VOL. 1. No. 9. P.Pigus both JUNE, 1930 A MUSIC JOURNAL 'THE REPORT' THE OFFICIAL JOURNAL OF THE INCORPORATED SOCIETY OF... MUSICIANS. 10 BERNERS ST W.1. COMPRISING & 'THE BULLETIN' THE OFFICIAL PUBLICATION OF THE ... BRITISH MUSIC SOCIETY, 117-123 GT PORTLAND ST W.1. CONTENTS. CONTENTS. PAGE PAGE MUSIC IN EDUCATION: EDITORIAL 198 WHAT THE HADOW REPORT MEANS 185 THE LIÉGE FESTIVAL 199 SOLO PERFORMERS SECTION 186 OUR SOCIETY By KATHARINE E. EGGAR 201 THE COUNCIL 187 MUSIC AT OUNDLE 202 GLASGOW CENTRE MEETING: A NEW SCHEME PROPOSED 189 JACK B.M.S., THE GIANT KILLER By W. R. ANDERSON 203 YORKSHIRE CONFERENCE - 194 QUERIES FOR "QUERULUS". 204 NEW MEMBERS 194 PROTECT BRITISH MUSICAL INTERESTS ABROAD! NOTICES AND NEWS OF THE By PAUL KERBY 205 CENTRES 195 BRANCH NEWS 207 CORRESPONDENCE: MUSICAL APPRECIATION - 196 FORTHCOMING CONCERTS - 208

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THE INCORPORATED SOCIETY OF MUSICIANS A ATHE BRITISH MUSIC SOCIETY MUSIC JOURNAL basi ton COMPRISING: "THE REPORT" **THE BULLETIN " VOLUME I. No. 9. JUNE, 1930. THE REPORT THE OFFICIAL JOURNAL OF THE INCORPORATED SOCIETY OF MUSICIANS. All contributions, notices, and reports of meetings must reach the Society's offices, 19 Berners Street, London, W.1, on or before the 15th of the month. The Editor will be pleased to con- sider original articles, but cannot guarantee their insertion. MUSIC IN EDUCATION OUR readers will have heard of the Hadow Report. It is thus named because it was pre- pared by the Consultative Committee of the Board of Education, over which Sir Henry Hadow presides. Distinguished alike as a scholar and a musician, Sir Henry has given his name to a Report which embodies the most far-reaching developments in education since the Act of 1870. Briefly described, the proposals of Sir Henry Hadow and his colleagues involve a fresh organisation of our scheme of public elementary education, with special provision for pupils between 11 and 15 years of age. It is intended that compulsory schooling shall continue to 15 and that during the four years immediately prior to that age the pupils shall receive instruction adapted to their age and aptitudes. Hitherto the older children in public elementary schools have not received fair treatment. Inasmuch as the schools were originally planned to take pupils up to the age of 12 or thereabouts, the later rais- ing of the school age has left the 12 and upwards group somewhat neglected. It is now intended that they shall be grouped in schools wherein they will receive secondary or post-primary train- ing. This training will not be vocational in the strict sense although it will include much atten- tion to handwork, commercial subjects, and other subjects likely to help the children in gaining a livelihood. It is agreed, however, that these elements of practical training must be accompanied by others, designed to foster intellectual and emotional life. Literature, art and music must not be ignored at 185 this important stage of early adolescence, since this is the stage at which they evoke the greatest response and leave the most enduring mark upon mental and spiritual life. Lacking some back- ground of culture the most proficient workman or salesman becomes an instrument for money- making rather than a human being. There is truth as well as grim humour in the story of the "Born a man; died a epitaph which ran: greengrocer." It is one of the highest functions of education to secure that children-" the un- spoilt. images of God"-shall not acquire the semblance of a patient ox or an unresponsive cabbage. Musicians will agree that their art is an essential factor in this general culture which must form part of any education worth the name. They should be ready to welcome the changes foreshadowed in the Hadow Report because these will give to music a new and more important place in the school curriculum. Already this is happening in our secondary schools, for music is now a recognised subject which may be taken as part of the School Certificate Examination, instead of being, as formerly, a kind of Cinderella, to be ignored in comparison with its "more important" sisters such as mathematics or chemistry. Henceforward the boy or girl who has aptitude for music may gain marks for it in the school examination, thus being placed on a foot- ing of equality and justice with those who have aptitudes for any other subject. its st Similarly we may hope that in the new Senior Schools music will be taken seriously and taught

June, 1930 THE THE BULLETIN THE OFFICIAL ORGAN A MUSIC JOURNAL THE BRITISH of MUSIC SOCIETY (Founded in 1918 by Dr. A. Eaglefield Hull). Incorporated 1919. President: THE LORD HOWARD DE WALDEN. SIR HUGH ALLEN, K.C.V.O., M.A., D.Mus. PROFESSOR GRANVILLE BANTOCK, M.A. SIR THOMAS BEECHAM, Bart. Vice-Presidents: MAJOR-GENERAL SIR W. S. BRANCKER, K.C.B., A.F.C. ALBERT COATES, Esq. W. W. COBBETT, Esq., F.R.C.M. Tositad SIR FREDERICK COWEN, Mus, Doc. SIR WALFORD DAVIES, Mus.Doc., LL.D. MRS. VERNON DEAN, M.A. FREDERICK DELIUS, Esq., C.H. MRS. JAMES DYER. SIR EDWARD ELGAR, O.M. REV. E. H. FELLOWES, Mus.Doc. SIR DAN GODFREY, Hon.R.A.M., L.R.A.M. sidiezoqoth SIOHO AQUA CECIL H. BATESON, Esq. ADRIAN C. BOULT, Esq., M.A. GERALD M. COOPER, Esq. EDWARD J. DENT, Esq., M.A. SIR HENRY HADOW, C.B.E., M.A., Hon.D.Mus., SIR HAMILTON HARTY. SIR WILLIAM MCCORMICK, M.A., LL.D. J. B. MCEWEN, Esq., F.R.A.M. MRS. W. LEE MATHEWS. SIR S. ERNEST PALMER, Bart., F.R.C.M. SIR LANDON RONALD. GRAHAM PEEL, Esq. DAME ETHEL SMYTH, D.B.E., Mus.Doc. SIR ARTHUR SOMERVELL, Mus.Doc. THE RT. REV. THE BISHOP OF OXFORD, F.R.S.L. D.D., G.B.E., Hon.D.Mus PROFESSOR DONALD TOVEY, B.A., F.R.S.E. LADY MAUDE WARRENDER. SIR HENRY WOOD. Full Membership: One Guinea per annum. Committee of Management: Chairman: SIR ARTHUR SOMERVELL, Mus. Doc. Vice-Chairman: W. W. A. ELKIN, Esq. MISS KATHARINE EGGAR. MAJOR J. T. BAVIN. W. RUSHWORTH, Esq. COL. J. C. SOMERVILLE, C.M.G., C.B.E. LT.-COL. R. H. TATTON. FRANCIS TOYE, Esq. Hon. Treasurer: COL. J. C. SOMERVILLE, C.M.G., C.B.E. Secretary: W. H. KERRIDGE, Esq., M.A., Mus. Bac., A.R.C.M. Hon. Representative of London Centres: MRS. R. LUCAS. Hon. Representative of Northern Centres: W. R. FELL, Esq. Offices: 117-23 GREAT PORTLAND STREET, LONDON, W.1. Telephone: Langham 3021. 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 home and abroad. 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. 197

