works made a very favourable impression on the crowded audience. The concert demonstrated afresh the strong position Mr. Kerby has made for himself in Vienna. Taking "liberal education" to mean the educa- tion of the " free man," Professor Shera gave an 118

February, 1930 MUSZNION ALL OVERY THE mpoules ar dock PERSONALITIES at CHESTER Caricatures by Theodore Holland m Sir HUGH ALLEN Dr. W. G. WHITTAKER SHD 540 4 MAR denga 119: A MUSIC JOURNAL 3112 H. F. NICHOLLS

A MUSIC JOURNAL SIR HENRY WOOD AND THE COLISEUM THE Coliseum, in engaging Sir Henry Wood to the untutored eye a conglomerate mass of and his symphony orchestra, is making musical history. Through the gathering clouds that darken the musician's horizon this noble gesture shines forth as a ray of encouragement, shedding light comparable to that which nightly gleams from the dome of the Coliseum itself. This is the first time that Variety has ventured. on orchestral presentation of such calibre and on so large a scale. The significance of this gesture is tremendous. It means that Variety, whose raison d'être is the amusement of a hetero- geneous public, now realises that music is not incompatible with entertainment and even en- joyment. It means also that, if Variety thinks it. worth while engage a complete orchestra three times daily, those who have the cause of music and musicians at heart may well take. courage, for this is the eventuality for which they have long been praying. We may draw the conclusion that music worthy of the name is now regarded by those who ought to know as a power in attracting the general public. human activity. At the Coliseum people could actually watch the musicians fingering or other- wise playing their instruments. Most people like to see how a thing is done, especially if they are not too familiar with it. Curiosity once aroused soon passes into interest, and then it is not long before genuine interest becomes tinged with pleasure and delight. All musical people will admire the bold enterprise displayed by the Coliseum authorities, and will congratulate them on initiating a policy incalculable in its poten- tiality for the general good. Let us not spoil the happy result by suggesting to the unsuspecting public that it has been caught unawares in a crusade of "uplift" on the part of the Coliseum authorities, or that the latter set out with the avowed intention of being educational. Sir Henry and his orchestra were regarded as a draw, and as such engaged. Never- theless the Coliseum may well have done more in the cause of musical education in three weeks that the combined musical educationists in this country might accomplish in three years; for they have made a real contribution to adult musical education, and have given a lead which may be followed up and down the country. The instituting of the ballot was an excellent piece of tactics, for it at once engaged the interest and stimulated the selective powers of the audience. Then again, the novel situation in which Sir Henry Wood found himself at the memorable. rehearsal necessitated a radical change in the usual disposition of the orchestra-a change that made it possible for everybody to see exactly what the individual players were doing. On the floor of the stage were violins, violas and harp, the rest. of the orchestra being grouped in tiers high up and well exposed to view. On the first elevation were 'cellos and double-basses; on the second, flutes, oboes and clarinets; on the third, horns, bassoons and trumpets; while on the last were the percussion, trombones and tuba. This group- ing stood the test most satisfactorily. To the hardened concert-goer the experiment in itself. was of considerable interest; to the novice in concert life the arrangement was as instructive as it was interesting. In the concert-hall the usual arrangement of the orchestra generally presents BRITIS February, 1930 NEW MUSIC Messrs. Elkin & Co. have issued three short songs, Youth, Sweet o' the Year, The Passionate Shepherd, by Peter Warlock, the words by Eliza- bethan poets. His intimate treatment of such poetry is exemplified afresh in these dainty songs, and the accompaniments, though reflecting many of the composer's tendencies, are not too difficult to play. The exotic Valse Sentimentale for piano, by Cyril Scott, comes as an antidote to the desperate attempts of the extreme moderns to purge music of all emotional content. Harmoni- cally it has the characteristic "bouquet" and is technically within the range of the average pianist. Teachers in search of attractive music for quite young children will be well pleased with the several albums of piano music and two volumes of children's songs, composed by Peter Broom and recently published by Messrs. Boosey & Co. The composer is gifted with a delightful fancy for such music, which is tuneful and clearly conceived; the titles of the pieces are also a happy inspiration. There is no music more likely to secure and hold the interest of children than Peter Broom's. Messrs. Paterson have issued a number of solos from the sacred and secular cantatas of Bach, edited by J. Michael Diack. The music is well spaced and not over-burdened with phrase marks: Solos for all voices are included in the series and the price of each number is 1/6. This firm has also published an edition of Czerny's exercises, called The Hundred Best, selected and graded by Frederick Moore, Waddington Cooke and Marmaduke Barton; and in seven graded books 2/6 each The Hundred Best Short Classics, selected by Tobias Matthay, Harold Craxton, Harold Samuel and Edwin Evans. All these names speak for themselves. Teachers and others who often lose much time in the mere act of selection will find these hooks a great boon as well as a safe guide. I SHADU CHSEUL 43000

