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BMS Bulletins 22, BMS Bulletins 22 |
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1 BMS Bulletins 22, p_p_1946_bbb_1922_p001 |
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Ocr'd Text:
Op
usical
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mplete
CO.
et, W.1
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antic
Net
s.d
21
$21
ON, WI
THE BRITISH MUSIC
BULLETIN
Volume IV No. 1
Special Notice to Members
The Society Present and Future
Schools and the Gramophone-
CONTENTS.
Book Review-
C. ARMSTRONG GIBBS
EDWARD J. DENT
Music Reviews
Some January Concerts
December Recitals
JANUARY, 1922
Correspondence-English in Latvia
SIR JOHN BADDELEY
Centres and Branches
PAGE
2
LO
9
- 10
13.
14
- 15
16
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Ocr'd Text:
THE BRITISH MUSIC
BULLETIN
VOL. IV
JANUARY, 1922
SPECIAL NOTICE TO MEMBERS
SUBSCRIPTIONS
Will all members kindly note that subscriptions become due on
January 1st, and that they will greatly assist the work of the
Head Office if they will send these to their local Hon. Treasurers
as near this date as possible. Unattached members should send
their subscriptions direct to Headquarters.
Will members also kindly note the following points :-
(1) By the articles of association, Article 11, "a member
may retire from the Society at the end of any year covered by
his subscription by sending in his resignation in writing to the
Secretary at least one month prior to the day for renewal of
his subscription."
No. 1
Article 9.-"A member whose subscription is unpaid after
it becomes due shall have no power of voting at any meeting,
and if it remains unpaid for one year he shall lose all privileges
of membership, without prejudice to his liability to the Society
for the subscription in arrear."
In accordance with these articles, members whose subscriptions
for 1921 are in arrears will receive no further copies of the Bulletin,
and are, therefore, urged to forward such subscriptions immediately.
(2) Hon. Treasurers are reminded that a junior member's
subscription is now 10s. 6d., which entitles him to receive
the Bulletin monthly, and on which his Branch may claim a
rebate of 5s. The junior member's 5s. subscription is hereby
suspended as from January 1st.
BULLETIN REPORTS
The Secretary will be greatly obliged if members responsible for
these reports will send them
Heady for publication.
BITIS
(1) She cannot undertake that they will be published if only
programmes and press cuttings are sent.
PRIEUR
2) Thess
only,
e month
As annou
all be held
minations
During t
afton Gall
e been an
esday eve
in the ce
ed in cir
All partic
m the Org
ut, Kensi
CON
Members
this Con
its au
January
en & par
schools"
the follow
portance
Both the
dit is how
large nu
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Ocr'd Text:
S
No.
me due
ork of
Treasu
hould
a men
covered
iting to
renewa
npaid
meet
the S
or mem
to re
may
mis h
ubscript
mediate
CONFERENCE OF EDUCATIONAL ASSOCIATIONS
Members generally may not be aware that we are now affiliated
to this Conference, and have arranged two lectures to take place
he Bulk under its auspices at University College, Gower Street, on January 2nd
and January 3rd. At the first of these (in the Mechanics' Theatre
at 5 p.m.) the chair will be taken by Mr. H. C. Colles, of the Times,
when a paper will be read on "Musical Education in Secondary
Schools" by Mr. C. Armstrong Gibbs, while at the second meeting,
on the following day at the same time (in the Chemistry Theatre),
Mr. Roscoe, of the Teachers' Registration Council, will speak on the
importance of recognising music as a qualifying subject in examinations.
Both these meetings should be of the utmost interest and value,
and it is hoped that members will show their appreciation by attending
in large numbers. It is only necessary to sign the book at the door
to obtain admission.
ponsib
THE BRITISH MUSIC BULLETIN
3
(2) These reports should invariably be written on one side of the
paper only, and should be sent in not later than the 18th of
the month.
ed it
ANNUAL MEETING
As announced in the December issue, the Annual General Meeting
will be held at the Eolian Hall on Friday, February 3rd, at 5 p.m.
Nominations for members of Committee should be sent in 30 clear days
before the meeting. Mr. Dent and Mr. Edmonds are the members
retiring by alphabetical rota, but are eligible for re-election.
LONDON CHAMBER CONCERTS
During the year 1922 the Society will remove temporarily to the
Grafton Galleries, where some fine programmes of Chamber Music
have been arranged. The first of these concerts will take place on
Tuesday evening, February 21st, at 8.15 p.m. The platform will
be in the centre of the large Picture Gallery, and the seats will be
placed in circles surrounding it.
All particulars, with forms of application for seats, may be obtained
from the Organising Secretary, Mrs. Rose K. Farebrother, 99, Oakwood
Court, Kensington, London, W.
Tickets for the Chamber Concert to be given by the Incorporated
Society of Musicians at Queen's Hall on Wednesday evening,
January 4th, can be obtained free on application at the Conference
Secretary's table on these days.
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4
THE BRITISH MUSIC BULLETIN
BRITISH MUSIC SOCIETY PRESENT AND FUTURE
for direction
THE
HE New Year sees our Society older and, we hope, wiser and
better fitted to continue and extend its work. There has been
some re-arrangement of the working machinery. Now, as always, the
Committee of Management has the sole responsibili
and policy, but pressure of other work and the increasing needs of the
Society combine to prevent Dr. Eaglefield Hull from serving as
heretofore as Director. He will in future act as a member of the
Management Committee, and Mrs. Balkwill (hitherto Assistant
Director) is now appointed Secretary, and will be the natural link
between the Management Committee and the members: to her all
Another and very great
communications should be addressed.
access of strength to the Society comes from the consent of Sir Hugh
Allen to act as permanent Chairman of the Management Committee.
There could be no better man to hold this difficult and important
office, and we can most heartily congratulate ourselves upon obtaining
him. When we add that Mr. W. Lee Mathews has consented to serve
as Hon. Treasurer it will be realised that, in the way of machinery,
we are now fully equipped.
It would indeed be ungracious to let this message go out without
an expression of the debt that we owe to Dr. Eaglefield Hull.
Without Dr. Hull there would be no British Music Society, and it is
the very success which has attended his energy, enthusiasm and
labour, that compels us now to lose his personal direction. We have
grown too big for the machinery which at first sufficed. The
Committee of Management passed with acclamation a resolution
expressing its sense of the work which Dr. Hull has done and the
pleasure which it gives to them (and, we are sure, to all members)
that henceforward our official documents shall bear his name as the
founder of the Society.
So much for the present. But it is a January privilege to look
forward and make good resolutions, and we urge that one at least
shall be for members of the British Music Society: That they will be
more active and enthusiastic helpers in the year 1922. Members are
the best agents to procure other members, and every one should
feel ill content if he or she fails to attract some new supporters.
Remember the larger the Society the more work we can do, the more
influence we can exert. Let us decide never again to ask "What does
the Society do for me?" But on the contrary-"What can I do for
the Society?" If the Editor might give a gentle hint, it would be a
little if members would occasionally read the Bulletin. It is the only
means whereby Headquarters can get into touch with members, but
contact breaks at once if it goes unread. Members say now and
then that nothing is done for them. Recently the Bulletin
announced that any member could have the chance (for nothing) of
hearing a great and famous pianist. We have some five hundred
members in and near London, but the actual applications for tickets
came to ture
the oppor
responde
The British
forward
hauthor
weak and
can only
fone resolu
rfall resp
Lure been
SCH
many
article.
ng boys
the gram
done.
ght, and
am so tem
wever, I
gramopho
The inc
and the imp
compare
ad is bour
not me
a charit
nology
y serve
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THE BRITISH MUSIC BULLETIN
came to twelve, and it is even betting that very few more were aware
of the opportunity. Again, Bulletin correspondents should not think
their duty is fulfilled by sending newspaper cuttings to the office with
a request to write up"! This, frankly, cannot be done, and such
correspondents will run the risk of having no notice inserted of their
Branches.
These instances are small but they are not insignificant.
The British Music Society has "one aim, one business, one desire,"
to forward music at its best in this country; but it can only speak
with authority or suggest with any hope of success if it is known to
speak and suggest in the name of active and enthusiastic supporters.
It can only be or become what its members mean to make of it, and
if one resolution for us all for 1922 might be the attempt to realise
our full responsibilities in this matter this tiresome homily will not
have been written in vain.
eds of
viser
has bee
ways
er of th
to her
importa
SCHOOLS AND THE GRAMOPHONE
obtainin
machine
ed to IN many ways I doubt whether I am the right person to write this
article. It is true that I had several years' musical experience
among boys at a preparatory school in Brighton, but the possibilities
of the gramophone were not so highly developed then, and we never
had one.
Moreover my technical knowledge of the instrument is
and slight, and I always retire hurriedly if anyone asks me to start one up.
I am so terrified of scratching the record or breaking the needle,
which in my inexperienced hands always dithers about over the
surface of the record, like Mr. Winkle on his skates. Perhaps,
however, I see all the more clearly what we lost in not possessing
a gramophone.
siasm
We hv
ced.
resolut
me and
membe
me ast
ge to l
ne at le
They will
embers
One sho
supporte
the
would
is the
mbers
now!
Ball
nothing
ve hund
for fi
The increased consideration which music now receives in schools,
and the improved methods of teaching and imparting it are astounding,
as compared with the conditions prevailing only a few years ago.
The old difficulty of there being but 24 hours in the day still persists,
and is bound to persist, but at least the mental attitude of leading
educationalists has altered wonderfully for the better. Music is
generally treated with some deference to her rank and importance,
and not merely as the slut of the curriculum existing on sufferance,
like a charity pupil. But even now there seems to be a tendency to
disregard its historical development. Children are rarely taught that
it has an organic life history. No one would try to teach English
literature and to deal with poets and authors, such as Chaucer,
Shakespeare, Milton, Defoe, Keats, Scott, Tennyson and Stevenson
(to take a few names at random), without establishing some sort of
chronology between them. In fact, all the primers of literature I
have ever met are based on chronological sequence. Yet children are
set down to learn all kinds of music belonging to widely different
periods, without any idea of their chronology whatever. Mere dates
are, of course, in themselves of little use, but they are valuable when
they serve as pegs on which to hang a short summary of musical
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THE BRITISH MUSIC BULLETIN
development. I cannot but think that the whole subject would
become far more interesting to young people if more attention were
paid to this side of it. There is neither time, nor would it be desirable,
to treat the matter in too great detail, but a child should certainly be
taught the trend of great movements, such as how instrumental music
developed out of vocal, how secular music sprang from the church,
how the Classical School arose, and how the Romantics followed,
and how the broad tendencies of our own day seem to be moving.
And side by side with all this, and growing naturally out of it, should
come a short sketch of the main developments of form.
6
And even those
To make this knowledge attractive and convincing, it is absolutely
essential that it should be accompanied by plentiful illustration.
In fact this is the only vital and arresting way of teaching musical
history. Here, then, is an obvious opportunity for the use of the
gramophone. It is not necessary to labour the point, so clear is it.
Many excellent teachers are indifferent performers on the piano,
which provides the most handy alternative method.
who are expert pianists are most unlikely to have enough time to
keep on tap, so to speak, a sufficiently comprehensive repertoire.
Moreover, most of the finest examples were not written for, or
conceived in, the medium of the piano at all; a large proportion are
impossible to transcribe, and those that will bear transcription must
of necessity lose most of their characteristic qualities in the process.
On the gramophone every medium, from the largest orchestral canvas
down to the solo song with piano accompaniment, is available, and,
after deducting a certain percentage of loss, which as yet mechanical
reproduction inevitably entails, the widest possible range of examples
in their original media can be brought before children.
ho will st
constant re
strument
This le
terested
But unless
our efforts
ith howls
struments
ill not car
cords any
be timbres
hat when
will be m
liar str
One of
imited exp
the last
folk
for the
thought.
at child
armonic au
In this connection also the gramophone has another invaluable all
property, namely, its power of unlimited repetition. Even to trained
musical minds a work, in proportion as it has "stuff" in it, requires
hearing time after time before all its depths are plumbed. How much
greater the necessity of repetition when we are dealing with virgin
soil, so that the young mind may by constant hearing assimilate more
and more! And all this can be achieved with the minimum of effort
on the part of the teacher. Take a practical case. Suppose the work
under discussion is the first movement of the Fifth Symphony of
Beethoven. The teacher can explain the structure of the movement
in outline, he can play on the piano the principal themes, and the
gramophone will do the rest for him. At each successive repetition
of the record the class will absorb a little more, until at length the
whole movement becomes a real logical sequence of great thoughts
instead of a mere "mush" of ounds that tickle the ear rather
pleasantly. Conversely, if there is no gramophone the teacher must
struggle to give a paraphrase on the piano, which at best is
monochrome and cannot suit the style of the music.
Or again, suppose a teacher be trying to train his class in that
most difficult art, the hearing of underparts and the recognising of
melodies when they appear elsewhere than at the top. Here, too, the
ters, is
ducing r
unequa
ildren m
all chose
I have
Oost
and develo
anoth
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tion ve
desiral
rtainly
tal r
ech
emor
it, sho
This leads me on to the next point. Most children are keenly
interested if you begin to talk to them about orchestral instruments.
But unless you have powers of mimicry distinctly above the average
your efforts to imitate their several sounds will probably be received
with howls of mirth. Rather than risk so undignified a proceeding
you will perhaps content yourself with showing pictures of the various
instruments, adding a rough outline of their mechanism, all of which
will not carry you very far. But with the aid of a few good orchestral
records any child with an ear for music can be taught to distinguish
the timbres of the different instruments with very little trouble, so
that when he exchanges the gramophone for a real orchestral concert,
he will be meeting friends in the orchestra and not a crowd of odd and
peculiar strangers.
One of the great shortcomings of our schools, as far as my own
limited experience goes, is the utter lack of modern music. I would
be the last person in the world to undervalue the necessity of bringing
young folk up on the simpler forms of older art. But I cannot see
why for that reason they must be starved of all contemporary musical
thought. In the case of school singing, the theory so widely held
that children are incapable of singing or understanding modern
harmonic and melodic progressions is an absolute fallacy, as I have
inval personally proved to my own satisfaction. Yet the average stuff
called school music," even though it may be composed by living
it, rewriters, is modern only in its date. I feel that now, when England is
How producing music on a scale and of a quality unsurpassed by any nation
and unequalled in her own history for three centuries, it is incumbent
upon teachers to recognise this fact themselves and to impress it on
um of their pupils. Once more we turn to the gramophone, and by its help
children may be most easily and pleasantly initiated by gradual and
well chosen stages into the complexities of the music of their own day.
to tra
with
milate
the
absolut
lustrati
ng musi
use of f
clear is
the pi
even th
reperto
en for,
portion
ption m
ilable,
mecha
ymphony
more
e repet
eat thou
I have left till last the point that is at once the most obvious and
es, the most vital of all, namely, the use of the gramophone in creating
and developing a real knowledge of music and a real sense of taste,
leng with which is necessarily involved the dawning of the critical powers.