A MUSIC JOURNAL SIR EDITORIAL ARTHUR SOMERVELL, on taking the chair at his first Committee meeting, was given a warm welcome by Mr. W. W. A. Elkin (vice-chairman) who expressed the Committee's pleasure and gratitude on this auspicious occasion. Sir Arthur is in full sympathy with the Committee in its endeavours to bring home to members the importance of taking a "larger view" of the Society's function in our musical life. In taking over office at this juncture he comes at a moment when the Society has most need of his interest and energy. * THE LIEGE FESTIVAL has so many attrac- tive features that many members of the B.M.S. will wish to take advantage of a unique opportunity. On another page will be found the official announcement. Apart from the five con- certs of contemporary music, selected by the International Jury of the I.S.C.M., there will be daily sessions and five public lectures arranged by the International Society of Musicology, which thus combines for the first time with the I.S.C.M. in holding a joint Congress and Festival. For the first time also at such a Festival there will be a special concert of contemporary music composed, and not merely arranged, for Military Band; it will be performed by the famous Band of the Royal Belgian Guards. LIEGE EXHIBITION will still be open THE during the Festival. This will provide additional interest and relaxation from the strenuous mental exertion that a week of modern. music will demand of its hearers. Liége itself lies in picturesque surroundings on the banks of the Meuse, into which a tributary river flows and lends further charm to the place. There are broad streets and leafy boulevards which one hardly expects in a large town mainly devoted to industry. A further consideration is the favour- able rate of exchange for visitors to Belgium, and the relatively easy distance from this country to Liége, which is less than two hours by train from Brussels. Some may be tempted to extend their holiday by visiting the Ardennes either before or after the Festival. A holiday in Belgium nowadays counts as one of the least expensive in Europe. * MUSIC brings together people of diverse temperament and of the most divergent aims and aspirations. One member of the London Contemporary Music Centre, for instance, has a strong objection to the refreshments provided at the end of a concert. Her grievance is that coffee introduces the social element into a function 198 June, 1930 which, from her point of view, should be devoted exclusively to æsthetic contemplation. She purposely comes alone and sits apart. Conversa- tion before, during or after a concert destroys her rapture. She herself would gladly dispense with such adventitious aids to sociability, but forbears to make open complaint, realising that it is not given to many mortals to scale the heights of abstraction to which she has fortun- ately attained. Very different is the plaint of another member, who has resigned from his local Centre. This lovable but unhappy man finds that music alone is for him not enough; he yearns for the social warmth that the London lady abhors. From his letter it is obvious that his soul is lost to the B.M.S. but, let us hope, not to music altogether. "Please cancel my membership," he writes. "As a matter of fact I attended only one meeting or gathering of the Branch during the time of my membership, and that occasion was not very inspiring. We sat in rows like convicts at school: no one spoke to me the whole evening. I would rather go to church on a cold Sunday afternoon than go through that same ordeal again." The ideal arrangement would be, of course, for these two luckless people to exchange Centres. It is interesting to speculate on the possible result of their chance meeting one another at some future concert! THE BUDA CHOIR THE Buda Choir from the Hungarian capital unfortunately gave such short notice of its approaching visit to London that no reference could be given to this event in the last number of the Bulletin. In the Press it appeared that the world-famous choir had come to this country by special invitation of the B.M.S. Actually the secretary of the choir wrote to ask if the B.M.S. would give its moral support to the venture. He was informed that the Society extended a hearty welcome to the choir and wished it all the success it deserved. Having sung at Queen's Hall, in St. Bartholomew's Hospital and at Eton, the choir gave its final concert at the Wigmore Hall. At the close the Lord Mayor of Budapest, Dr. Ripka, made a speech in Hungarian which was then translated into English. He expressed the delight of the choir at its reception in London and thanked the B.M.S. for the welcome it had given. By kind invitation of Mrs. Philip Snowden, who was at the concert, the whole choir afterwards went to No. 11 Downing Street to tea, the B.M.S. being represented by Sir Henry and Lady Coward, Mrs. Robert Mayer, Mr. Paul Kerby (hon. B.M.S. representative in Vienna) and the secretary.