Trinity College of Music (INSTITUTED 1872) President: THE RIGHT HON. THE EARL OF SHAFTESBURY, K.P., P.C., G.C.V.O. Principalı E. STANLEY ROPER, M.A., Mus.B. Controller of Examinations: EDWARD D'EVRY, F.T.C.L., F.R.C.O. TEACHING DEPARTMENT to suit special individual needs, or for the Students are received for Tetty of Teachers. Michaelmas, Lent and Trinity Terms (twelve weeks each) begin respectively in September, January, and April. The College provides complete and systematic instruction and training in every recognised musical subject and Dramatic the evening. arranged of Lecture-Classes for the are taught by qualified professors. All modern systems of Technique (whether for the Pianoforte, Violin, or other instrument) and of Vocal Training Preparation for all Public Examinations in the Theory and Practice of Music, including University Degree Examinations. The College Orchestra, the Choir, the Light Opera Class, and the various Ensemble Classes, Lectures on Musical History, etc., are open also to those not attending the College for other subjects. In the JUNIOR SCHOOL students are admitted up to 16 years of age at reduced fees. Tuition in the Rudiments of the Theory of Music, Harmony, Counterpoint, Form, Instrumentation, Composition and the Art of Teaching is also given by Correspondence. There are between Forty and Fifty Scholarships tenable at the College, and open to all British subjects up to certain age-limits, and the Bambridge Pianoforte Scholarship, value 100 per annum; also Eighteen Scholarships which provide complete preparation for the Degree of Bachelor of Music of London and Durham Universities. Particulars of the Teaching Department, with list of Professors, Fees, Scholarships, regulations, etc., and the Syllabuses of the Higher and Local Examinations, on application. MANDEVILLE PLACE, MANCHESTER SQUARE, LONDON, W.I C. N. H. RODWELL, Secretary 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. MONSIEUR JAQUES-DALCROZE will give a LECTURE-DEMONSTRATION in THE SCALA CHARLOTTE STREET, LONDON, W.1, SATURDAY, MARCH 29th, 2-30 p.m. THEATRE, THE SUMMER SCHOOL, under the personal direction of M. JAQUES-DALCROZE. will be held at ST. MARY'S HALL, BRIGHTON, early in AUGUST. Details of Demonstration and Summer School from the Secretary. THE DALCROZE SCHOOL, 23 STORE STREET, LONDON, W.C.1. Tel.: Museum 2294, 10 to 1 and 3 to 5. 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 March-April Examinations close Wednesday, February 12th (or, with extra fee, February 20th), 1930. "SCHOOL" EXAMINATIONS (Syllabus B). Held throughout the British Isles three times a year, vis., March-April, June-July and October-November. Entries for the March-April Examinations close Wednesday, February 5th (or, with extra fee, February 13th), 1930. ELOCUTION EXAMINATIONS will be held 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 15 Bedford Squire, London, W.C.1.

IN THESE DAYS when space is of such vital import- ance, Broadwood's recognised a steadily increasing demand for a Grand of very small dimensions. They determined to manu- facture a tiny Grand. With the accumulated experience of 200 years in Piano buildin have achieved hey their object in the introduc- tion of the Broadwood "ELFIN" Grand. The Musician, the Tech- nician and the discriminating Music Lover find in the "ELFIN" Grand a compact little instrument requiring no more space than an Upright Piano-yet possess- ing a full grand scale and tonal excellence of beautiful quality. Fise BY APPOINTMENT BROADWOOD The BROADWOOD "ELFIN" GRAND 123 Guineas Nett Cash A rare combination of exquisite tone, artistic appearance, convenient size and reasonable cost. This beautifully proportioned Grand is small enough to fit any room-only 4ft. 6in. in length and 4ft. 8in. in width. JOHN BROADWOOD & SONS, Ltd. 227 Regent Street, London, W.1 Whitehead & Miller, Ltd., Elmwood Lane, Leeds.