The standard of popular music in England is on the whole low, and
that is the type of music children are most likely to be brought into
contact with at first, and for which they will get a taste.
The only
sound way to form real taste is by letting good music speak for itself.
To have to answer a question as to why one piece of music is good
and another bad is extremely difficult, but in the vast majority of
cases it only needs a real acquaintance with good music to remove the
cause of the question altogether.
ear
Teacher
at ber
lass in
THE BRITISH MUSIC BULLETIN
gramophone is the most valuable aid imaginable. Play a melody to a
group of boys or girls. When they have got it fixed in their heads to
their own satisfaction let it appear in a lower part. The percentage
who will spot it the first time it appears in this guise will probably be
very small. But take an orchestral record, and with the help of
constant repetition and of the difference in timbre of the various
instruments the faculty will develop with surprising rapidity.
cognis
Here, to
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THE BRITISH MUSIC BULLETIN
It follows that the wider and deeper the acquaintance with fine
music, the keener will the sense of musical taste become, and this
task the gramophone will help to discharge for us very efficiently.
If, as I think, the crying need of the present, as well as of the future, is
to train audiences rather than performers, surely it is criminal to
neglect the opportunities the gramophone gives us for achieving this
end. In the old days in schools music was generally regarded as an
unutterable bore, because it encroached on our already scanty leisure.
But the privilege, especially if the cunning teacher makes it appear a
privilege, of coming in to listen to a really good gramophone, is one
that children will value and to which they will devote their spare time
with readiness and delight.
8
I am quite aware that these remarks are somewhat disjointed and
unoriginal, and certainly they make no pretence to be exhaustive. I
hope, however, they may be the means of focussing attention on what
I believe to be one of the finest methods of musical education. I look
forward to a time when the absence of a gramophone in a school will
be considered as incredible as the absence of a piano would be
considered to-day; in fact, if I were Minister of Education, I would
make such absence illegal and a heavily punishable offence!
C. ARMSTRONG GIBBS.
It is with great regret that we have received the resignation of
Miss Ethel Waddington, Local Hon. Representative for Blackheath.
Miss Waddington has done the whole of the secretarial work of her
Branch, and, as her colleagues would be the first to admit, it is almost
entirely due to her efforts that Blackheath has been so unusually
In addition to her
vigorous and enterprising for a small Branch.
other work, Miss Waddington has now for some time been acting as
Secretary to Mr. Leigh Henry, the editor of Fanfare, so that it is no
longer possible for her to be responsible for conducting the affairs of
the Blackheath Branch, although she fortunately remains on the
Committee. Mr. B. E. C. Davis succeeds her as Hon. Secretary.
Mr. Waldo Warner, of the London String Quartet, has been
awarded a prize of $1,000, offered by Mrs. Frederic Coolidge, of
Pittsfield, Mass., for the best Chamber music composition. The prize-
winning work is a Trio. Sixty-four composers, representing ten
nations, competed.
H.R.H. Princess Beatrice has been pleased to accept a copy of
Madame Agnes Larkcom's book "The Singer's Art."
One of our Worthing members, Mr. A. R. Cripps, has been
awarded first prize for an Orchestral March in a competition held
under the auspices of the League of Nations. The work will shortly
be published.
The m
riters an
through in
it of era
the two
Palestrina,
not sacred.
USIC took
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tilo were in
left
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estion
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Dr. Fellow
DHID 810
oder t
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with f
fficient
BOOK REVIEW
The English Madrigal Composers*
would
Blackhe
work of
The music of the Elizabethan age has often been alluded to by
writers and speakers as a subject of national pride, but when the
thorough investigation of it is in question, national pride assumes an
air of evasive modesty. It is a curious fact that the secular vocal
music of this period was almost entirely neglected in that monumental
work "The Oxford History of Music." It happened to lie on the frontier
of the two volumes. Professor Wooldridge discoursed learnedly of
Palestrina, but he seems to have had very little interest in music that was
not sacred. Parry's volume was concerned with the new direction that
music took in the seventeenth century, and was interested in the English
Lutenists only as forerunners. It was not only the English madrigalists
who were neglected: Monteverdi and Gesualdo came off equally badly.
School Parry left them to Wooldridge, and Wooldridge, true disciple of
Pochstro, disapproved of any composer who showed a tendency to
question the established rules of counterpoint. Continental historians,
as might be expected, have treated us little better. The usual idea of
learned Germans about English madrigals is that they were mere
imitations of the Italian school. It is largely our own fault. Other
countries have published their musical "monuments." Riemann in
his Dictionary gave an account of the Denkmäler der Tonkunst in
ignation Germany and Austria, and followed it with a list of the Denkmäler
der Tonkunst in England which the English ought to have published.
That the English madrigals and lute-songs are now being made
accessible to everybody is due to the energy and devotion of one man-
Dr. E. H. Fellowes. He has now followed up the publication of the
music itself by a critical study of the composers. His book is one
which every English musician ought to possess and study carefully.
There are many people who have at some time or other sung madrigals
he sand taken pleasure in them, but probably few can remember the
names of the composers, much less distinguish a composer at once by
his style, as we should distinguish a piece of Bach from one of Handel.
As to giving a definition of a madrigal-even Dr. Fellowes finds this
t has beyond him. But he has hit upon what is probably the true history
of the word, namely, that madrigal is derived neither from mandra, a
flock of sheep, nor from madre in the sense of the Virgin Mary, but
from matricalia, i.e., poems in the mother-tongue, as opposed to Latin.
Dr. Fellowes does not tell us much about the history of the madrigal
in Italy.
It is a pity that he has confined himself exclusively to a
study of the English composers, and makes no attempt to compare
them and contrast them with their Italian predecessors and
contemporaries. But he knows his readers perhaps better than a
reviewer does. A man of learning is not much respected in this
country.
If I were to say that this is a learned book I should
hinder the sale of it.
At any rate it is a very practical book, in which
it is alm
en acting
hat it is
ains on i
cretary
appear
One, is
spare ti
ointed a
Bustive.
non wh
!
GGIBBS
unusu
tion to
Coolidge
The
esenting
Ds, has
THE BRITISH MUSIC BULLETIN
*
By Edmund Horace Fellowes-Oxford, 1921. 18s.
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THE BRITISH MUSIC BULLETIN
any madrigal can at once be looked up in an index and its composer
tracked down, with all possible information about him. It is also an
admirable introduction to the study of madrigals.
Dr. Fellowes
10
But if
wisely assumes no previous knowledge on the part of his readers. He
begins at the very beginning. Anyone who has ever sung "Flora
gave me fairest flowers" will have the gratification of being able to
consider himself quite advanced in madrigalian studies.
Dr. Fellowes begins at the beginning, he also goes right through to
the end. He gives a little biography of each composer as far as is
possible, and he has discovered several very important biographical
facts which are new.
He also discourses critically on the styles of the
composers, with copious musical extracts which are of the greatest
help towards an understanding of the human and emotional aspect
of the madrigals.
A book of this kind is the result of years of practical spade-work.
If it contained nothing but its bibliographies and indexes it would be
indispensable to the musician. But Dr. Fellowes is more than a mere
catalogue-maker. He writes as a man of letters and a sensitive artist.
One cannot read his book without wanting to turn at once to the
volumes of the madrigals themselves and sing them, for to him they
are not dry exercises in academic counterpoint, but expressions of
poetry and passion as intimate and poignant as anything ever
written by Schumann or Chopin.
The book appears at an appropriate moment, when English people
are beginning to take music more seriously than in the Victorian days,
and to be more conscious of a national tradition in music. Several of
our younger composers show the direct influence of the old English
classics, but, as Dr. Fellowes points out, there is room for more
systematic training in this direction. English music students,"
he says, "have never been given the chance of receiving a training
based upon their national traditions, and one of the first needs in this
direction would seem to be a text-book on English counterpoint
dealing courageously with the whole question." Verdi, fifty years ago,
advised the young Italian composer to work at fugue, to study
Palestrina and Marcello, and then to write as he felt. Palestrina
would teach him counterpoint, Marcello the musical declamation of
his native language. The young English composer can turn with
equal profit to the Elizabethans and to Purcell.
EDWARD J. DENT.
MUSIC REVIEW
Of Yoshiji Tanimura's Valse I can say nothing beyond what I
wrote last month: Western dress does not suit Eastern features, but
a practical objection to the publications of this composer lies in the
fact that the type is illegible in many places. In the Universal-edition
we have Novák's "Slovakische Suite" for piano, an uneven work that
is best in the vigorous moments of dance and rhythms. In the same
edition are nine Preludes for piano by Szymanowski; they seem as
the elitef
hminate
list prela
in "P
work very
studied
rangeme
execution
By fam
Shizzen
Mano writ
several ph
antando E
note occ
cording
But unfor
romatic
impossible
Hasible to
those that
justmen
bolish to
ne examp
fnd there
iting, bm
the compa
to the eye
As some c
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compos
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THE BRITISH MUSIC BULLETIN
dominate it.
undecided in style as one expects Op. 1 to be. Reger seems to be
the chief influence on this work, though undoubtedly he does not
In this publication there is a bad printer's error: in the
last prelude a change of clef is made at the end of a line, none
too clearly spaced, but the change is not carried out on the next
"Printers' errors" and bad proof-reading can spoil a modern
work very effectively. The placing of chords should also be closer
studied, form.d." or "R.H." often confuses where a judicious
arrangement of the chord between the two staves might make
execution simpler.
line.
By far the most interesting publication sent this month is six
Skizzen for piano by B. van Dieren (Universal-edition).
piano writing with hardly ever a suggestion of a cantabile.
several phrases marked "alto marcato," etc., and one bar "tenore e alto
cantando e legato." In the first sketch is the following note:
66
Wherever
Here is real
There are
a note occurs with the natural omitted, it should not be a sharp or flat
according to a preceding note in the bar, but always natural."
But, unfortunately, this excellent plan is not followed up: in modern
chromatic writing-and this is very modern and very chromatic-it is
impossible to carry accidentals in one's head, and so it seems most
sensible to banish the natural sign and treat all notes as naturals but
those that are marked otherwise; such a system needs a slight mental
adjustment, and then chromatic passages become simpler. But it is
foolish to propose such a plan and then not follow it. I cannot find
one example of it in this work, and, taking at random page 16, I
find there are 57 notes without accidentals, 53 marked sharp, 74 flat
and 105 natural, all in eleven bars. I do not complain at the chromatic
writing, but I do complain that, with a remedy at hand and announced,
the composer has not used the remedy; for naturals are as trying
to the eye as sharps, and 105 naturals are rather dazzling-especially
as some of them are natural notes that have not been sharpened or
flattened for a bar or more. The music itself I cannot judge; to me
it is hideous; phrases recur and are "treated," and I grasped the fact
that the last of the Skizzen recapitulates the other five; the rest is a
nightmare which I am not educated enough to enjoy. From the fact
that the instructions, so carefully made in German and English, are
as carefully disregarded one might be tempted to regard the whole
publication as a joke-of the kind that anyone who owns a pen and
music paper can perpetrate-but the careful expressions and instructions
throughout show it to be a serious modern work. But if it will start
this system of eliminating the natural sign, it will have been worth
writing.
From Winthrop Rogers two songs by Ivor Gurney, "The County
Mayo," that attempts to imitate what Stanford could well achieve, and
The Bonnie Earl of Murray," which is spoilt by the repetition of a
very effective flat second. Alec Rowley, to judge from his "Six
Improvisations" for piano, is a disciple of Roger Quilter.
66
Joseph Williams has sent a new edition of Schumann's
"Fantasiestücke," very clearly engraved, with prefatory remarks by
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THE BRITISH MUSIC BULLETIN
Stewart Macpherson: "Two Musical Rhymes" ("To Banbury Cross"
and "Little Polly Flinders "), by Leo Livens; the second is the most
charming, and both would be improved by the printing of the rhymes ;
also "Simple Sketches" (Set 2), by Charles A. Trew.
D.D.A.
12
The Carnegie United Kingdom Trust have done well in
commencing their issue of the popular performing edition of Tudor
Church Music at a minimum price of 3d. for four pages. To the
Leroy" Kyrie of Taverner (1495-1540) English words have been
added, and the same course is followed in Byrd's Ave verum corpus,
Sacerdotes Domini and Christe qui lux est et dies. Weekes'
Hosanna to the Son of David (six voices) will easily hold its own
with the well-worn Gibbons setting. Peter Philips' motet Ascendit
Deus is for five voices. The music of all these has been freely
transposed, and the voice-parts often re-arranged. Barring is also
freely used, and expression marks have been inserted. All these
concessions will surely now tempt choirs to perform these treasures
from a priceless and hitherto unattainable store.
A.N.
66
*Tudor Church Music. First six numbers. Edited by Terry, Fellowes,
Ramsbottom and others. (Humphrey Milford, Oxford University Press.)
There is
66
Mr. Paul Edmonds, who has had actual experience of the East,
has brought good local colour and feeling to bear on his setting of
four Indian songs from Sarojini Naidu's Birds of Time.t
real poetic feeling in the "Village Song," a deeper breath of Oriental
spiritualism in The Old Woman," a magnetic rhythm in the livelier
"Guerdon (the climax in time), and strong atmosphere about the
Hymn to Indra," the only one which comes at all near the facile
level of the Oscar Asche type of tune. I would there had been three
songs here instead of four, as the first three are excellent, albeit wide
in appeal and easy to play.
S.F.
66
""
t "Birds of Time." Four songs. Music by Paul Edmonds. Low and medium
keys. (Enoch & Sons.) Net 3s. 6d.
66
We are glad to note that amongst the songs sent us this month by
the enterprising firm of Enoch & Sons, a fair proportion rise above
the commonplace, and that, although unfortunately the ballad of
commerce is still in evidence, there are unmistakable signs of a move
in the right direction.
Such songs as
Autolycus' Song" by
Frederick Keel, "A Cradle Song" by Herbert Hughes, "Sea Surge
by Alma Goatley, and "A Persian Love Song" by Henry Tiltman,
will be found useful both by teachers and by all those vocalists (a
rapidly increasing body) who have too much regard for their art to
waste time over the banalities of the " ballad."