June, 1930 THE LIÉGE FESTIVAL Prof. E. J. DENT. (Cartoon by Theodore Holland) THE Committee of the Belgian Section of the I.S.C.M. met at the Brussels Conservatoire on April 27th with Baron Buffin in the chair. Professor E. J. Dent and Mr. W. H. Kerridge were present. The official programme for the Liége Festival was discussed and drawn up. On the following day the special Liége Festival Com- mittee assembled at the Liége Conservatoire to consider this programme in detail and to deal with the many problems of a practical nature arising in connection with the Festival. At this meeting, with Professor Dent in the chair, were 199 A MUSIC JOURNAL also present Dr. Wagner (president) and Dr. Merian (secretary) of the International Society of Musicology. Representatives of the two Societies were thus able to elaborate together a joint programme of events, which will be the special feature of this year's International Festival. Later, M. Hermann Closson (secretary of the Belgian Section) and Mr. Kerridge met in Brussels to confer with the Belgian manager of Messrs. Thomas Cook. The Belgian Committee had previously decided to ask Messrs. Cook to take over all arrangements in regard to travel and accommodation, in view of the extremely difficult problem of accommodation in Liége, where hotels are few and there are normally no boarding- houses or private rooms at the disposal of visitors. The International Exhibition at Liége this year has aggravated the difficulty to such an extent that it has been proposed to build a floating hotel in the shape of a boat anchored on the river Muse, which flows through the town. Below is the text of the official circular to be issued in French by the Belgian Committee, and to be sent to all the national sections for publication. * The Eighth Festival of the I.S.C.M. will take place this year at Liége, coinciding with the International Exhibition now open in that city. In addition the Committee of the International Society of Musicology has decided to hold its first Congress at the same time as the I.S.C.M. Festival, in the hope of establishing closer rela- tions between musicians. and musicologists. Thanks to this joint action the programme of events will be of unusual and varied interest. The programme will include:- (1) Two Symphony Concerts works by Volkmar Andreae, Bernard Wagenaar, William Walton, A. Veretti, Florent Schmitt, A. Mossolow, Ernst Pepping, P. Borkovec, Jean Rivier, Henry Gibson, J. M. Hauer, K. Rathaus, M. Mihalovici, Marcel Poot." (2) Two Concerts of Chamber Music-works by Karel Hába, E. Michel, Germaine Tailleferre, Arnold Bax, A. Huy brechts, K. B. Jirak, F. Quinet, A. Roussel, K. Stimmer, A. Casella. (3) A Choral Concert, including Szymanowski's Stabat Mater, and Paul Sanders's La Vieille. (4) A concert of contemporary original compositions for Military Band, performed by the Band of the Belgian "Regiment des Guides," (5) A performance of sixteenth-century sacred music by the cathedral choir of Saint-Rombaut, under the direc- tion of Chanoine Van Nuffel. (6) Two comic operas by Gresnick and Hamal (eighteenth- century composers of Liége). (7) A concert of old music from the middle ages to the eighteenth-century by the "A Cappella Liégois." (8) Five public lectures by M. Van den Borren (Belgium), M. André Pirro (France), Mgr. Casimiri (Italy), Dr. Fellowes (England), and Dr. Gurlitt (Germany). (The lectures will be in French, English and German). Dr. Fellowes' lecture will be illustrated by the Cam- bridge University Madrigal Society under the direction of Mr. Bernhard Ord.

A MUSIC JOURNAL (9) Alban Berg's opera, Wossek, at the theatre in Aix-la- Chapelle. (Transport by motor arranged). (10) Performances-At ANTWERP, of Darius Milhaud's Oreste, and A. Roussel's Psaume: at BRUSSELS, a concert by the "Pro Arte" Quartet and a reception at the Palais des Beaux-Arts, and also a performance of Grétry's opera, Céphale et Procris (1773), at the Théâtre de la Monnnie. Several communications for the various sec- tions of the Society of Musicology have already been received. As usual the works of contemporary com- posers will be conducted or performed by eminent artists, delegated by the national sections of the I.S.C.M. The officers in connection with the Festival. are:- For the International Society for Contem- porary Music: Prof. E. J. Dent (President) W. II. Kerridge (Secretary) For the International Society of Musicology: Prof. Dr. Peter Wagner (President) Dr. W. Merian (Secretary) Committee of the Belgian Section of the I.S.C.M. Baron Victor Buffin (President) Georges Systermans (Vice-President) Paul Collaer (Vice-Presiden!) Herman Closson (Secretary) Georges Alexis (Delegate) (Delegate) Arsène Heuze There is one subscription to both Festival and Congress. A member's ticket entitles the holder to be present at all the events contained in the programme, whether musical or scientific. The subscription has been fixed at 25 Belgian francs (about 3/-) for members of the National Sections of the I.S.C.M. and of the Society of Musicology; and 150 Belgian francs (about 18/6) for all persons, not members of the above Societies, who wish to participate in the Con- gress and attend the Festival at Liége. The Belgian Railway Company has consented to a reduction of 35 per cent. for all travelling in Belgium. All arangements for travelling, hotels, etc., are in the hands of Messrs. Thomas Cook & Son, of whom inquiries should be made. Those wishing to attend the Festival and Con- gress are requested to send their names as soon as possible to the Secretary, British Music Society, 117 Great Portland Street, W.1, in order that seats may be reserved for them. No money should be sent to the B.M.S. office: cards are to be paid for on claiming them at the Bureau in Liége (Conservatoire Royal, Rue Forgeur). 200 June, 1930 We have just received, on going to press, the following communication from Messrs. Thomas Cook:- "We are not yet in a position to send you a definite estimate as we are still awaiting informa- tion from some of the hotels at Liége with regard to provisional reservations and prices. 46 Subject to confirmation in the near future, you can inform those interested that the minimum fare will be approximately £9, including :- (1) Travel tickets, from London via Dover and Ostend to Liége; Liége to Antwerp; Antwerp to Brussels, and from Brussels via Ostend and Dover back to London, third class from London to Dover and return, and second class beyond. (2) Reserved seats on trains where possible. (3) Luncheon and dinner en route on the outward and return journeys. (4) Second class hotel accommodation at Liége consisting of bedroom, lights and attendance, with plain breakfast only for eight days; and at Brussels for two days. (5) Gratuities to hotel servants; and hotel taxes, to the extent of the accommodation provided. (6) Transfer from station to hotel and back on arrival and departure at Liége and Brussels. (7) Fees to railway servants and restaurant car attendants. The supplementary charges are as follows:- For first class saloon on steamers Second class travel tickets throughout... First class travel tickets throughout £ s. d. 056 0 10 6 1 17 6 Accommodation at superior hotels could be provided at an additional charge of £1 15s. Od. and £2 15s. Od., according to the grade selected. "Please be assured that immediately we receive the information we are waiting for a complete itinerary and estimate will be forwarded. ITINERARY-We believe you are aware that the itinerary decided upon is as follows:- August 30th August 31st to September 4th September 5th September 6th September 7th September 8th September 9th Depart London (Victoria) 10-30 a.m. via Dover and Ostend. Arrive Liége 9-44 p.m. To be spent in Liége. Excursion to Aix-la-Chapelle. In Liége. Morning train to Antwerp, and evening train from Antwerp to Brussels. In Brussels. Depart Brussels 11-40 a.m. via Ostend. and Dover. Arrive London (Victoria) 9-30 p.m. "The provisional fares mentioned do not include the excursion to Aix-la-Chapelle, and the charges have been based on the assumption that the party would number not less than twenty-five persons." * It is of course open to visitors to go to the Festival independently of Messrs. Cook, in which case, however, accommodation cannot be guaranteed. When making application to the B.M.S. office for registration cards for the Festival, members are advised to state if they wish to proceed to Liége through Messrs. Cook's agency; complete information will then be sent to them.