""
66
Instrumental music is represented, in the same parcel, by a
tuneful gavotte ("Cinquième Gavotte ") from the pen of Madame
Chaminade.
P.E.
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ry Cros
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Royal Albert Hall
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Queen's Hall
Queen's Hall
(Royal
Philharmonic
Society)
Queen's Hall
THE BRITISH MUSIC BULLETIN
SOME JANUARY CONCERTS
Sun., Jan. 1,
A work by Purcell
at 8.30-10
St. Paul's Suite, Holst
Songs-Gibbs,
Williams, etc.
Th., Jan. 12,
at 8.30
Vaughan
Quintet, Schubert
Phantasy, Cyril Scott
Sextet, Op. 4, Schönberg
Sat., Jan. 14, Leonora No. 2, Beethoven
at 3
Symphony No. 3 and
Concerto in D, Brahms
Tu., Jan. 17,
at 8.15
Sun., Jan. 15, Quartet in A flat (harp),
at 7.30
Beethoven
Quartet in C minor, Brahms
Works of Strauss
Wed., Jan. 18, Sonata, Violin and Piano,
at 3
Elgar
Sonata No. 10, Beethoven
Songs
Mon. Jan. 23, 7th Symphony, Beethoven
at 8
'Cello Concerto, Haydn
Symphony No. 3, Saint
Saëns
Th., Jan. 26, Italian Serenade, Wolf
at 8 *Concerto, Bainton
*Pastoral
Vaughan Williams
Symphony,
Sat., Jan. 28, Prometheus, Beethoven
at 3
Suite for Flute, Bach
Symphony, César Franck
Concerto No. 8, Mozart
*First Performance.
Edward Clark
Dorothy Silk
P.S.Q.
Sir Henry Wood
Toscha Seidel
Spencer Dyke
Quartet
Strauss, L.S.O.
13
Arthur Rubinsteïn
Jelly d'Aranyi
Anne Thursfield
Walter Damrosch
Mme. Guilhermina
Suggia
Adrian C. Boult
Winifred Christie
Sir Henry Wood
Robert Murchie
Busoni
For many of our readers the most interesting concert of the
month will be that conducted on Tuesday, January 17th, by Richard
Strauss at the Albert Hall. No details are available at the moment,
but we understand that the programme will consist entirely of
Strauss's own works, with Miss Ethel Frank as vocalist.
There is no need to draw attention to the excellence of the work
done by the Royal Philharmonic Society, but we would emphasise the
fact that at their next concert on January 26th, two works of great
interest are being performed for the first time: Vaughan Williams
Pastoral Symphony, and Bainton's Concerto Fantasia.
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THE BRITISH MUSIC BULLETIN
We would also remind readers of the excellent concerts given by
Mr. Edward Clark and his specially selected orchestra of 35 performers
every Sunday at the Lyric Theatre, Hammersmith, at popular prices.
The first programme is given above, and later concerts will include
works by Haydn, Mozart, Beethoven, Bach, Handell, Purcell,
de Falla, Stravinsky, Schönberg, Bliss, Bax, etc.
14
SILOTI RECITAL AT THE MORLEY HALL
It was because of the personal interest which M. Siloti takes in
the work of the British Music Society that he generously offered to
give a private recital for our members and their friends. The concert
was given on December 2nd at the Morley Hall, and was most
successful. Although but few of our members responded to the
preliminary notice in the November Bulletin, a good audience was
gathered, mainly through the efforts of a few who realised that,
although this great pianist has not been heard in England (except for
a visit last year) for many years, he remains one of the most
distinguished artists in Europe, the inheritor and exponent of the
greatest traditions of piano-playing. His programme was made up
from works of Bach and Liszt, all interpreted with a breadth and
dignity and beauty of tone which it was a great privillege to hear.
MEMBERS' RECITALS
On December 9th, Mrs. le Marchant gave a Song Recital, of which
the programme was unusually interesting. A group of early 17th
century songs was followed by a modern English and a modern
French group.
One was able to compare Bainton, Holbrooke and
Quilter with Lacourgue, Defosse, Ribollet and Szulc, but the scales
were weighted in favour of the latter by the singer's greater skill in
their interpretation.
Miss Una Truman, who at her recital in July gave a first
performance of two works by Alec Rowley, introduced one of his
Elizabethan portraits into a British group given by her at one of the
Guild concerts on December 13th.
Mr. Frank Hutchens, who came over from Australia in the spring,
is a pianist with an interesting variety of choice, and a touch that
brings much beautiful tone from his Chappell Grand. On December
12th, he gave a programme including two groups of Chopin,
Beethoven's C major sonata, Franck's prelude, Aria and Finale,"
and a group of modern British an French works."
66
Mr. D. Laughton, The Elms, Heworth Green, York, would be
greatly obliged if any member could send him copies of the Bulletin
for January, February, March, May, August and October, 1920.
SIR-
one of the
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given
erforme
Par
ALL
offered
ne conce
was mos
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1920.
THE BRITISH MUSIC BULLETIN
CORRESPONDENCE
ENGLISH IN LATVIA
To the Editor
SIR, The British public will be interested to hear that Latvia,
one of the new Baltic States, has decide to make English the first
foreign language to be taught in its university and schools. English
and English ideals will, therefore, henceforth take a very important
place in the education of this new State, with which our country has
very close and other relations.
Mansion House,
But the teaching of English is sadly hindered by the dearth of
good books in our language, and the purchase of these at the present
time by the Letts is impossible owing to the very adverse rate of
exchange. The want which this condition of things reveals is one,
however, which could easily be supplied, at very little cost to itself, by
the British public, which now has a great opportunity to befriend a
nation which has suffered much through the war and which earnestly
desires to draw closer the ties of its friendship with Great Britain.
There must be scores, nay hundreds, of thousands of books-standard
works in our language, disused school books, useful in the teaching of
English, as also scientific, engineering and other professional
works for which their owners no longer have any use. It is for
gifts of such books, as well as any others which can be spared, that
I now appeal.
15
My appeal has the support of the following :-Professor Gilbert
Murray, Sir Richard Gregory, Brigadier-General A. Burt (late British
Military Commissioner to the Baltic States), Mr. S. G. Tallents, C.B.
(late British Commissioner in Latvia), Dr. Hagberg Wright (Hon.
Secretary, Friends of Latvia), Mr. J. F. Green, M.P., and Mr. H. C.
Woolmer. At their invitation Sir Alfred Davies, who so successfully
organised the supply of educational books to our British and Colonial
prisoners during the war, has kindly consented to direct the
arrangements for book collections, and his former coadjutor, Mr.
H. W. Atkinson, M.B.E., will give his services as Hon. Librarian.
May I therefore ask that all who can spare from their shelves
English books will, without delay, forward them to Sir Alfred T.
Davies, K.B.E., C.B., c/o the Consul-General for Latvia, 329, High
Holborn, London, W.C. 1. I should like to be in a position, on
behalf of the citizens of this country, to make a New Year gift to
Latvia of at least 50,000 volumes.
Yours, etc.,
JOHN BADDELEY,
Lord Mayor of London.
December 3rd, 1921.
[Note. We are sure that our readers will sympathise with this
appeal and respond to it, and as far as books are concerned it is only
important that care should be taken to send to Latvia no volumes but
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THE BRITISH MUSIC BULLETIN
those which will enhance opinion of English literature, or at least (in
the case of school and text books) of English competence. It would
be terrible to flood Latvia with the more ephemeral forms of English
fiction, but clearly that is in no way intended. Further, we are
appealed to here as members of the British Music Society, and are told
that British music will also be welcomed. This is a want which we
should be swift to supply, and if any members who can will send
copies of all British music which they wish to make known in Latvia
they will thereby do their share towards encouraging a national
friendship.-EDITOR.]
16
On Friday, December 16th, at the College of Preceptors, Bloomsbury
Square, the English singers gave a very beautiful illustrative
performance of eight of the first twelve works of the Tudor Music
Edition (cheap edition). Those of us who were fortunate enough to
be present as the guests of the Carnegie United Kingdom Trustees
realised to the full that it was, as Sir Henry Hadow said, a great day
in English music. We look forward with great interest to the
publication of the whole series of forty. It is indeed good to think that
we are recovering in our day something of our lost birthright.
As we go to press we learn of the death of Charles Camille
Saint-Saëns in Algiers, at the age of 86. It seems strange to
reflect that this great artist was the contemporary of Brahms,
Dvorák and Tchaikovsky, and that with him passes the musical
tradition of the 19th century.
CENTRES AND BRANCHES
LONDON CONTEMPORARY MUSIC CENTRE
On December 9th a Contemporary Music Concert was given at Morley Hall,
Hanover Square. The interesting programme started with Herbert Howell's
Phantasy String Quartet, an uneven work that has pleasant moments; the 'cellos
frequently droned out a pedal bass, which, though effective musically, is not
suitable for constant use in a string quartet. "Heliodora: A gift of the Sun," by
A. V. Jervis-Read, is a sequence of epigrams from the Greek Authology" for
baritone and piano: in performance it was not convincing, which was not Mr.
Douglas Marshall's fault; he sang his part from memory with all the fire he could,
and was clever in almost avoiding the temptation to sing out of tune, for the vocal
part is hardly ever consonant with the accompaniment. York Bowen's Quartet in
G major is light and pleasing in an idiom that is not peculiar to this composer.
Three pieces for flute, trumpet, side-drum and piano, conducted by the composer,
Gordon Jacob, were most interesting; the first, a March, was full of spirit and
effective; the Romance was best in the opening bars-a flute figure played by
Mr. L. Hopkinson and an ultra-pianissimo roll on the side-drum most delicately
played by Mr. C. Bender: the final Dance seemed too broken, though the material
was promising. Mr. F. Moore played some tricky passages on the trumpet, and
Mr. Angus Morrison bound the work together at the piano. The best work of the
evening was Arnold Bax's beautiful Harp Quintet in one movement: its charm was
with spiri
as a pit
point of a
BATH
Old Pamp
He spoke
mentioned
obtained
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BLACK
pened
terpret
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least in
It wo
of Eng
which w
nation
loomsbur
llustratio
dor Mis
enough
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great d
est to th
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17
It
somewhat spoilt by the fact that Miss Barkworth was at times submerged by the
Pennington String Quartet, who throughout the programme played correctly and
with spirit, but perhaps lacked the delicacy that the Quintet certainly needed.
was a pity the audience was not more numerous: all musicians ought to make a
point of attending such an interesting concert.
D.D.A.
BATH
THE BRITISH MUSIC BULLETIN
"School Songs and School Singing were the theme of a "talk" given in the
Old Pump Room by Mr. G. H. Grindrod, our former Secretary, on November 18th.
He spoke to a big audience, which included many teachers. Mr. Grindrod
mentioned the contemptuous neglect of music as a subject for general study that
obtained in British schools till Uppingham, under Dr. Thring and Herr David,
"changed all that," and he urged that the progress made since be kept up through
teachers continuing always to learn. (This need for keeping in touch with the
developments of music that are to-day so swift was spoken of also by Mr. Eugène
Goossens in his recent lecture here.) Mr. Grindrod advised that all teachers
should join musical societies, especially the British Music Society, which should,
in his view, have a teachers' section, and he would like the Centre to possess a
music library for their use. He stressed the importance of sight reading and of
folk song, and his talk" was illustrated well by choirs of local school children.
""
On December 7th a Concert was given in the Pump Room by the Pump Room
management in combination with the British Music Society. Dr. Tom Goodey
sang. He, with his accompanists-the Pump Room Musicians, under the direction
of Mr. Jan Hurst-gave incalculable pleasure by their rendering of Vaughan
Williams' "Wenlock Edge" Cycle, in which fine music has matched fine words.
He then sang, to a string accompaniment, Rutland Boughton's "Symbol Songs
-provocatively effective, though the symbolism is somewhat obscure; also, to our
delight, Bach's "If thou art near" and "Come, gentle death," and then finished
with two quiet, charming things, Armstrong Gibbs' Nod" (Walter de la Mare)
and To Daffodils" (Herrick's daffodils), by Michael Mullinar. Dr. Goodey has
whetted our appetite to hear him sing again some of the same songs and other
songs. We hope our Centre will have opportunity to, on programmes_yet
to come.
**
""
F.B.
BELFAST
66
A meeting was held on December 2nd. The guest of the evening was
Professor Lindsay, M.D., who read an instructive paper on "The Influence of
Music on Greek Education and Life." The lecturer applied the views of Plato
and Aristotle to modern music in a most interesting and often diverting fashion.
The musical programme comprised two gems-the first, three songs by Granville
Bantock, Serenade," "The Garden of Bamboos " and "The Feast of Lanterns ";
the second. John Ireland's Fantasy Trio in E, played by Mr. F. Clarke,
Miss C. Taylor and Mr. G. Smith. This work shows the gifted composer at his
best, and the performance of it left nothing to be desired. The vocalist of the
evening, Mrs. Harold Totten, also sang songs by Martin Shaw, Frank Bridge and
Colin Taylor, and a quite pleasing trio by Arnold Trowell completed the
programme. Where does Mr. Trowell find his "Irish Folk-tunes" ?
make them up ?
Does he
G.H.F.
BLACKHEATH
A meeting of the Branch was held on Saturday, November 26th, at 8.15 p.m.,
when a Recital of Norwegian Music was given by Mme. Elisabeth Munthe-Kaas as
vocalist, and Mr. Frithjof Backer Gröndahl as pianist. Mr. Backer Gröndahl
opened with the Ballade (Op. 24) of Grieg, of which he gave a sympathetic
interpretation with a solidity not always displayed in the treatment of Grieg.
Mme. Munthe-Kaas followed with a cycle of four songs-"The Sailor's Last
Voyage" (Alanes), "The Rivulet" and "6 Strange Lands" (Johan Backer Lunde),
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18
THE BRITISH MUSIC BULLETIN
66
and My Love is False" (Johansen)-all of which she sang in English. Her
rendering showed a rare combination of strength and simplicity, which was much
appreciated, though one felt that the songs lost not a little in the translation from
the original. For the rest of the evening she sang in Norwegian, giving a cycle of
songs by Agathe Backer Gröndahl, Barnet's Vaardag," and concluding with the
Myrids Vise" (Kjerulf), Sylvelin (Sinding), and three songs of Grieg, including
Solveig's Sang," presumably the most familiar item on the programme.
songs showed well marked Scandinavian characteristics-a sombreness of tone,
varied by a lyric colour and grace-effects which the singer effectively recaptured.
Mr. Backer Gröndahl contributed two more sets of works, including three Etudes
by Agathe Backer Gröndahl, and a Humoresque, by himself, the last an
exceedingly interesting piece of work. His performance throughout was admirable,
showing, perhaps, to best advantage in the more solid works.
The
66
66
66
During the course of the evening Miss Ethel Waddington, Local Representative
and Secretary since the foundation of the Branch, announced her resignation
owing to stress of work. Her place will be taken by Mr. B. E. C. Davis,
"Medencroft," Blackheath Rise, S.E. 13, from whom particulars of the Branch
can now be obtained.
B.E.C.D.
BOURNEMOUTH
The Monthly Meeting was held in St. Michael's Church House on
November 21st. A miscellaneous programme was given, including Jacobean
songs by Campion Robert Jones and John Bartlett (vocalist, Miss Marjorie Thick),
and pianoforte solos by Miss Marguerite Warner, L.R.A.M.
S.H.G.
BOURNEMOUTH CONSERVATOIRE OF MUSIC
On Tuesday afternoon, November 8th, a Concert was given by members of the
Bournemouth Conservatoire of Music and of the British Music Society, at the
Conservatoire. Among the items given were some by well known composers such
as Norman O'Neill, Cyril Scott, Edward Elgar, Purcell, C. V. Stanford, Balfour
Gardiner and John Ireland. One of the members sang a song called
66 At Last,"
composed by Mr. Hamilton Law, who is the principal of the Bournemouth
Conservatoire of Music.
A.G.
BOURNEMOUTH SCHOOL OF MUSIC BRANCH
A well attended meeting took place on December 17th, when a general
discussion as to future activities of the Branch introduced certain arrangements
for the early part of 1922. This was followed by a short and interesting Concert,
to which works by Hilda Dederich, Elgar, Swinstead, Kennedy-Fraser, York-Bowen
and Leo Livens were played by Miss Rawlings, Miss Willes, Miss Davies,
Miss Tallis, Master Lush and Mr. Spencer.
A.F.-W.
BRADFORD
The first meeting of the winter session was held in the Mechanic's Institute on
Thursday, November 24th, with Mr. Thos. Howard, J.P., in the chair.
Mr. William Baines, the young Yorkshire composer, gave an interesting Pianoforte
Recital of his own works. Some notes on the composer's work, forwarded by
Mr. Frederick Dawson, were read by Mr. Reginald Mackay before the meeting
commenced.
Mr. Dawson's attitude toward Mr. Baines' compositions was
summed up in the sentence: "In all these works he gives us something beautiful,
something to be proud of and something English." All the items played were
programmatic tone pictures, the most developed work being "Paradise Gardens,"
which, along with other items on the programme, was fully appreciated
hy a large and enthusiastic audience. Special mention should be made of
Though
The
December
was suom
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THE BRITISH MUSIC BULLETIN
"Water Pearls" and "Glancing Sunshine," which are specially charming.
Thoughtdrift" may be described as "such stuff as dreams are made on."
66
19
The first Social Evening took place at Madame Neals' on Monday,
December 12th, when an informal programme of vocal and instrumental music
was submitted by members of the Centre. Considerable interest was taken in the
rendering by Mr. A. Constantine of the last movement of John Ireland's
Pianoforte Sonata, to which special reference was made by Mr. S. Midgley, the
chairman, in a brief speech. Mr. Edward Haley made an appeal for the support
of the British National Opera Company. His feelings were genuinely endorsed
by Lieut.-Colonel A. Gadie. The evening was thoroughly enjoyed, and the
Committee feel assured that the forthcoming soirées will be increasingly
appreciated.
January Meetings.-Wednesday, 11th: Mr. W. W. Spooner will give a paper
on "The History and Music of the Flute," with illustrations. Thursday, 19th:
Mr. York Bowen will give a causerie on "The Pianoforte Music of the Younger
British School," with illustrations from the works of Frank Bridge, Arnold Bax,
C.L.J.
B. J. Dale, John Ireland and others.
BURNLEY
An enjoyable evening was spent on Friday, November 25th. Mr. Edward Isaacs,
the well known pianist, gave a varied programme.
Over 1,000 people were
assembled, and listened most attentively to his explanations of the pieces played.
Among the items on the programme were the following:-" Allegro de Concert "
(Chopin), "Variations in F Sharp Minor " (Glazounov), and pieces by Turina,
Debussy, Paray, and Godard. The playing throughout was delightful, the
character of each composition was shown to the audience clearly, and each
received an artist's treatment. Miss Madeline Owen was the vocalist, with Miss
Crewe as accompanist.
The fifth meeting this session was on December 2nd. Dr. Haworth, as musical
director on this occasion, gave a concert performance of Charpentier's Opera
"Louise." He was most ably assisted by the following artists: Miss Annie Aiken,
Miss Jeannie Grey, Mr. Irvine H. Haworth, Mr. George Burrows, and Mr. F.
Whitley. The Doctor gave a short biography of Charpentier, and remarks on the
libretto and music of the opera. His readings and general illustrations were most
charmingly done. He possesses the delightful conversational style of expression,
and this had much to do with the success of the evening. Dr. Haworth played his
own accompaniments, which were in complete sympathy with each artist's
expression. The large and enthusiastic audience assembled thoroughly appreciated
this great effort, a worthy one, by a gifted and inspired amateur.
J.A.H.
DRAKE AND TONSON'S SCHOOL BRANCH, KEIGHLEY
On Monday, November 28th, Miss M. V. Stell gave a most interesting and
charming Lecture on "Grand Opera." Miss Stell commenced her lecture by
explaining what grand opera meant, quoting Wagner's well known description.
She followed it up by showing the development of the Italian opera before it was
influenced by the German in the early 19th century. Before this the Italians had
beautiful music allied to unworthy words, and the Germans lifted it to a higher
plane. Our lecturer quoted Verdi and Puccini as examples of this latter
development. In England oratorio originated and developed into the masque.
With Shakespeare began the type of music-drama peculiar to England-the drama
with incidental music rather than opera.
The works of Purcell and Arne were of
this type. The later development of comic opera as shown by Gilbert and
Sullivan is unique. It combines delightful music with excellent wit.
the opera sprang from ballets of dramatic nature. Glück admitted influence of
In France
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THE BRITISH MUSIC BULLETIN
His
English ballet, while Gounod showed the influence of the later German school
combined with the recitative and melodic outline characteristic of Italian
opera.
German opera originated from Singspiel-our masque-and miracle plays. The
greatest of German composers is Wagner, "the giant of music drama."
best known works are "Tannhäuser" and "Lohengrin," where the theory of
perfect love achieving, through sacrifice, the salvation of mankind is expounded.
This instructive and altogether delightful lecture was ably illustrated by Miss
Nellie Anderson and Miss Alice Stell. They interpreted splendidly the spirit of the
different types of opera. Programme of music :-"Orpheus ""What is life to
me" (Gluck), "Marriage of Figaro"-"Ye who love's power" (Mozart), "Faust"
"Gentle flowers with your spell" (Gounod), "Il Trovatore"-"Fierce now the
flames rise (Verdi), Miss Nellie Anderson; "Beggars' Opera," pianoforte, a
dance and a song, Miss M. V. Stell; "Beggars' Opera"-"O, ponder well," "Tosca"-
"Love and Music" (Puccini), "Aïda ""May laurels crown thy brow" (Verdi),
"Lohengrin ""Elsa's Dream" (Wagner), "Tannhäuser "" Elizabeth's Prayer"
(Wagner), Miss Alice Stell.
20
EASTBOURNE
The Lecture-Recital on Chopin given by Dr. Wheeler and Mrs. Lee-Mathews at
Saffrons Rooms on December 13th, was warmly appreciated by a deeply attentive.
audience. Dr. Wheeler dwelt upon the courage which Chopin brought to bear
upon his sorrows, rather than upon the sorrows themselves, and pointed out how
much both his courage and his patriotism had influenced his perfectly finished
pianoforte compositions. Mrs. Lee-Mathews' subtle instinct of the true meaning
of so many of the lesser-known pieces, made her playing very delightful to listen
We look forward to the fulfilment of their promise to visit us again. An
additional pleasure was the presence of Mrs. Balkwill at the concert.
to.
The General Meeting is fixed for Friday, January 20th, by the courtesy of the
Mayor, in the Mayor's Parlour at the Town Hall.
L.R.
GLASGOW
The music season here is in full swing, some event of interest taking place
almost every day. We have solo recitals of all kinds, some Chamber concerts,
much choral music, and orchestral concerts always twice and often three times a
week. It is small wonder that, with all this, it is difficult for our Society to find
spare evenings, and indeed it is unnecessary to provide any musical fare in
addition to that which is open to all. We have therefore had no meeting since
October 25th, when Mr. and Mrs. Burnett, of Powis, gave a very delightful
Recital of violin and piano sonatas by Pizzetti, Elgar and Goossens. The
last named, in E minor, made, I think, a particularly favourable impression.
Mr. Julius Harrison, conductor, along with Mr. Landon Ronald, of the
Scottish Orchestra, is very kindly giving, under the auspices of the Society. a
series of Lectures designed as introduction to certain works or programmes of his
own conducting. The first was general, on "How to Listen," and was concerned
mainly with the moods in which different kinds of works should be approached.
The second was to have been on Parsifal, and given on the very day on which
later we were to hear a considerable section of that work. Unfortunately a cold
prevented all speech on Mr. Harrison's part, and the lecture, being deferred, was
altered to the less specific "Operas of Wagner," a very large subject, and most of
the all too short time was devoted to the philosophy underlying all but the earliest
operas. Examples were shown of such points as Wagner's exquisite feeling for
key, of the dramatic significance that can be in a single note, and of steps in the
development of a theme. These are most interesting lectures and we are glad to
look forward to three more. They were well advertised, but are not being taken
advantage of to the extent we hoped by those outside the ranks of the British
Music Society.
E.D.C.
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ama."
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THE BRITISH MUSIC BULLETIN
**
FULNECK GIRLS' SCHOOL, LEEDS
In
Our musical gatherings during 1921 were not as frequent as could be wished.
In the summer term no meetings were held, owing to the exceptionally fine
weather, when tennis took up every moment of spare time. Miss Purdon and her
String Quartet were to have come over from Wakefield in May, but her visit had to
be cancelled on account of the coal strike and the difficulties of travelling. In
January Miss Stell (Hon. Secretary of School Branches in Yorks) gave us an
interesting paper on Russian Music," and was ably assisted in the vocal and
pianoforte illustrations by three ladies who kindly came over with her.
September we had the great privilege of hearing Mr. Eugène Goossens speak on
Modern Music." After his able and interesting lecture, he played several short
modern compositions on the piano. We are greatly indebted to the British Music
Society for arranging with Mr. Goossens to visit the five School Branches in this
district, and to Miss Stell for her ready and generous help. Besides the above two
outstanding occasions, we have had talks on binary and ternary form (with
numerous vocal and pianoforte illustrations), and on the orchestra, in which subject
the new His Master's Voice records of single orchestra instruments have roused
much interest.
21
HAMPSTEAD
A meeting of the Executive Committee, held on December 2nd, appointed
Mr. G. W. Theodor, 23, Adamson Road, Hampstead, to be Hon. Treasurer of the
Centre as from January 1st next, in place of Mr. S. R. Scott, who has resigned.
LEEDS
On December 14th, under the auspices of this Branch, the McCullagh Ladies'
String Quartet played Schubert's A minor Quartet, J. Holbrooke's new "British
Song and Dance Suite and Pizzetti's Quartet in A. It was a severe test to follow
immediately Schubert's lovely quartet, but Holbrooke's suite came well out of the
ordeal. It proved most interesting, and contains many very beautiful harmonic effects.
It is in four movements, each founded on a British song or dance. The opening
movement on an air which, I understand, is well known in Wales-is a very fine
example of British quartet music; the other movements are well contrasted, and
contain some very distinctive writing, which was in great contrast to the Pizzetti
composition. Pizzetti gave one the impression of great facility without
inspiration. It is pleasant all through, but shallow and lacking in interest. The
quartets were very beautifully and artistically played. A list of British string
movements of merit, with unbiassed annotations by such an authority as
Mr. Cobbett, would be very useful, as there must be many British works, rarely
played, of much greater merit than Pizzetti's work. Mr. S. Midgley, of Bradford,
has kindly consented to give an address on "Chamber Music," to be followed by a
discussion. The date for this will be announced later, and officers and members
of other Branches around Leeds will be specially invited to attend and join in the
discussion.
J.E.K.
LIVERPOOL
A large number of members attended in the Rushworth Hall on November 28th
to hear Mr. Eugène Goossens' Causerie. His informal talk on Contemporary
Developments in Music" revealed Mr. Goossens as a complete master of his very
comprehensive subject, and proved to be one of the most instructive and enjoyable
features this season has yet provided. In illustrating the great advance in
construction and idiom of the music of the moderns upon that of the classics, Mr.
Goossens played a number of examples of modern music by Heath, Scott, Ireland
and himself, with much acceptance by an appreciative audience.
The following additions have lately been made to the library :-Books: "The
English Madrigal Composers," E. H. Fellowes; "The True Tone Violin," W. J.
Farrell;"Violin Playing as I teach it," Leopold Auer; "The Orchestra," G. F.
Malipiero. Music: Songs by Arnold Bax-"The Enchanted Fiddle," "A
Christmas Carol," "The White Peace."
J.B.
66
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22
THE BRITISH MUSIC BULLETIN
NELSON CLEF CLUB
A fine effort for the musical education of the members took place on
November 15th. The subject was Charpentier's opera "Louise." Dr. Haworth
was the expositor. He opened with a short biography of the composer and defined
the chief influences which determined Charpentier's views on life and art. Like
Wagner, Charpentier wrote his own libretto, and it was to the Bayreuth master
The story of
that he was largely indebted for his general treatment of opera.
"Louise" was admirably told, and the whole work subjected to a masterly
analysis. Dr. Haworth played the representative themes on the piano and
explained their emotional value, as also their bearing on the dramatic situations
in the opera.
The more important numbers were creditably sung by Miss A.
Aikin, Miss J. Grey, Mr. I. H. Haworth, Mr. G. Burrows and Mr. F. Whitley.
The members of the Clef Club are eagerly awaiting an opportunity-all too rare in
the provinces of hearing the French masterpiece for which the efforts of Dr
Haworth and his friends have happily prepared them.