June, 1930 JACK OUR SOCIETY By KATHARINE E. EGGAR LAST month's Editorial referred to the need of taking the larger view" of the functions of the British Music Society. As this was a sub- ject to which the Committee of Management had devoted a good deal of thought and would have been glad to discuss with a larger number of members than distance and other claims per- mitted to attend the Annual Meeting, it seems worth while to pursue the idea a little further this month. In the twelve years which have elapsed since Dr. Eaglefield Hull founded the B.M.S., con- ditions of social life and of musical life have undergone a great change. There has been a most extraordinary increase of public interest in music generally, and "British" music that is, music written by British composers, past and present has become a reality to the British public. The history and science of music have been presented in popular style under a thousand guises, and the sounds of music itself have been placed within the reach of the newly-awakened appetite by previously undreamt of mechanical resources. The recognition of the British composer has been accomplished and music has become an acknow- ledged "subject" in education. а Superficially, then, it might seem that the objects for which the B.M.S. was founded have been accomplished. "What do you want Society for?" we imagine a potential member asking: Music is accepted. British music is accepted. Where's your field of action?" 44 Mr. Kerridge answered that question so per- tinently in his fifth paragraph last month that I make no apology for quoting his words. "There is no Society in this Country other than the B.M.S. that represents Music as such-that can sustain music, as it were, above both professional and amateur interests, and invest it with a national significance." Now there are two important assertions in the above sentences, and I will deal with them in reverse order. 44 First-that our Society can sustain music above both professional and amateur interests." At first sight, you would think, the B.M.S., being fundamentally the great amateur Society of this country, that Mr. Kerridge had made a slip here; but a moment's thought will show that he has in mind the great change that has come over the musical "public." The musical world is still of course made up of two classes-the professional and the amateur, the "clerical" and the "lay" -but the amateur section is itself now differ- entiated. We have a vast new lay public which has come into music by the back door, if I may so 201 A MUSIC JOURNAL express it, a public which has been brought into existence with extreme rapidity by the new methods of bringing the pleasures of music within reach of all and sundry. This public, which for convenience sake I will call the Broadcast Public, is not the Amateur Public with which the British Music Society was formed; but that Public, which (again for convenience) I will call the Cultivated Amateurs, still exists, and always must exist, if music is something eternally potent to arouse affection. It is because the B.M.S. is recruited from music-lovers and music-makers to whom music is not an affair of yesterday, not a mush- room growth of interest, but a long tradition, that it can, in Mr. Kerridge's fine phrase, "sustain music" above the clashings of interests and anxieties which confuse the present situation. If such a Society as ours was needed twelve years ago, when music was regarded then as a negligible accomplishment and British music had hardly a recognised existence, it would seem to be doubly necessary now, when nodding acquaint- ance impudently claims the privileges of long friendship. Music, enthusiastically acclaimed by those "plus royalistes que le Roi," has deep need of a more tried loyalty, and the musical profession knows full well how necessary to its Regular Army are the Volunteer Force. now So The other assertion in my quotation is that B.M.S. "alone represents Music as such." The full implication of this is perhaps not immediately apparent, but as I interpret it, it means that our Society is pledged to support Music and not any substitute for music. It means, I think, that we believe in making music ourselves, that we stand for taste in music, that we see the dangers lurk- ing in the present cheapening of music, that we " retain a belief in the beauty of music, that we try to prove" the music of all periods and hold fast good music in whatever period we find it. And to give our title its original special meaning, does not British music need the support of people with a sturdy belief in it-with a firm conviction that this is a musical land and that we have a musical life which need fear comparison with no other country? Mr. Kerridge has already said that it is to the B.M.S that foreign musicians invariably turn when they wish to ascertain something about music in this country, and this is a view of ourselves which needs to be put very clearly before members. As representing British music to foreigners and as being responsible to take every possible oppor- tunity of propaganda abroad, we should feel that there is the most urgent need for a strong British Music Society.

A MUSIC JOURNAL Dear Sir,- MUSIC AT OUNDLE Some Questions Answered It was very pleasing to read the account in your April number of the musical activities at Oundle. It is perhaps equally curious that certain essential practical details which make such per- formances as the B minor Mass a possibility were omitted. Of primary importance surely is the fact that Oundle possesses its own preparatory school. This circumstance has far more important results on the school music than would at first seem possible. Apart altogether from the fact that the treble tone is improved, since young treble voices take part in the big performances, there is the assurance that a large proportion of new boys have received some musical training and that, at the capable hands of those responsible for music at the public school. In the usual way, unless a boy at a preparatory school has a good voice or takes" music, he will have done no singing at all, much less have received any musical training. To my knowledge there are even some preparatory schools where no music of any description is done at all. It seems to depend entirely upon the whim of the Headmaster. Another point is that (owing to the influence of the "Sanderson method ") music is regarded as a subject for every hoy. The idea that only those. boys who had particular leanings to art or music should do art or music, was opposed continually by that great Headmaster, as it is of course, in all public elementary schools. That is surely the reason why the so-called tone-deaf individual scarcely exists in a state school and also why the majority of the members of town choral societies come from the poorer and lower middle classes. In most public schools on the contrary it is a purely voluntary matter as to whether a boy is a member or not of the Choir or Choral Society. It is not necessary to point out how ludicrous this condition of affairs would appear and what would be the result if a like condition obtained in the provision of a school football team. (The com- parison naturally should be to school work! however.....) ラナ Chapel seating is another factor which may be of vital assistance, as in the case of Oundle, or the converse. Where boys are seated accord- ing to their particular "forms or "houses" there can be no part-singing except in the choir; and, what is of greater importance, there is definite harm to the treble voices, because very few young boys have the courage to break forth in their natural voice when the majority of those around them are growling away at a pitch of anything from an octave to two octaves below. 