H.F
On November 29th the meeting was devoted to the works of Chopin and Wolf.
Mr. G. H. Brown was the lecturer, and the excellence of his subject matter
relative to the two composers, as also the discrimination shown in his comment on
the individual items of the programme, were very much appreciated by a large
audience. We were fortunate in securing the services of Miss Lucy Pierce as solo
pianist. In the performance of an admirably chosen programme of Chopin's
works she showed herself to be possessed of a brilliant technique and delicate
touch. Her interpretations of the G minor Ballade and the Fantaisie Impromptu
were deservedly encored. Madame C. Fortune sang five Wolf songs with fine
dramatic power and intelligence. Mr. C. H. Bateson's accompaniments to the
songs were noteworthy for their efficiency and distinction.
H.D.H.
PALMERS GREEN AND DISTRICT
The
On November 17th an Organ Recital was given at St. John's Church, Palmers
Green, by Mr. George Moore, organist at St. Michael-at-Bowes, N. 21.
Recital consisted of British music only, the examples ranging from a Voluntary of
Orlando Gibbons (1583-1625), to a group of pieces by Frank Bridge. The beautiful
work of Purcell, S. S. Wesley, Stanford and Parry was well illustrated, and
examples of less known composers of the 18th and 19th centuries were heard with
A quartet of choir members rendered Stainer's "God so Loved the
World," Elvey's" Souls of the Righteous," Pearsall's "Tantum Ergo," Weinercke's
"O Salutares," and Novello's "Like as the Hart" with great beauty of tone.
Mr. Moore's contribution to the efforts of the Branch was greatly appreciated by
members, and by the rest of a large congregation.
interest.
The Members' Meeting on December 5th-"a select company of musical
enthusiasts," according to the local Press-heard a lecture from Mr. S. E. Lees,
the Branch Secretary, on "Orchestral Instruments," with illustrations. Mr. Lees,
himself a member of the Palmers Green Orchestral Society, is a true musical
enthusiast, with a wide knowledge of his subject. He traced the growth and
evolution of the orchestra through percussion, wind and stringed instruments, with
a brief survey of the history of each group. The Lecturer had prepared a series of
brushwork illustrations in black and white which were extremely effective, and
evoked the greatest interest in his listeners. The musical illustrations of oboe,
clarinet, and bassoon, with a trombone solo were provided by members of the
Orchestral Society; and a happy touch at the lecture's close was provided by
the combination of all the instruments in the National Anthem. The Lecturer
will accept a tribute of thanks, one hopes, from his fellow members for an effort
which must have involved much artistic skill and considerable research, and which
certainly proved the most informative, as also the most original and entertaining of
the addresses listened to by members during the past year.
E.M.R.
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THE BRITISH MUSIC BULLETIN
23
SALTBURN
On November 25th at Saltburn, Mr. R. MacLeod gave an address on "What do
you Hear," or "The Elements of Musical Appreciation," which delighted the
audience. He showed that experience in the art of listening is necessary, since
with music, as with a picture, it is sometimes best to stand back," sometimes
best first to examine in detail. Study from the emotional aspect is of great
importance, and examples were given of the effects gained by Wagner and other
composers through the medium first of melody, then harmony. Some instances of
the wonderful perception of children startled the audience. It was seen that form
is influenced by the play of the emotions, and the tendency, in harmony, of modern
composers towards too constant use of discord was criticised as detracting from
emotional climaxes. Strange developments in the idea of the union of colour and
sound were revealed, and it was seen that since the nation, though left far behind
by its leading composers, is still much in advance of those of past centuries,
promise is given through the present renaissance of a splendid heritage for the
next generation, which may wholly appreciate Beethoven and Brahms. M.E.C.
SHIPLEY AND SALTAIRE
On November 10th Dr. A. Eaglefield Hull gave a lecture to the members of this
Branch, the subject of his lecture being "Modern Movements in Music." He was most
ably assisted by Miss Marion Brearley, who played pianoforte solos by Bax, Ravel,
Debussy, William Baines, Scriabin, and Goossens, and by Miss Doris Grover, who
sang songs to her own accompaniment by Bax, Howells, Martin Shaw, Goossens,
Butterworth and Baines, and some negro "Spirituals" by Burleigh. The lecture was
an extremely interesting one, the attention of the audience being held for over two
hours, and the brilliant playing and singing of the two artists added a very great
charm to the lecture. Classical music, the Lecturer said, must not be confined to
any nation or period, the time had gone by when music was judged by its
resemblance to German models of the Bach-Wagner period. Ireland, Scott,
Bridge, and others of our modern composers, may become classical as were Bach and
Beethoven. We were now interested in music of all periods and all kinds written
for diverse instruments. Dr. Hull made special mention of Mr. William Baines,
of York, who, he said, was writing in this modern idiom at the age of sixteen, and
now at the age of 22 has given us quite a large number of compositions. The
evening proved to be one of the most enjoyable yet held by this Branch.
On December 17th a Social Evening is to be held, when musical items will be
rendered by the members of the Branch, and a demonstration of Morris and
Country Dancing by the Folk-Dance Section.
Miss Maud Stell will lecture on "Grand Opera" on Thursday, January 19th,
1922, in the Congregational School.
Miss Alice Stell and Mr.
Charlesworth George.
H.A.C.
Artists:
WORTHING
A most successful musical evening took place on November 21st, when Mrs.
Mather kindly lent her drawing room. The programme consisted entirely of the
works of Henry Purcell, and was opened by an interesting paper on his life by
Mrs. Bowles. The musical illustrations were: The Golden Sonata, two violins,
cello and piano, Miss Denniss, Mrs. Bowles, Miss Hodge and Mr. Ferriman;
Sonata in G minor for violin and piano, Miss Moore and Mr. Dawson. The
charming little Gavotte for 'cello solo, Mrs. Bowles; the three Suites for
harpsicord, most beautifully and realistically played by Mr. Michael Dawson. The
singer was unfortunately kept away by a cold, so Miss Mather very kindly took her
place, singing "Nymphs and Shepherds come away." The members then sang
Rounds, led by the Choral Club. All regretted the absence of the Mayor, who was
also kept away by a bad cold. The Worthing Branch hopes to start its Musical
Library at Christmas time.
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THE BRITISH MUSIC BULLETIN
On December 17th the newly formed Choral Club is giving a musical evening,
A collection
at which Carols from the English and Cowley Carol book will be sung.
will then be taken in order to start a Library Fund. We have to thank Mr.
Winwood Mansfield for giving special facilities to members of our Branch at
a concert given by Miss Adela Verne, and assisted by Mrs. Verne Bredt in works
for two pianos. Members will greatly look forward to another concert given by these
Μ.Τ.Η.
distinguished artists, and hope it will be at a not too far distant date.
24
YORK
66
On November 19th Dr. E. C. Bairstow, of York Minster, lectured to a large
audience in the Tempest Anderson Hall on the history of British Song. In the
course of his lecture Dr. Bairstow said that one unfailing characteristic of a good '
song was that it was unlike any other song; it had an individuality of its own, as
contrasted with the remarkable family likeness presented by shop ballads."
He also remarked, while discussing the Elizabethan musicians, that at that time
English music was the most noteworthy in Europe, and that after 300 years we
are rapidly regaining the leading place. Discussing the causes of the outburst of
music at various periods, he said that he thought the reason was that at such times
the imagination of the country was quickened by some external activity, such as
the Elizabethan discoveries, the Civil War, and recently the European War. His
lecture was admirably illustrated by Miss Elsie Suddaby, who sang twenty songs of
all types and periods, and was equally successful in them all.
On December 10th Mr. John Parr's Wind Chamber Music Party visited York.
Limitations of space will not allow of a detailed description of this concert, but one
of its most noteworthy features was the prominence in the programme of the late
Edmonstoune Duncan. This composer wrote a good deal for wind quintets,
quartets, etc., but Mr. Parr complained that he was an exception, and that British
musicians as a rule neglected this branch of their art.
The York Musical Society gave a delightful Concert on the 13th; the
principals being Miss Agnes Nicholls, Miss Dorothy Howell, and Miss Gladys Clark
(violinist). Mr. Bennett conducted the chorus, and the singer and violinist were
accompanied by Dr. Bairstow.
C.R.A
The views expressed by the Editor, or the Contributors, are not
necessarily the official views of the Society; nor does the Editor hold
himself responsible for opinions expressed by Contributors.
The Society does not place its faith on any particular composers and
the articles and reviews are not part of a definite propaganda but are selected
in the endeavour to make the magazine both useful and interesting.
be
LITERARY COMMUNICATIONS should
addressed to the
Bulletin Secretary, 3, Berners Street, London. W. 1. Although every
care will be taken to return rejected MSS. the Editor does not hold
himself responsible for loss.
"
""
RATES OF SUBSCRIPTION: One year 8s. post free; single
copies 8d. each post free. Postage 2d. to any part of the world.
New Subscribers are recommended to place their orders for the
at the Bookstalls of Messrs W. H. Smith and Messrs.
Wyman & Co.
Bulletin
9 JAN 22
Four
18
WIG
LOND
Phone
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York
Frank
Albert
For PA
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NO
ols,
ents
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ured
JONS
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Olson, MA
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ons
RETARY
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NDON
THE BRITISH MUSIC
BULLETIN
Volume IV No: 2
Special Notice to Members
An Opportunity-"Music and Letters"
In Memoriam-Nikisch
Oriental Music-
CONTENTS.
STANLEY RICE
Some February Concerts
Book Reviews
Music Reviews
Correspondence
Foreign News
FEBRUARY, 1922
Centres and Branches
PAGE
26
27
27
28
- 30
31
32
34
35
39
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THE BRITISH MUSIC
BULLETIN
VOL. IV
FEBRUARY, 1922
SPECIAL NOTICE TO
MEMBERS.
Annual General Meeting.
The Annual General Meeting will be
held at 5 p.m. on Friday, February 3rd,
at the Eolian Hall, when it is hoped
that Lord Howard de Walden will be
able to take the chair. Members are
reminded that they are only eligible to
vote if they have previously paid their
subscriptions. These may be handed.
in, if wished, at the Eolian Hall before
the meeting, to one of the officials.
Members are asked to make a special
point of attending, as this is the only
occasion when the opinions of the
Society as a whole can be freely voiced.
No. 2
very plea
Heation
it combin
for music
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musician.
Anyone
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per annu
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what he
to send c
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s please s
The de
to press
Europe.
magical p
our deligh
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nevitable
Tere eques
sympathy
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ever flag
Der Freas
omantic
Hease of b
oductor
agnifice
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e
d
e
e
0
r
d
e
1
THE BRITISH MUSIC BULLETIN
27
AN OPPORTUNITY
A very pleasant addition to the opportunities of membership has
now been offered.
No. 1
Our readers have had their attention called to the quarterly
publication, Music and Letters, edited by Mr. Fox Strangways. It is
a particularly suitable magazine for British Music Society members.
for it combines technical knowledge and understanding with a real
love for music. These are expressed in articles written for the music
lover as well as for the technical expert, and Music and Letters is
emphatically a publication unique in our country. It can both appeal
to those who hesitate to call themselves "musical," and satisfy the
"musician."
Anyone who knows Music and Letters will agree that this
description of it is well justified. It is published quarterly at
20s. per annum. We are now able, by agreement with the editor, to
offer the journal to our readers at 12s. 6d. per annum, post free. All
that is necessary is to send in name and address (and 12s. 6d.) to the
British Music Society Secretary. Any member who may wish to see
first what he is buying can have the current number for 3s. 6d. post
free, and if he decides to become an annual subscriber he has then
only to send on the 9s. balance of the year's cost. If he also wishes
to receive the April number (published March 15th) punctually, he
must please send (as above) on or before February 20th.
IN
MEMORIAM-NIKISCH.
The death of Arthur Nikisch, news of which reaches us as we
go to press, is a personal grief, a personal loss to every music lover
in Europe. It is heart rending to know that never again will his
magical personality express itself through great masterpieces for
our delight and our spiritual development. The devotion for
him which all felt who came in contact with him was the
inevitable tribute to a genius in whom mastery and command
were equal to insight and depth of understanding, whose
sympathy was extended to every fine expression of man's spirit,
whose fire was never quenched, whose soaring imagination
never flagged. No one who ever heard, for instance, his
rendering of Tristan, or of the C minor Symphony, or of
Der Freischütz, could fail to realize that here was a passionate,
romantic temperament under control of a masterly will, and a
sense of balance and proportion as matchless as ever endowed a
conductor. And with all these gifts, and this towering genius,
never a hint of personal vanity, never a sign of anything but
devotion to the interpretation of the work with which he was
concerned. He served music wholeheartedly, simply and
magnificently, and his name will shine so long as music is
remembered.
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28
THE BRITISH MUSIC BULLETIN
ORIENTAL MUSIC
IN a previous article on the subject of Oriental music an attempt
was made to introduce the reader to some of the outer courts of
the art, to give him some idea of an Indian concert and to explain
how it is that to ears not attuned to receive it this music awakens no
emotions, but at the best only a mild interest. Let us develop this
theme a little further.
hasis of t
cation, are
or violet
The character of Indian music depends fundamentally upon three
factors the scale, the rág and the tála. It is upon the right
understanding of these fundamentals that a proper appreciation of
Indian music depends, but though each deserves a long chapter to
itself, a very few words must suffice here.
Indian music, then, is based upon a tonic sol-fa system, consisting
primarily of seven notes, named in order sa, ri, ga, ma, pa, dha, ni.
These may be called the basic notes. Some controversy has taken
place as to where this scale begins, but an Indian, on being asked to
play "sa," at once struck middle C, and this is generally taken as the
starting point. On this assumption the scale corresponds to our
tempered scale of C major. But this scale is subdivided into
22 srutis, or quarter-tones, which are roughly though not
harmonically equal. Although these quarter-tones have a great
influence upon the effect of Indian melodies, they are
important as popular belief would make them. Grace is an integral
factor of Indian music, and these minute intervals are chiefly used for
grace, and thus give the music its florid character.
not so
But the scale, we may say without attempting a scientific
distinction between the terms, is really a mode. We have only two
modes, the major and the minor, and by introducing the tempered
scale we have so arranged that whatever the transposition, the
intervals remain the same. With certain restrictions the Indian
scale may be composed of almost any seven notes within the octave,
and this, of course, alters the character of the music just as ours is
altered by a change of mode but not by a change of key. We
multiply our scales by altering the pitch; they vary theirs by
changing the notes within the octave. Thus you may obtain a
variant of our C major scale by flattening the D and the A. Or,
again, you may have alternative notes in the same scale by using in
our C major either B flat or B natural, F or F sharp.
Mr. Nor
The Rág, properly so called, is a most elusive term. It has been
called a tune, but as it is rather the groundwork of the structure the
term conveys a wrong impression to English ears. The latest writer
on the subject calls it "the basis of melody," but goes on to say that
it is "a substitute for the Western scale." This, again, is almost a
contradiction in terms. Another writer is perhaps nearer the mark
when he calls it "the attempt of an artistic nation to reduce to law
and order the melodies that come and go on the lips of the people."
Some faint, though not accurate, idea may be conveyed by the
analogy of the last movement of the Eroica Symphony, where
scans.
Tala, or t
re than
ses are
Take
hich the th
an time
arta, or
vever, is t
e or even
Future, th
seems to
inary way
road, thou
These ar
man must
e to begin
have not
begun to
the Indi
most sou
tuppazze
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an atte
Courts
awakens
Hevelop
" upon th
the r
reciation
chapter
consist
pa, dha
has tak
ing aske
taken ast
onds to
ivided
though
ve a gr
are not
s an inte
efly used
position,
the Ind
the ot
st as our
theirs
Indian time is based on the syllable which is quantitative and not
stressed. These syllables form the bar, and two or four bars form the
avarta, or section. What makes the bizarrerie of Indian time,
however, is their fondness for the, to us, irregular rhythms of seven,
five, or even nine. The Second Movement of Tchaikowsky's Pathetic
Symphony was made intelligible to us by the simplicity of its
structure, though the rhythm was unusual. But the metre of 5/4 or
7/4 seems to be common in Russia, if the folk tunes are written in the
ordinary way. If you listen to Indian music you will find yourself
are on beating time up to a certain point, and suddenly you will be all
abroad, though the melody continues in obvious, if elusive, rhythm.
& scie
he tempe
These are but outline notes of a difficult subjec In listen: to
Indian music it is necessary to bear the salient features in mind if we
are to begin to understand and therefore to enjoy it.
And even now
we have not passed beyond the elementary structure. We have not
yet begun to inquire what that quality is which appeals so strongly
to the Indian, so that music seems to be the expression of his
inmost soul.
STANLEY RICE.
y
may obtai
the A
by usi
It has
structur
latest
to sar
7, is alm
er the
reduce to
THE BRITISH MUSIC BULLETIN
29
the structure is given out in staccato bass notes which again serve as
the basis of the principal theme. These Rágs, as written in European
notation, are difficult to distinguish from scales, though they are in
fact modes. They are appropriated to various times of the day, and
signify different mental states, such as reverence, love, sadness or
merriment. Indians also represent them pictorially with special
reference to colour. Thus the Spring Rága is a young man of golden
hue, clad in yellow, and the prevailing hues of other Rágs are blue or
red or violet. This colour scheme is not unknown to European
musicians.
the pe
eyed by
hony,
Tála, or time, is not less characteristic, and perhaps contributes
more than the other factors to the bewilderment of the European
listener. Our times are always multiples of two or three and our
phrases are more often than not broken up into sections of four or
eight. Take at random the opening bars of Beethoven's first Sonata
in F and you will see that there are four phrases in the theme, of
which the third is broken into two like a third line in a ballad :-
"We were the first That ever burst
Into that silent sea."
MEMBERS' RECITALS.
Mr. Norman Wilks announces a series of four Pianoforte Recitals
at the Steinway Hall on consecutive Saturday afternoons, beginning
on January 28th, playing works of every date and nationality. On
February 11th, Mr. George Woodhouse joins him in Casella's
Puppazzetti" for four hands. Mr. Wilks played at Antwerp in 1921,
and also in Amsterdam, where he had extraordinary success.
66
Miss Margaret Tilly is giving a Brahms Recital at Wigmore Hall
on February 16th at 8.15 p.m., with Miss Calista Rogers.
1425
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THE BRITISH MUSIC BULLETIN
Miss Eunice Westhead, a singer already known in Liverpool,
will make her début in London with two Recitals on February 1st
and March 1st with Miss Chilton-Griffin.
Miss Westhead will sing,
among others, a number of songs by Scott, Quilter, Elgar, Peterkin
and other British composers.
30
People's Palace,
Mile End Road
Wigmore Hall
Queen's Hall
Wigmore Hall
(Classical Con-
cert Society)
Queen's Hall
Chelsea Town
Hall
Queen's Hall
People's Palace,
Mile End Road
Queen's Hall
People's Palace,
Mile End Road
Queen's Hall
(R. Philhar-
monic Soc.)
Queen's Hall
People's Palace,
Mile End Road
Queen's Hall
SOME FEBRUARY CONCERTS
Sun., Feb. 5, Oberon Overture, Weber
at 3.30
Mon., Feb. 6, Quartet, B flat, Beethoven
at 8
Quartet, E minor, Smyth
Piano Quartet, Dvorak
Wed., Feb. 8,
at 8 p.m.
Wed., Feb. 8,
at 8.30
Thur., Feb. 9, Beni Mora, Holst
at 8.30
Sat., Feb. 11,
at 3
Sun., Feb. 12,
at 3.30
Thur., Feb. 9, Works by Holbrooke, John
at 8.30
Ireland, Speaight & Brahms
Mon., Feb. 13,
at 8 p.m.
Unfinished Symphony,
Schubert
Ode for Orchestra, Woodman
Sun., Feb. 19,
at 3.30
Thur., Feb.23,
at 8
Sonata for Violin, Eccles
Vocal Duets, Schumann
Sonata for V. and P., Ireland
Ghazals of Hafiz, Bantock
Sun., Feb. 26,
at 3.30
5th Symphony, Beethoven
Violin Concerto, Mozart
Prelude (Gerontius), Elgar
Symphony, Berlioz
Concerto No. 3, Beethoven
Overture, Mendelssohn
A Forgotten Rite, Ireland
Symphony in D mi., Franck
Symphony No. 1, Brahms
Emperor Concerto, Beethoven
L'Arlésienne, Bizet
Symphony No. 1, Schumann
Enigma Variations, Elgar
Don Juan, Strauss
Symphony Espagnol, Lalo
A Shropshire Lad, Butterworth
Sat., Feb. 25, Brandenburg Concerto, Bach
at 3
Jewish Melody, arr. Benas
Symphony No. 3, Brahms
Irish Rhapsody, Stanford
Adrian C. Boult
Tue. Feb. 28, Merrie England, German
at 8
B.S.O.
Bohemian String
Quartet
Fanny Davies
Mischa Elman
N.Q.H.O.
Thibaud
Vera Horton
Augustus Milner
Bantock
Holst
Ivimey & Strolling
Players Amateur
[O.S.
P.S.Q.
Herbert Sharpe
Sir Henry Wood
N.Q.H.O.
Lamond
Adrian C. Boult
B.S.O.
Damrosch, L.S.O.
Busoni
Adrian C. Boult
B.S.O.
Sir Henry Wood
Concerto No. 1, Tschaikowsky Moiseiwitsch
Unfinished Symphony,
N.Q.H.O.
Schubert
Sir Landon Ronald
Thibaud
Adrian C. Boult
B.S.O.
Westminster
Choral Society
Emergin
Instrument
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poet
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THE BRITISH MUSIC BULLETIN
31
BOOK REVIEWS
The Art of the Player Piano.*
Emerging from its first association with mechanical contrivances
of a skill-saving type, the pianola has come to be considered a musical
instrument capable of expressing the temperament of the player, so
that it is possible to-day to praise in a skilled "Pianolist " the quality
of his touch or else to dismiss him as a soulless executant. To many
music lovers who despaired of ever attaining technical efficiency the
pianola opened up the possibility of countless works which need a high
order of accomplishment; above all it promised an intimate acquaintance
with musical masterpieces. A library might include hundreds, nay,
thousands of works of every character, but, if this delectable prospect
seemed within reach, experienced pianists would assure the votarist of
the Pianola that all a musician valued most-tone, quality and the
more intimate and searching forms of expression-would elude his
grasp, that the player piano approximated to music in that degree in
which a wax effigy with false hair resembled the bloom and mystery
of life. For years this was my belief or prejudice. It is not the same
to-day, and if we exclude some of the qualities of the greatest
executants who, like Moses, strike the keyboard to turn stone into
foaming and living water, if we recognise the fact that most
compositions are possible, and a few only impossible to render well,
the pianola can become a source of endless delight, for it will open up
long vistas upon the magical lands and seas and the majestic heights
held in control by those musicians and magicians to whom countless
powers have been given to rule the imagination and mould all human
passions and aspirations to the laws of beauty.
I have not been alone in wishing that the pianola might be taught,
but alas! vendors of instruments and rolls are not often musical, and
to hear in a Bond Street sale room the latest foxtrot, or, worse still,
some deeply loved étude or prelude ground out by a complacent
assistant, may persuade one that the sound of a typewriter is more
expressive, or the runs and pauses of a sewing machine more
human.
To fulfil a long standing need Mr. Grew has written an explicit and
sympathetic book to help the beginner in the essentials of pedalling,
use of Tempo break and of the sustaining pedals; it is interesting
besides to the habitual pianolist, by the lucid exposition of his
experience in a wide and catholic appreciation of various schools.
The book falls into two parts-it is in fact two books--the second
being devoted to an analysis of metrical intricacies in music
and poetry, if this has a somewhat obtruse or over technical
interest the first portion of his work is useful, sane and sensible.
C.R.
*"The Art of the Player Piano." By S. Grew. Published by Kegan, Paul,
Trench, Trubner & Co., Ltd.
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32
THE BRITISH MUSIC BULLETIN
Romain Rolland in English*
Our readers will, we hope, remember a notice of the original text
of this book in which we endeavoured to express our appreciation
of its manifold excellencies. It is now available in an adequate
translation, and if a little of M. Rolland's grace and charm has been
lost in the Channel crossing, the solid merits of insight and critical
judgment remain. No translator can hope to pour the wine from vessel
to vessel and spill no drop. It only remains, in heartily recommending
this book, to remind British Music Society members that it is
concerned with music of the seventeenth and eighteenth centuries,
and particularly with lesser-known figures (Telemann, Metastasio), or
with less familiar aspects of the masters. The volume will be prized
by every reader, and every lover of music should read it.
* A Musical Tour through the Land of the Past. By Romain Rolland, translated
by Bernard Miall. Published by Kegan, Paul, Trench, Trubner & Co., Ltd.
10s. 6d. net.
Improvisingt
The author of this little book has clearly a genius for teaching.
We have seldom found so much wisdom and so much practical
instruction in so compact a form. Yet clearness is never sacrificed to
brevity; it is through acuteness of vision and directness of expression
that the effect is achieved. The purpose and the method of the book
are alike admirable, and teachers and pupils should rejoice in it.
t"Improvising." By Ethel Home. Published by Kegan, Paul, Trench,
Trubner & Co., Ltd. 2s. net.
The Music Teacher
We have received the first issue of "The Music Teacher," which
incorporates The Music Student" and "The Musician." The aim
of this monthly is to concentrate on the improvement of teaching
methods, with special reference to the piano and singing, and on the
interests of the music teaching profession. This new development
should be a matter of interest to many of our readers, and we are
anxious to call attention to it.
..
MUSIC
REVIEWS
Two Songs by Malcolm Davidson
Two poems of John Masefield have been excellently set by
Malcolm Davidson (Winthrop Rogers). The first is the "Sorrow of
Mydath," from Masefield's Salt Water Ballads, a powerful musical
painting; the second is "A Christmas Carol," being three stanzas
from the poem entitled "Christmas Eve at Sea." This is one of the
finest songs of the present day; the composer has created a wonderful
atmosphere, and by careful writing has effected a climax that has
rarely been surpassed in a work of a like nature. These two songs
well bear out my earlier remarks on Mr. Davidson's "Bargain."
Not only is the accentuation of the words carefully regarded-one of
e first me
disregar
rions nec
disregarded
not that
Miss Green
ting of c
hich incl
Winthrop
artet
"Sta
Bosey),
At Sunri
L.A. Meal
Kiryland,
aytime,
manged b
me three
inimura.
We hav
blication
hese shor
Te had
nd small
et by a
ice from
O pray f
L. Ramsbor
dom Tr
Mr. R
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preciation
adequa
has been
rom vesse
mmending
that it i
centuries
stasio),
be prize
d, translat
&Co., L
teaching
practica
crificed
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of the bo
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11 111
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of teaching
and on th
evelopme
and we
tly set
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ree stan
one of th
wonder
that
e two son
Bargain
ded-one
THE BRITISH MUSIC BULLETIN
33
the first necessities in song writing that Cyril Scott and others tend
to disregard-but also the spirit of the poem is respected-another
obvious necessity such as John Ireland and Eugène Goossens at times
do not realise. The third requisite in a song is, of course, that it
should be vocal. This apparent truism, as the others, tends to be
disregarded; but here again Mr. Davidson is proof against cavillers-
not that these songs can be sung at sight by Mr. Brown
Miss Green, but the voice part is written for the voice and is not a
string of notes.
I unwisely seized Mr. Davidson's songs first and played them
through, and was accordingly spoiled for the remaining publications,
which include four Pieces, six Idyls and six Poems by MacDowell
(Winthrop Rogers), by Paul Edmonds a Miniature Suite for String
Quartet (Stainer & Bell) and three songs, "The Bells of Alderburn-
ham" (Stainer & Bell), "Windy Nights and "Little Grey Water"
(Boosey), eight songs from Boosey & Co., and from Paxton & Co.
At Sunrise," for the organ (" for church, recital and cinema "), by
J. A. Meale; five violin arrangements, a piano solo, six "Tales from
Fairyland," by Aylmer Ward; five easy duets, Maytime and
Playtime," by Ernest Newton; and Rachmaninoff's
"the Prelude,
arranged by Hatherly Wentworth for piano duet. In a different class
come three Nocturnes for Violin Solo (unaccompanied), by Yoshiji
Tanimura, who is here writing in a more suitable medium. D.D.A.
66
66
,,
Tudor Church Music*
We have received four more motets from this promised monumental
publication, which will probably take many years for its completion.
These short anthems are published one at 1s., one at 9d. and two at 6d.
We had hoped that the Carnegie Trust would have been able to have
placed this fine English music within the reach of all choirs, large
and small. If it is going to cost a choir from £3 to £5 to add one
motet by a Tudor composer to their service list, we fear that it will be
a long time before our cathedrals and churches are resounding with
these magnificent songs.