202 June, 1930 The consequence is that those trebles who are not from choice or chance in the choir "sing treble" at the most for an hour a week and for the remainder sing nothing or mutilate what little voice they do possess. This brings on the "break- ing stage" much earlier than is normal, with obvious results to the choral society. At Oundle, the whole school sits according to voices; hence in addition to daily practice in part-singing in the whole school, there is an apparent saving of treble voices. A similar method was adopted recently at a small school of 100 odd boys, and as a result of this and of the fact that boys were admitted at the age of 11, works such as the Christmas Oratorio (all six parts), St. John Passion, etc., were performed in public by 80 per cent. of the school. In conclusion, it is as well for us to realise that very few preparatory schools will take the trouble to develop music for every boy until the public schools set the example. The preparatory school looks to its goal of preparation; if there it sees no music or art except for the select few, it cannot afford valuable time for subjects which, Common Entrance over, are regarded as luxuries. For years the elementary schools have provided the example for the public school. Malvern, April 12th, 1930. J. A. DAVISON. (It being obvious that Mr. Davison's letter referred in particular to conditions at Oundle School, Mr. Clement Spurling was invited to send for publication any comments he might wish to make.-ED.) Dear Sir,- * * I thank you for your courtesy in giving me an opportunity to comment on Mr. Davison's letter. It is absurd to maintain that there are at Oundle essential practical details which make such performances of the B minor Mass a possibility. In the first place, the presence of a Preparatory House here (we do not possess a Preparatory School here) makes a slighter difference than would at first be apparent. Of the fifty boys in that house only about thirty-five are as a rule effective trebles; whereas in an ordinary senior house of fifty boys we would expect to have somewhere in the neighbourhood of ten reason- ably effective trebles. The fact that we have a junior house, therefore, means that our treble strength is increased by about 20 per cent. (Concluded on page 203)

June, 1930 A MUSIC JOURNAL PRO JACK B.M.S., THE GIANT KILLER By W. R. ANDERSON MUSICIANS have lately been getting a little anxious about the vulgarisation (in the British, not the good French sense) of fine tunes. In the May Musical Times Mr. Harvey Grace, who has elsewhere raised his pen in the same good cause, demonstrates the distortions which Mr. Clutsam has made of some of Chopin's melodies, in a musical comedy. Schubert, as we all remember, was an earlier victim. What expectation have we that this kind of thing will cease before all the classics are deflowered to make a toe-tapping hearers' paradise? I recollect a correspondent of the Musical Times, some two years ago, telling how at an Oxford cinema he heard the Et incarnatus from Bach's B minor Mass played as part of the accompaniment to a silly sentimental film-surely the crowning example of vulgarity, to which the word sacrilege might without exaggeration be applied! Now the B.B.C. has a great responsibility here. I remember reading in one of its official publica- tions that the music played by light orchestras was left to the choice of the players. That is not good enough, for the simple reason that the taste of most of these people is not good enough. We hope that Dr. Boult will be able so to correlate the work of all musicians at Savoy Hill that such things shall not pass. But that may take a long time, and one man cannot possibly listen to everything-can scarcely, indeed, be expected, all at once, to know everything that is going on in the forty thousand-odd hours that I see are stated to be the contribution of music to the year's programmes. So I propose that the B.M.S. should regard itself as remembrancer to the B.B.C., and that it should draw the Corporation's attention in the first place to the general question of such vul- MUSIC AT OUNDLE (Concluded from page 202). The damaging influence of such things as Chapel seating, and so on, might surely just as easily be removed at other schools as they have been at Oundle. The so-called "Sanderson method" has had nothing to do with it. Sanderson died in 1922, and it is since his death, and under our present Headmaster, that we have done the B minor Mass and other works. I am not unaccustomed to have thrown at me that what I have done here has been made possible for me by lucky causes which do not exist, and cannot be obtained, at other Public Schools. It is humorous, of course, but not true. garities, and then to any specific instances that occur. Something in the nature of "Flying Squad" methods are needed nowadays, if the house of music is to be kept in order. There is so much music flying about that nothing else will do. We may disregard the tasteless people who hate restrictions in art; without them, the number of music-making people ill-equipped in the matter of discretion and good sense will swamp music-lovers entirely. A professional body might perhaps be looked upon as over-severe; besides, the I.S.M. has at present an enormous amount of work to do in putting the profession on a sounder basis than it has yet found. I therefore suggest that the B.M.S., which represents so well the spirit of the best type of music-lover, should charge itself with this new and necessary duty of safeguard- ing both the great music of the past and the musical morals of unskilled listeners. It may be accused of smugness, but no sensible person minds that, when he knows he is on the right path. There is no need to flaunt banners or arouse a crusade quiet action is all that is needed. There are sufficient well-wishers at Savoy Hill: all some of them need is a friendly word, and the assur- ance that they are not being dragged into con- troversy or used as tools to annoy sensible people. If you take away all the new vulgarities of Tin Pan Alley and Charing Cross Road, there is plenty of harmless, if at times pointless, light music left to satisfy anybody. There is but one reason that moves music-mongers to lay their dirty hands on Schubert and Chopin-the reason of gain; and if those who claim to be music lovers will stand this despiteful using of lovely things in order that vulgarians may be enriched, they do not deserve either to use the name they boast or to possess the treasures they will not defend. 203 I give you below the numbers and ages of boys entering the Preparatory House in the Michael- mas term:- 1927 (17 boys) ages between 9.10-13.3. 1928 (11 boys) ages between 10.5-13.4. 1929 (11 boys) ages between 10.2-13.2. and for the same terms the numbers entering other houses in the school:- 1927 79. 1928 72. The School, Oundle, Northants. May 1st, 1930. 1929: 67. CLEMENT M. SPURLING.

A MUSIC JOURNAL ЯQUERIES FOR "QUERULUS." AL THE interesting article by "Querulus " provokes bitter reflections through its very ingenuousness. How can we English escape con- demnation as an unmusical nation so long as we place the Divine art on a plane inferior to that of sport? It is the conviction of the present writer that it is just the spirit of examination and com- petition among the young people which is responsible for the decline of interest in music among our adults. We deliberately lower our aims by neglecting, or utterly failing to realise, the only true reason for the study of music, viz., the communion with the Spirit of Divine Beauty through the medium of sound. We degrade the Art to the level of sport-entertainment-exami- nation-competition-instead of regarding it as a means of filling our souls with Eternal Beauty and the expression thereof. How can we be surprised that, having sought the lower, we cannot realise that, there is a higher and that when the excitement of the Competition is over, nothing is left? The writer has had the good fortune of teach- ing music in India-where pupils have quite spontaneously uttered sentiments similar to the above. Would that they were more common in this country! ANTI-QUERULUS." (1) THE influence of the B.B.C. may be adverse to the concert halls-but to the artists themselves, does it not afford them opportunities of a wider publicity? and even though it may keep some away from the halls it must be remembered that a very large number of people are being. brought into contact with music, who would not otherwise have heard any, all their lives. Does not this advantage outweigh the disadvantages? (2) Does it not show a great amount of public interest in opera, that in spite of its lack of State support, it continues to be played each season, to packed houses, with soaring prices? (3) Opera is to Germany what sport is to England and will the traditions of the ages ever be fundamentally altered in either country? Certainly not in a few years. (4) What school-children, particularly those at Boarding-schools, do not welcome an outing of any sort whether music, or sight-seeing, or a lecture be the object? But if it meant music in the school hall, without the glamour of the outer world, one is apt to think that the majority, if given the choice, would choose a hockey, or cricket match in preference to the concert. When they are older concerts and recitals have lost the possible glamorous novelty they had in school- 204 June, 1930 days and being part of the school curriculum, are left behind as such-for fresh fields and pastures new," such as cinemas, theatres, and other rather more obvious means of entertain- ment, than music may be. (5) Surely the fact that music is used for obtaining money for charitable purposes, goes to prove that the organisers know they can count on the music as being a sure draw? (6) Does not the competitive spirit in music tend to raise the standard-and to keep it up? Particularly this must be so in country places and villages, where the local choirs and societies would otherwise have no means of gauging their own standards without coming in contact with others. ARGUMENTATIVE." UERULUS" writes in the May issue of person there is something unsatisfactory in the sight of numbers of able-bodied men and women passively absorbed in listening to music, while so much of the world's work is waiting to be done." Does "Querulus" accuse Nero for fiddling while Rome burned? It is less futile to fiddle than to run about with pails of water. Presumably the fiddling made Nero happier, quite possibly others too. I find " Querulus's" article challenging. May I combat a few of his dicta? If for "unsatisfactory" satisfactory is sub- stituted, and for "passively," intelligently or passionately, I agree with "Querulus's" reflection quoted above. Competitions are the reward and public recog- nition of fine work finely done and have nothing in common with "the sporting proclivities of our fellow men." To win and to want to win are not derogatory, neither are they childish. Broadcasting and gramophones have of course given music to tens of thousands previously divorced from it. I wonder how many converts they have to their credit? I wonder how many previously divorced from it listen-in to or possess records of " good stuff"? And why? Because they cannot concentrate on an idiom unknown to and too high for them. Competitions in public foster concentration and elucidate this too high idiom more than anything else. The part of the "world's work" waiting to be done by us is to disseminate the high and the good this is better done, let me repeat, more really done, by Competitions (as mostly now organised) than by mechanical music. Beauty (whether of art or religion) is the elixir for un- happiness and discontent, squalor and sordidness. All "stunts (e.g., community singing) suc- cumb to early senile decay (or is it infantile paralysis?). H. V. JERVIS-READ.

June, 1930 A MUSIC JOURNAL PROTECT BRITISH MUSICAL INTERESTS ABROAD! By PAUL KERBY, Hon. Representative of the B.M.S. in Vienna YOUR Editorial in the last Bulletin on the subject of the further development of the B.M.S. broaches a subject of great importance. Your plea for the creation of some national body representing the interests of music in this country must, however, be supplemented by another which is none the less urgent: I mean the representa- tion and protection of British musical interests abroad. As a British musician who has been doing four years of continuous work on the Continent I can affirm that such protection and representation is to-day conspicuous through its absence. I further declare that this deficiency is the prime reason for the humiliating disregard with which British works and British artists generally are treated in that part of the world. Music on the Continent is not a private enter- prise. It is either supported by the State or the Municipality, and even where it is not it will be found to lean heavily on some official body or other for spiritual and other guidance. There is no doubt that music gains enormously in power and prestige by such official help, but it is no less clear that this very accession of strength turns it into a powerful, vested interest whose prizes (in the shape of well-paid posts and en- gagements) are not always distributed without the intrusion of non-musical influences. Under these circumstances Central Europe has made itself a largely self-contained musical unit, in which few foreign artists make more than a transient appearance. None of the countries out- side this great musical Zollverein (which extends from Scandinavia to the Balkans) can have the slightest objection to this system, as each of them practises the same policy of exclusion in his own sphere of influence. Britain alone is in an entirely different position. Our musical policy (or rather lack of policy) con- sists in giving a large proportion of our musical prizes few though they are to foreign artists, without the slightest demand for reciprocity in any shape or form for our own art and artists abroad. Worse still, we have caused the Con- tinent, through the absence of any such demands for reciprocity, to imagine that there are no British works or artists of distinction in existence at all. A properly constituted body representing our musical interests would never have tolerated such a position. The British artist, however, (if he ventures abroad in spite of all the difficulties in his path) is at a cruel disadvantage in having to compete with other nationals, who very properly 205 use all the official influence at their disposal while he has no such authority to fall back on: he remains an individual; and it may easily be imagined what that means in an atmosphere where people are in any case less inclined to look in a man for the stamp of authority than for the stamp of the authorities. It may be thought that at least the possession of some academic degree, such as conferred by one of our Universities or Musical Academies and Colleges, would secure the British artist abroad some definite official standing. I regret to say, however, that here again lack of pro- tection and representation has caused such degrees to have no definite currency on the Con- tinent, and has prevented the splendid work done by our musical Institutions from being known and appreciated there.. Enough has been said to show that there is a serious gap in our national musical organisation. It is my private opinion that the further progress of music in Britain will be gravely impeded as long as we do not realise that to put our musical house in order at home we must also see to the proper protection and representation of our musical interests abroad. There is no definite malice or hostility operat- ing against us: we are ourselves to blame for the present state of affairs. Let us, therefore, help ourselves so that others may help us. CONTINENTAL NEWS INTERNATIONAL MUSIC COURSES IN AUSTRIA. VIENNA (a) Master Course for Music-July 1st to August 15th. (b) Course in Eurhythmics- July 3rd to 30th. (In Schloss Laxenburg, near Vienna). The course is under the auspices of the Austro- American Institute of Education in Vienna. Further information may be obtained from that Institute at 9 Elisabethstrasse, Vienna, Austria. Bayreuth Festival In connection with the Wagner Festival to be held during June this year, a special bureau has been opened to supply information gratis to intending visitors. Members of the I.S.M. and B.M.S. who wish for full information should write to the Hapog Reisebüro, Städtisches Verkehrsamt, Bayreuth, Germany."