The new numbers are Tallis' "I heard a
voice from heaven," Gibbon's "O God, the King of Glory," Tomkins'
"O pray for the peace of Jerusalem," and Byrd's marvellous five-voice
Evening Service, practically in E flat.
O.R.
* Tudor Church Music." Edited by Dr. Terry, Dr. Fellowes, Dr. Buck,
Mr. Ramsbottom and Miss Townsend Warner. Published for the Carnegie United
Kingdom Trust by Humphrey Milford.
Mr. R. E. Macfadyen, 135, Osborne Road, Newcastle-upon-Tyne,
would be very grateful to any member who would be good enough to
supply him with copies of the Bulletin for August and September, 1921.
The Birmingham Repertory Theatre are giving performances of
Rutland Boughton's opera "The Immortal Hour" (under the musical
direction of Appleby Matthews), from Monday, February 13th to
Saturday, February 18th, at 7.30 p.m. each night.
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34
THE BRITISH MUSIC BULLETIN
CORRESPONDENCE
To the Editorial Committee
DEAR SIRS, The Chicago Solo Choir of twenty voices, under the
direction of Eric DeLamarter, assistant conductor of the Chicago
Symphony Orchestra, and a member of the British Music Society, is
looking for some first-rate a capella numbers, in four or more parts,
by modern British composers for its programmes next season.
I am asking Stainer & Bell, and Curwen to send me copies of
any music of this kind which they publish.
Perhaps you know some younger members of the British School
who specialise in this type of composition, and who would be willing
to send me copies of their best numbers.
Any assistance you may be able to offer the Chicago Solo Choir in
making British music better known will be gratefully appreciated by
Yours very faithfully,
S. M. K. GANDELL.
[We hope that Mr. DeLamarter will find a ready response to his
request. His address is 126, Chestnut Street, Chicago, U.S.A.-ED.].
ENGLISH OPERA AT CAMBRIDGE
"The Two Sisters," an opera by Dr. Cyril Rootham, will be
performed under the direction of Mr. D. D. Arundell, by members of
the University and others in the New Theatre, Cambridge, at
8.30 p.m. on Tuesday, February 14th, and the four following evenings.
On Saturday, February 18th, there will also be a matinée.
The opera is based on a Scottish version of a story which can
be traced in some form in nearly every North European country.
It is the tale of a young girl drowned by her jealous elder sister, and of
a magic harp, the instrument of following fate. The harper, directed
by the mystic powers of river and forest, strings his harp with the
drowned girl's hair, and appears at the wedding of the elder sister,
where the harps sings her denunciation.
Many tunes are found accompanying this story in its various
versions, and Dr. Rootham has used some of these in dramatising the
ballad with which they are associated.
We hope that many of our members will find it possible to visit
Cambridge on one of these dates to take a rare opportunity of
hearing English opera.
BLIND COMPOSERS
We have received from Mr. Edward Watson, of the National
Institute for the Blind, the first list of publications in a new edition
devoted to blind composers (notice of which will be found among our
Every mar
esses en
RAM, R.
chools for
Smous VIO
er notice
nnouncem
the con
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mposers
ill, on th
Gordo
KELBOU
The V
Melbourn
and
d the S
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under t
e Chica
Society
ore par
on.
e copies
tish Scho
be will
lo Choir
reciated b
GANDEL
Conse to
3.A.-E.
members
ng evening
which
an count
sister, and
per, direct
rp with t
elder sist
its vari
matising
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portunity
The Nati
new edi
d among
THE BRITISH MUSIC BULLETIN
advertisements). He writes, "It is rather epoch-making in its way,
being the first effort of its kind to bring out accredited works of our
most eminent blind composers, under the auspices of the National
Institute itself, which vouches for the meritoriousness of the output.
Every man on the list is well known to us, and almost every one
possesses either an University degree or the diplomas of the R.C.O.,
R.A.M., R.C.M., etc., etc., while many are professors at the various
schools for the blind."
35
BRITISH MUSIC
It will be remembered that last spring Miss Marie Hall, the
famous violinist, asked British composers to bring their works before
her notice that she might have opportunity of selecting from them
such as would be suitable for her programmes. This spring a
beginning of the fruits of that invitation is being made visible by the
announcement that on Tuesday afternoon, February 7th, Miss Marie
Hall will give a Recital of Modern Music, and the whole of the music
of the concert and all the artists will be entirely British. This is a
move in the right direction that will be much appreciated by those
who wish to see British music placed in its rightful position in the
world's music, and who wish to give incentive to both performers and
composers to promote their own individual art. Miss Marie Hall
will, on this occasion, have at the piano the composer of the work
she is playing, so that we should be assured of the rendering being
exactly what inspiration had originally desired. The three works
which she has chosen to perform are Sonata in C minor, No. 3, for
violin and piano, by Percy Sherwood; Suite for violin and piano,
by Gordon Bryan; and Sonata in D major for violin and piano, by
Rutland Boughton. In the two intervals between these items Gilbert
Bailey will sing English songs.
FOREIGN NEWS
MELBOURNE
The Victorian Branch of the British Music Society was formed at
Melbourne in August, 1921, as the result of the efforts of Mrs. James
Dyer, who, when in England the previous year met Dr. A. Eaglefield
Hull and, inspired by his enthusiasm for the cause, agreed to act as
Honorary Representative for the State. There are now two Branches
of the Society in Australia, one having been formed in Sydney (New
South Wales) by Mr. Henri Verbrugghen, the distinguished Belgian
musician and conductor of the New South Wales State Orchestra.
Mrs. Dyer was encouraged in her efforts to form a Branch in Victoria
by the ready response that she met with from several musical
enthusiasts whom she first approached. They form the nucleus of
the Branch, but it is confidently expected that when the activities
of the Branch become better known the membership will be greatly
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66
increased. At the first meeting of the Branch provisional office
bearers were elected. The appointments were confirmed at the more
largely attended second meeting, held on October 4th, when Mrs. Dyer
made the pleasing announcement that Dame Nellie Melba, D.B.E.,
who, as is well known, is a native of Melbourne, had consented to act
Rules based on those of the parent
as patron of the Branch.
body, with alterations to meet local needs, were adopted, and
the objects of the Branch were broadly stated to be: (1) To spread
the knowledge of British music; (2) to encourage Australian
composers; (3) to afford facilities for Australian musicians visiting
other countries; and (4) to foster the spirit of international
music. In order to bring members together, Mrs. Dyer made the
inaugural concert of the Branch an invitation function, and held it in
the music room at her private residence, " Torryburn," Hawthorn.
There were over 60 persons present. The programme opened with
an informal talk on English madrigals by Dr. A. E. Floyd (organist of
St. Paul's Cathedral) and madrigals, "Lord, when I think" (Weelkes),
"The Captive Lover" (Henry Lawes) and "Philomela" (Morley),
and part songs, "O, how shall I my true love know?" (arranged by
Balfour Gardner) and "Rose Aylmer" (F. Bennicke Hart), were sung
by the members of the choral class of the Albert Street Conservatorium
of Music under the conductorship of Mr. Fritz Hart. The romance
and scherzo from Thomas F. Dunhill's Sonata in D minor were
played by Gertrude Healey (violin) and Harold Elvins (piano), and
four songs for voice and violin by G. T. Holst were given by Lillian
Stott (voice) and Isobel Langlands (violin). It is the intention of the
Branch to give four public concerts in Melbourne during 1922, at
which Australian composers will be represented. The success of the
first concert of the series is already assured, the well-known Newton
Choir having generously offered its services. By arrangement with
Headquarters, the Branch has been able to form the nucleus of a
library of British music, from which the Honorary Representative lends
out copies on one morning of every week. This is a privilege that is
greatly esteemed by members. Any members of the Society who may
be visiting Australia are earnestly requested to communicate with
Mrs. Dyer at the office of the Victorian Branch at 325, Flinders Lane,
Melbourne. They can be assured of a warm welcome, and any advice
or aid that they can give will be greatly appreciated.
A.L.B.
36
SYDNEY
A programme of a highly interesting and delightful character was
presented before the members of this Centre of the British Music Society
at Mr. Verbrugghen's 24th Lecture Concert at the Conservatorium
Hall on November 30th, when the members of the Verbrugghen
Quartet gave the first performance in Australia of Howells' "Lady
Audrey" Suite, and, with the assistance of Mr. Henry Penn at the
piano, Arnold Bax's early Pianoforte Trio. Madame Verbrugghen
joined the Quartet in the first performance of Arthur L. Benjamin's
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THE BRITISH MUSIC BULLETIN
37
highly imaginative "Four Impressions" for mezzo-soprano and string
quartet, and W. Arundel Orchard's Quartet in F minor received its
third performance at these concerts.
Although not connected with the activities of the British Music
Society it is worth recording that the Musical Association of New
South Wales has been giving a series of interesting discussion
evenings devoted to the different aspects of modern music, the latest
being devoted to British music, when the president of the Association,
Mr. J. Hugh McMenamin, gave a brief address on the work and aims
of the modern British composers, and examples of their work were
played by Mr. Cyril Monk, Mr. Henry Penn, Mr. Arthur L. Benjamin
and Mr. Wilfred Arlom.
Useful work for the cause of British music (the more so because
probably unintentional) is being done here by the Sydney Madrigal
Society. At their 52nd concert on November 28th, under the direction
of Mr. W. Arundel Orchard, they gave excellent performances of
madrigals, ballets, part-songs, etc., by Weelkes, Delius, Holst,
Grainger, Bantock, Pitt and Balfour Gardiner. A notable feature of
the programme was the first performance in Australia of Debussy's
Sonata for flute, viola and harp (Mr. A. W. Arlom, Mr. T. H. Kelly
and Miss Winifred Carter), and Miss Henri Staell and Miss Winifred
Carter also played Saint Saens' Fantasie for violin and harp.
First Performance Concert.-A programme of an exceptionally
interesting character was given before a very large audience at the
Conservatorium Hall on December 5th by four professors of the
Conservatorium-Mr. Henry Penn, Mr. Arthur L. Benjamin, Mr. Cyril
Monk and Mr. Gladstone Bell-assisted by Miss Isolda Hill. The
works performed, all for the first time here, were :-Suite for two
pianos (Rachmaninoff); Rhapsody for 'cello and piano (Goossens);
Songs by Howells, Bantock and Shaw; Pianoforte Sonata in F minor
(Arthur L. Benjamin); Violin Solos-"Il canto della Lontananza'
(Malapiero), "Pastorale" (Stravinsky), "Highland Sketch" (McEwen);
Piano Solos-Etude, Op. 65, No. 3 (Scriabin), Prelude, Op. 17, No. 1
(Catoire), "Tragedy Fragment" (Medtner); Trio, No. 2, for violin,
'cello and piano (Ireland). Where everything was so good, it seems
needless to mention any work specially, but Goossens' Rhapsody and
Benjamin's Pianoforte Sonata gave the writer of these notes special
pleasure.
W.A.
NEW YORK
In the Billboard for December Miss Katherine Ruth Heyman, our
New York Representative, writes of the new world to which the modern
child is born, in music as in other things. They no longer have to
cut their quills before they can write; secretaries and dictaphones are
part of their natural inheritance. So in music. Scriabin, Stravinsky,
Holst, Ireland and Goossens prepare the way for them.
subjects for musical symbolism," Miss Heyman writes, "have come as
a flowering of the centuries of musical development. . .
"The new
For those
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THE BRITISH MUSIC BULLETIN
who newly come at this time, newer expressions of old emotions are
suitable, fresh blossoms befitting their day. These new songs are ready
to hand for their emotional uses without the labour of cutting through
horny tradition, as we write without first cutting the quill."
PARIS
38
There was a full audience at the Concert given in the Salle des
Agriculteurs on Friday, January 20th, by Mr. Ernest Vavin, the
pianist. Mr. Vavin played an interesting and unusual programme
interestingly. The feature of his playing is finesse in tone
production, clear phrasing and delicate nuances, tinged with a few
mannerisms peculiar to himself. He opened the programme with the
Arne Sonata No. 5, and gave it an interpretation that was a fine
tribute to the value of this old English composer. The second
number, an original Minuet (erroneously credited on the printed
programme to Pugnani), was a composition that would test the style
and good taste of any pianist. Then came the Posthumous Valse by
Chopin, a veritable tone-poem; the well known "Rain Drops
Prelude, treated with delicacy and restraint; while the chief
movement of the Mazurka was played brightly in contrast to the
melancholy of the third motive. Mr. Vavin's setting of the
Rubaiyat" of Omar Khayyam was a novelty I had not heard
before. Played brilliantly and emotionally, it pleased the audience.
One of the features of the programme was Mr. Vavin's rendering of
his own compositions. As a composer he seems to be working along
original lines in the direction of the melodic renaissance so sadly
needed. His compositions included a Nocturne in B minor, a serious
work, Chopinesque in character; a pleasant Feuille d'Album that
flitters and flutters in true butterfly style; a Berceuse of great charm
and a Cradle song. Mr. Vavin's virtuosity was demonstrated in his
exceedingly difficult Etude in F and Humoresque in Thirds. The
assisting artists were Mdlle. Suzanne Guillemeau, and M. Maurice
Maréchal.
O. T. HOOFFER.
HOLLAND
Miss Marguerite Meredyll, with the other members of her Meredyll
Pianoforte Quartet-Miss Bessie Rawlins, Mr. Raymond Jeremy and
Mr. Emil Doehaerd-is now on tour in Holland and the Rhine
provinces. They started at Amsterdam on January 20th, and are
visiting Aix la Chapelle, Cologne, Bonn, Elberfeld, Düsseldorf, Crefeld
and Essen, calling at the Hague on their return. The two Dutch
towns are being visited at the suggestion of Mr. Willem Mengelberg,
the famous conductor of the Amsterdam Concertgebouw Orchestra.
PRAGUE
Miss Eleanor Toye is giving a recital in Prague on February 15th
with a Czecho-Slovak Trio. The programme will include 15th, 16th
and 17th century English works and two modern English songs;
also modern Czech songs and a first performance of songs set to
English words by a Czech composer.