A MUSIC JOURNAL 2T2 CO-OPERATION By ELLEN WYATT IN these days when music and musicians are having a hard fight for existence, it does seem to me that anything which leads to co-operation between amateurs and professionals is worth a trial. We depend on each other for mutual help and pleasure. Would it be possible to start a Chamber Music Club, to encourage good amateurs by oppor- tunities of playing with professionals? The musical life in Germany is so much helped by the fact that most families have a regular Chamber- music evening once a week in which professionals are paid to co-operate with amateurs.. I make the following suggestions. Subscription £3 3s. Od. per annum for amateur active members, £1 1s. Od. for passive members, who would come merely to listen, professionals to have honorary membership. A small committee of mixed amateurs and professionals. Amateurs to pass a test to ensure that they have reached a certain point in sight-reading, true intonation, general musicianship, such as time values and phrasing. It should be emphasised that the Club is for really first-rate amateurs, who have got beyond the struggling stage. There are already classes in various musical colleges for the study of Chamber-music. So this Club, I suggest, is more for those who have reached a high standard, and have probably already played with pro- fessionals here or abroad. The professionals of course to be paid-the Club funds to be used for this purpose. Practices could be held weekly in members' houses. For instance, if a pianoforte trio were taken in hand, it would consist of one. professional and two amateurs. Then in the same week, possibly string quartet practice in another house could be arranged. There should be an organising secretary, who would arrange the various meetings; later on, it might be possible to arrange a meeting of all members once a month, at which a programme of Chamber music could be played by the active members. The Club practices to begin in October and continue up till the middle or end of April-with a break for Christmas vacation. When a certain number of members have joined, it might be possible to reduce subscriptions to £2 2s. Od. a head, but with a small number, £3 3s. Od. seems a minimum if the professionals are to be adequately paid. There are no crowded paths. There is the open road for any man who seeks to do some- thing different, and knows he can. The jostle of those who do the same old things is greater than ever. NEWMAN FLOWER. 206 GRAMOPHONE NOTES Columbia Company June, 1930 Two piano records belong to the April issue- Godowsky's playing of the Grieg Ballade (LX 9-10), and Percy Grainger's Fantasy on Love Themes arranged from Richard Strauss' Rosenkavalier, and played by himself (DB 28). The choral section presents two extremely interesting contrasts-the Don Cossack Choir singing two Russian psalms, and the choir of St. Nicholas College, Chislehurst, pointing two psalms, one in modal harmony from the Sarum Psalter and the other in the conventional harmony of the English Psalter. These are numbered DBX 12 (4/6) and DB 17 (3/-). Different again from both of these is the strong and magnificent singing of two choruses from Elijah by the Sheffield Choir, under Sir Henry Coward (DX 16), and the further contribution of the St. George's Singers to the library of un- accompanied Elizabethan music-Lady, when I behold (Wilbye) and Fire, Fire my heart (Morley -(5548). Blackheath BRANCH NEWS (Continued from next page) Reginald Paul gave a delightful pianoforte recital on May 5th at the Blackheath Chambers. His programmes are always interesting, well- thought-out and splendidly interpreted. The programme included Beethoven's Sonata in A major, op. 101, a group of old music, by Purcell, William Shield, and F. Bach, and two fine works by J. S. Bach-Thy Name like unto the Sun and Jesus Christ the Son of God. Schubert was represented by a group of Valses Nobles, arranged by Dohnányi, and the pro- gramme ended with a modern group of pieces by Arnold Bax, Rhené-Baton and Rachmaninoff. Manchester Central High School for Girls A most enjoyable mecting was held on Thurs- day, May 15th, 1930, when Mr. Carl Fuchs, the distinguished 'cellist of the Manchester Royal College of Music, came to give a recital. As a preface to his playing Mr. Fuchs, in a charming and simple manner, spoke of the history and development of his instrument, of its literature, and of some famous 'cello makers. His pro- gramme illustrated the chief points of the lecture by showing the different styles of music written for the 'cello, and included a Sonata by Duport, Sarabande and Courante by Bach (un- accompanied) and works by Granville Bantock, Corelli, Ravel, Moszkowski, and Davidoff. The recital gave great pleasure and delight to the audience and no small part of their appreciation and thanks was due to Mrs. Carl Fuchs, who so ably and sympathetically assisted at the Piano- forte. E.M.H.

June, 1930 BRANCH NEWS A MUSIC JOURNAL Reports and contributions should reach the Editor, Mr. W. H. Kerridge, at the B.M.S. office by the 15th of the month. Bournemouth At the March meeting a concert by members of the Society was given. Those taking part were Mrs. Farnell, Miss Dorothy Kent, Mr. Noel Hale, Canon Marsh, Miss Doris Winter, Miss Florence Mayhew and Miss Trissie Cox. The programme ranged from Benedetto Marcello, Andre Campra and Bach to Balfour Gardiner and Frank Bridge. The Music Circle of this Society meets monthly and all the programmes are contributed by mem- bers so that we have nine or ten programmes each year organised and carried through by the members themselves, which are among the most enjoyable of the Society's meetings. In April, Mr. Alexander Brent Smith lectured on Beethoven-the Spirit of his Life. Mr. Smith dealt in extenso with the period of Beethoven and his relationship to Haydn and Mozart and his influence on later composers. His lecture was always interesting, and often provocative, and served to stimulate our minds afresh to think again on one of the greatest musical geniuses of all time. Eastbourne Music Club II.A.D. The Spring Session opened on February 18th with an attractive programme arranged by Mrs. Edna Watling. Ten meetings were held during the Session and were well attended throughout. The membership numbered seventy-nine, being eleven more than that of the previous session. The musical programmes provided by the members maintained a very high standard. Amongst the most interesting items performed were:-Moravian Vocal Duets (Dvořák) by Mrs. Malcolm Farmer and Miss Evelyn Cook, on March 4th. The Choir of St. Saviours, conducted by Mr. James R. Dear, gave a most interesting programme of early vocal music on March 18th. Cyril Read and Connie Parsons gave a piano and violin recital on April 8th, and at the follow- ing meeting, on April 15th, the Club was pleased to welcome Mr. W. H. Kerridge, the secretary of the B.M.S., who gave a very interesting lecture on Characteristics of British Music. He was assisted by Mr. and Mrs. G. F. Warren, Mrs. Darbishire Jones, Miss M. Michell, Miss S. Pearce, Miss Evelyn Cook, and Mr. Gilbert Alcock, who gave instrumental and vocal illustra- tions. Mr. Gilbert Alcock's Duo for 'Cello and Piano, Fantasie-Elégie, played by the composer and his son, Cedric Alcock, received a first performance on February 25th, and other works by Mr. Alcock performed during the session were two move- 207 ments from String Quartet in D major, and some songs. Miss Ita Cope and Miss Jean Duncan gave a recital of songs and duets on April 1st, and at this meeting Miss Duncan sang two songs com- posed by Miss Ruth Troward, a pianist member of the Club who, on March 25th, was associated with Mr. W. J. Read in a very fine performance of Brahms' Sonata for Violin and Piano, Op. 100. The last meeting of the session, on April 29th, was arranged by Mrs. Darbishire Jones and included Brahms' Trio for Viola, 'Cello and Piano, Op. 114, played by Miss Dorothy Darbi- shire Jones, Mrs. Darbishire Jones and Mr. Gilbert Alcock. Miss Dorothy Darbishire Jones' Viola solos were greatly appreciated, and she was joined in an arrangement for Viola of Grieg's Sonata for Violin, by Mr. Gilbert Alcock. The Summer Session will commence on June 3rd. Palmers Green and District M.A.R. The Annual General Meeting was held at St. John's Hall, Palmers Green, on May 6th. There was a good attendance of members. The Treasurer's Report, presented by Mr. F. Johnson, hon. treasurer, was satisfactory to all concerned, showing economical working and a good balance, thereby giving hopes for a prosperous continu- ance of the Branch. Miss V. Marfleet, hon. secretary, in a brief, concise report outlined the business activities of the past session, referring to the improved attendance of members. The Musical Director, Miss Anderson Lownds, gave a fuller account of the musical meetings. The financial success of the last season she attributed to the generosity of artists and friends, thanks being especially due to Miss Gertrude Peppercorn, who had given a pianoforte recital to the members, a gift from a great artist to an enthusiastic little Branch; to visits, inspiring and elucidating, from the B.M.S. General Secretary, Mr. W. H. Kerridge, and assistance from many friends. In conclusion Miss Lownds gave an indication of musical projects for the coming season. The president of the Branch, Mr. Kenneth Sullens, has again given a promise of a Chamber Music evening. The Branch owes much to its president, his interest, assistance and musical reputation being a great asset. A cordial vote of thanks was moved to the chief officers, to whose skill and guidance, often at great sacrifice of time and leisure, this Branch owes its continuance and its success. (Continued on previous page) E.M.R.

A MUSIC JOURNAL SOME FORTHCOMING CONCERTS MA AEOLIAN HALL June Day Time Name I Wed. 8-30 Sergei Radamsky 12 Thur. 12-0 Mathilde Verne and Anne Thursfield 13 Fri. 8-30 Plunket Green 17 Tue. 8-15 Aileen Johnson 18 Wed. 8-15 Harrison Stevens 19 Thur. 8-30 Agnes Maxwell.. 24 Tue. 8-15 Gladys Lorimer.. 26 Thur. 12-0 Mathilde Verne and Anne Thursfield 26 Thur. 8-15 Jacques Van Lier 30 Mon. 8-15 Guelda Waller and i Performance Song Recital Song Recital Song Récital Pianof'rte Recital Song Recital Chamber Concert Vera Maconochie Song Pictures Name Orrea Pernel and GROTRIAN HALL June Day Time Performance 10 Tue. 8-30 11 Wed. 8-30 12 Thur. 8-30 13 Fri. 8-0 16 Mon. 3-0 17 Tue. 8-30 18 Wed, 8-30 Kathleen Long Frank Davis Minnie Hamblet. Tobias Matthay's Pupils Recital Helen Mar Dorothy English Mirian Duncan and Etienne Amyot 24 Tuc. 8-30 Leonora Bosset and Robert Caruana 25 Wed. 8-30 Lilian Hill 26 Thur. 8-30 Engel Lund 27 Fri. 8-30 Victor Booth. June Day Time 5 Thur. 8-0 17 Tue. 3-0 24 Tue. 8-0 July Day Time 1 Tuc. 8-0 Sonata Recital Pianof'rte Recital Pianof'tre Recital Pianof'rte Recital Two Pianoforte Recital Pianoforte and *Cello Recital June Day Time Name 24 Tue. 8-30 Megan Foster, Ethel Bartlett and Rae Robertson. 25 Wed. 8-30 Vivien Lambelet 26 Thur. 8-30 Vera de Villiers 27 Fri. 8-30 Sophie de Konshena 30 Mon. 8-30 Ivan Phillipowsky July Day Time Name 1 Tue. 8-30 Nigel Wheeler 2 Wed. 8-15 Lily West .. 3 Thur. 8-30 Augustus Milner 4 Fri, 8-30 George Chavchavadze 5 Sat. 8-0 Adeline Milton .. June, 1930 Performance Song and Piano Recital Song Recital Song Recital Song Recital Piano Recital Performance Piano Recital Song Recital Piano Recital Pupils' Concert CONSTANT LAMBERT IN HOMBURG THROUGH the instrumentality of the B.M.S. Mr. Constant Lambert has been invited to conduct an orchestral concert of modern British music at Homburg, Germany, on July 16th. Miss Harriet Cohen will collaborate by playing in the works of Arnold Bax and William Walton. This is yet another instance of the esteem in which our Society is held in certain circles on the Continent. The programme will be as follows:- William Boyce Arnold Bax ... Percy Grainger Frederick Delius Song Recital Song Recital William Walton QUEEN'S HALL Name Colonne Orchestra Royal Academy of Music Concert English Singers Name Performance Orch'tral Concert Choral Concert Performance Tobias Matthay Pianoforte School of Music 5 Sat. 3-0 Trinity College of Music June Day Time Concert WIGMORE HALL Name II Wed. 8-30 Esther Fisher 12 Thur. 8-30 Violet de Villamil 13 Fri, 8-0 14 Sat, 3-0 Frederick Moore Irene Scharrer... Performance Piano Recital Song Recitals Piano Pupils Concert Piano Recital 16 Mon. 3-0 16 Mon. 8-30 Lily Zaehner 17 Tue. 8-30 Guild of Singers Players Guildhall School of Music Concert 18 Wed. 5-30 Fanny Davies 18 Wed. 8-30 Nancy Broadbent 19 Thur. 8-15 Mabel Lander 20 Fri. 8-30 Elizabeth Ryan 23 and Mon. 8-30 Antoni Sala and Violet Gordon Woodhouse Song Recital Chamber Concert Piano Recital 'Cello Recital Pupils Concert Song Recital 'Cello and Harp- sichord BRITIS Constant Lambert Symphony No. 5 (arranged by Constant Lambert). Variations for Piano and Orchestra. Green Bushes. Winter Landscape and Dance (from North Country Sketches). Sinfonia Concertante for Piano and Orchestra. Music for Orchestra. The Frankfurt Radio Orchestra will perform at this concert, which will be broadcast from Frankfurt. If it becomes practicable for the London B.B.C. to take it over from Frankfurt, Mr. Lambert's first concert in Germany will be accorded the honour it deserves. I 46 CHILDREN'S CONCERTS HAVE read with much interest the article, Music and the Adult, by Querulus in the May issue of the Bulletin, and his kind references to my concerts. For your information I wish to say that these concerts take place, not only at the Central Hall, Westminster, but also in four other dis- tricts in Greater London, including The People's Palace, Wembley, Wimbledon, and Tottenham. The Conductor, Orchestra and programmes are exactly of the same standard in the other districts as they are at Westminster. I cater now for something like 40,000 boys and girls and am planning further extensions. R. MAYER. 13 JUN 30

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