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THE BRITISH MUSIC BULLETIN
CENTRES AND BRANCHES
39
LONDON CONTEMPORARY MUSIC CENTRE
The Annual General Meeting of the Centre was held, by kind permission of
Messrs. Novello, at 160, Wardour Street, on January 17th, Mr. Edwin Evans in
the chair. The balance-sheet was presented and unanimously adopted. The five
retiring members of the Committee, Mr. Bax, Mr. Beigel, Mr. Bliss, Mr. Bowen,
and Lady Bridges were re-elected. The Chairman then brought forward two
proposals for changes in the constitution, (1) that the word "Contemporary" be
interpreted as applying to music written within the last fifteen years, instead of as
applying to the work of living composers; (2) that the word "British" be omitted
from the constitution so that the performance of foreign music might be admitted,
such music to occupy not more than one third of any programme. The Chairman
said that these proposals were the result of much consideration on the Committee's
part, as to how their concerts might be made more interesting. It was not fair to
British music to treat it as something apart from the general musical life of the
world, nor were masterpieces produced in such quantities as to supply several
concert programmes a year without going beyond this country. He would like the
opinion of the meeting. Nothing but approval being forthcoming, the two
resolutions were put by the Chairman, seconded by Mr. Bedford and Major Bavin
respectively, and unanimously adopted. The Chairman then asked for the
approval by the meeting of the Committee's scheme for drawing up a reference
list of works, not unknown, but deserving of further performance, which came
within the new definition of contemporary. In answer to a question, he said that
suggestions from members would be welcomed. The meeting gave its approval of
the scheme. A vote of thanks to Messrs. Novello for so kindly lending a room for
the meeting was passed with acclamation, and followed by a vote of thanks to the
Chairman. The meeting then adjourned.
The next concert of the Centre will be held on the evening of March 6th.
The New Instrumental Quintet has been engaged. Members are asked to make
a special point of reserving the date, so that a larger attendance may be ensured.
Particulars of programme, time, and place will be announced later.
V.I.B.
BATH
The Annual General Meeting of the Centre was held on January 13th at the
Pump Room. The outgoing Chairman (Mr. Herbert Lambert) and Secretary
(Mr. Humphrey Baker) were re-elected, as were also the members of the Committee
who had automatically retired under the rules. The meeting was well attended,
and there was a useful discussion of possible future activities.
After business the Secretary read a short paper on the nature of musical
emotion. Other members afterwards expressed their own views on the subject.
F.B.
BIRMINGHAM
He gave
From an artistic point of view it would hardly be possible to outdo in interest
or in edification the Lecture upon Elizabethan Music given by Mr. Arthur
Cranmer on December 9th. In the illustrations he was assisted delightfully by
Miss Gladys Whitehall, Miss Edith Cranmer and Mr. Frederick Thomas.
us madrigals, duets, and songs by Dowland, Byrd, Morley, Lawes, Purcell, etc.
Mr. Michael Mullinar not only accompanied in his usual finished style, but played
a Suite by Purcell, entrancing, by the beauty of his playing, the beauty of the
As a result of his lecture Mr. Cranmer has had repeated inquiries from
a dozen music warehouses for the names of the publishers of the music. This,
and the response he evoked from his audience, is gratifying both to the artists and
the Centre. But artistic triumphs are not always successful financially. Members
will be sorry to know that few new members were made, and that financial loss
resulted. If they could realise that such an evening costs, in Birmingham, £23
music.
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THE BRITISH MUSIC BULLETIN
they would never rest until they had each made themselves responsible for six new
Constant effort to that end is essential.
The social evening
members.
will be thrown open to members' friends free. That is their opportunity.
H.G.S.
40
BLACKPOOL
This important new Centre held its first gathering for the new year in the
Savoy Cafe. There was a large attendance, and many new members were enrolled.
The President, Sir Cuthbert Grundy, opened the proceedings with a short address
of welcome to the members. He hoped that the British Music Society would not
be too exclusive in its operations. All good music was worth encouraging, whether
British or otherwise. Dr. F. H. Wood, the Hon. Local Representative, followed
with a short outline of the aims of the Society, and stated that the Society,
though not exclusive, intended to see that British music received a fairer share
of public support than had been given to it for many years prior to the war.
Mr. L. H. Franceys, the Hon. Local Treasurer, supported this view, and said that if
insular prejudice fell short in anything, it was in our music. A splendid concert of
violin music and songs was then given by the following members: Mrs. J. H.
Shorrocks, Miss Evelyn Howarth, Mr. Ernest Jones, with Miss Bell and Dr. Wood
as accompanists. A hearty vote of thanks to the performers was accorded at the
close, on the proposition of Mr. J. Turral, B.A., and seconded by Mr. Harry Thomas.
F.H.W.
BOURNEMOUTH
He
The December Meeting, one of the most important the Centre has held, was
made the occasion of the first visit of Mr. Leigh Henry, editor of "Fanfare."
Mr. Henry's lecture, entitled " The Characteristics of Contemporary Music, their
cause and their direction," was intensely interesting, though a trifle long.
displayed a wide knowledge of his subject, which was made distinctly humorous at
times, especially in his opening remarks. Reverting to Elizabethan and Tudor
times, the lecturer explained the old stereotyped methods of musical composition
and the growth of the mechanical and industrial age in the 19th century;
these conditions produced revolt, as they crushed out the spirit of adventure and
romance and ground down the soul of man. Modern music, he said, arose out of
these conditions, and England had always been a country whose people delighted
in singing, and nowhere in Europe had he heard the same merry "pleasaunce" of
music which he heard in the streets of every English town, whether in London or
the provinces. Summarising his remarks, Mr. Henry said the first characteristic
of contemporary music was the revolt against formality; secondly, there came the
development of music as the expressive factor of the internal life; further, as a
substance whereby to develop those things; and lastly, the scientific investigation
of the nature of the substance which gave music its qualities. Mr. Dan Godfrey
took the chair, and proposed a very hearty vote of thanks to Mr. Henry for his
most interesting lecture, and this was heartily accorded.
S.H.G.
BRADFORD
A most interesting and enjoyable Lecture-Recital on flute music was given on
Wednesday, January 11th, by Mr. W. W. Spooner, who is a clever amateur and
enthusiast of flute music. The lecturer said that the flute was one of the first
musical instruments played by man, and that in a cave in France a hollow bone
resembling a flute was found, and assigned by experts to the Neolithic period or
early Bronze Age. Mr. Spooner remarked that one could trace the history of the
flute studying works of art, for Rembrandt had portrayed a flute which seemed
a homemade type of instrument from which that of to-day had undoubtedly
evolved. The lecturer maintained that the flute's proper place was in the
orchestra, and added that it was often used to heighten the feeling of sadness and
even to depict grief. Bach wrote much music for the flute, but most of it was
destroyed. Mozart, although he hated the instrument, wrote one of his best
concertos for flute and harp. Debussy, Cyril Scott and Goossens had all written
charming music for the flute. In illustration, Mr. Spooner played the flute
obbligatos to Bach's "Lasst Welt mich aus Verachtung," sung by Mr. R. J.
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THE BRITISH MUSIC BULLETIN
Mackay, and to Rameau's "Rossignols Amoureux air from "Hippolyte et
Aricie," sung by Mrs. Spooner, with Miss Greenwood at the piano. Mr. Spooner
was joined by Miss Ida Bellerby in a charming flute and piano sonata by Handel.
After a short interval, during which refreshments were served, Mrs. Spooner sang
"Wherever you walk" and "Oh, Sleep," by Handel; "A Pastoral " (Carey),
"Linden Lea" (Vaughan Williams), "To me at my fifth floor window" (Mallinson)
and "A Lullaby" (Hamilton Harty). Mr. Mackay gave a
group of early
17th century songs and also a number of the best modern British songs. A vote
of thanks to the artists and to the chairman, Mrs. Walter Leach, was very
genuinely supported.
22
41
Forthcoming Events. -Thursday, February 2nd: Mr. T. Harding Churton will
give a short address on "Orchestral Concerts"; discussion invited. Thursday,
March 2nd: Chamber Concert; Mrs. Osborn (piano), Mr. W. W. Holmes (violin)
and Mr. H. P. Ambler ('cello); vocalist to be announced later. Thursday,
March 23rd: Mr. James A. Mackareth will read a paper on "The Nature of Art
and Art's Relationship to Life."
C.L.J.
BURNLEY
On Friday, December 16th, 1921, Mr. A. Winterbottom gave "An evening with
Coleridge Taylor." He outlined his life, giving details of his works, etc. His.
handling of the subject was masterly, and he created the right atmosphere. The
feature of the evening was the exquisite playing of the solo pianist, Miss Doris
Snowden. She emphasised the golden opinions that had been formed previously
of her fine technique, her grasp of detail, intelligence, and charm.
Her pieces
were "Ballade in A minor," and "Five Scenes from an Imaginary Ballet." The
Brierfield Baptist Choir, with their enthusiastic conductor Mr. John Greenwood
(Jun.), sang "A Tale of Old Japan." Their performance was a meritorious one,
and along with the principals, deserved high commendation. Miss Gladys
Ashworth, of Colne, a soprano who sings with confidence combined with a good
tone quality, sang "Five Fairy Ballads." Miss Bessie Wormwell, a contralto
from the same town, showed the audience what an artist can make of the song
"The Blood Red Ring."
66 Eleanore" and " 'Onaway, awake, beloved," Mr.
Wilfred Hindle sang with sureness, giving the necessary amount of energy with its
accompaniment of appropriate delicacy. Mr. Arthur Tuck, a baritone with a
future, gave a finished rendering of "Hiawatha's Vision" (Hiawatha's Departure).
All were most sympathetically accompanied by the joint secretary Mr. Wilfred Lord.
The enthusiasm of a large audience was most marked, and Mr. Winterbottom may
be heartily congratulated on his unique success.
The
Friday, January 6th, 1922, was devoted to Chamber music for strings and piano.
Mr. C. Bateson had charge of the programme, and also presided at the piano.
The other artists were Miss Madeline Rossall, of the Royal Manchester College
of Music, Mr. A. W. Catlow (violin), Mr. W. Butterworth (viola), and Mr.
A. Winterbottom ('cello). The three instrumentalists, with Mr. Bateson, played
the following quartets: Quartet in G minor, Allegro, Andante, and Rondo
(Allegro Moderato) (Mozart); Andante con moto, from Quartet in G minor, Op. 25
(Brahms); Scherzo from Quartet in C minor, Op. 15 (Fauré); Second Movement
from Quartet in C minor (Wall); and Finale from Quartet in E flat, Op. 47
(Schumann). The playing of these four artists was delightful to listen to.
melodies of Mozart, the beautiful effects of Brahms, the colour effects and unique
rhythms of Wall, gave a
wonderful pleasure to a critical audience. Mr.
Butterworth's tone quality in the viola passage of Wall's quartet was most marked.
Altogether, the instrumentalists played with great taste and skill. Miss Rossall,
whose singing was thoroughly enjoyed, gave
With a swanlike beauty gliding "
(Mozart), "The praise of God" (Beethoven), and three Pastoral Songs for voice,
piano, violin and 'cello, by Quilter. She possesses a voice of exquisite sweetness,
the breadth of tone and pure quality being very noticeable. The audience
pronounced their enjoyment in no uncertain fashion. Mr. Bateson prepared his
audience to receive the best each item had to offer by giving remarks before each
song, or piece, in his own happy style. He played throughout with distinction.
66
J.A.H.
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THE BRITISH MUSIC BULLETIN
GLASGOW
On December 21st our Hon. Secretary, Miss Tennant, gave a much appreciated
address on Polish National Music." She prefaced her remarks by a brief, but
very illuminating survey of Polish history from the year 965 to the present day.
She showed that it was divided into four epochs, the first of which was, for the
The second, dating from the union
most part, one of growth and consolidation.
with Lithuania in 1386, was the period of greatest territorial expansion and of
highest power and influence. Then Poland was one of the European Great Powers
-enlightened, cultured, tolerant, with a constitution extraordinarily free and
democratic. Thereafter, under the elective monarchy, ensued a period of gradual
decline, when Poland's very virtues, pushed to excess, became vices, which reached
its nadir in the earlier half of the 18th century. The two Saxon princes who were
then successively her kings were lazy, indifferent to the welfare of Poland, and
generally absentees from her soil. They neither defended nor governed her, and
she lay "as if broken-backed across the public highway," at the mercy of her
neighbours. This led directly to the Partition Era, during the miseries and
oppressions of which the truly great and heroic Poland was re-born, and wonderful
advances were made on both the material and spiritual sides. Suffering, indomit-
able hope, and lively expectation of a day when political freedom should be restored,
were the notes of this period. After touching on the characteristics of the Poles as
a nation and as individuals, the lecturer traced the history of music in Poland
during these different epochs, and submitted a highly interesting series of folk-
tunes relating to sacred and secular, national and private life, each of which she
placed in its correct historical setting. The oldest example given dates from the
year 995, and is a model tune of great interest, impressive even to-day. Much of
the work of Chopin, the Polish musician par excellence, is directly founded, as
regards its form and spirit, upon Polish folk-music. He etherealised and sublimated
the songs and dances of the rarely artistic race from which he sprang, and revealed
its soul to the world. In addition to arrangements of the folk-music above referred
to, Mr. Percy Gordon, Chairman of the Glasgow Centre, played in charming and
sympathetic style, a nocturne, mazurka, polonaise and two short preludes of Chopin
as illustrations of the Lecture.
E.D.C.
GRASSENDALE SCHOOL BRANCH
On October 27th a very interesting Lecture was given by Mrs. Grove, the
subject being "The Story of Opera." It was greatly enjoyed by all the members,
and they expressed the desire that she would come again.
On October 29th the members were invited by the Bournemouth Centre to a
Pianoforte Recital, where they had the opportunity of hearing the gifted pianist
and composer, Mr. William Baines.
The second Meeting of the winter session was held on November 24th. Two
school members gave a Lecture on "Folk-Song."
Towards the end of the term a General Musicianship Competition was held,
and a Demonstration of Carol Singing was given on December 14th, when each
form sang two carols of their own choice.
M.L.L.
KENSINGTON
This Centre gave a further series of ten Sunday Evening Concerts up to
Christmas at the Venture Hall, Portobello Road. These concerts were throughout
well attended and much appreciated, and the Centre feels that they fulfil a useful
purpose in this poor neighbourhood. The concerts were arranged by the following
members of the Centre:-Miss Marta Cunningham, Mr. Thomas Dunhill, Mr. and
Mrs. Arnold Jones, Miss Gwynne Kimpton and Mr. Leonard Sickert. The grateful
thanks of the Centre are due to the artists who so kindly gave their services.
Their names include the violinists, Mr. Louis Godowsky, Miss Herron, Miss
Horsburgh, Miss Gwynne Kimpton, Miss Hope Johnson and Miss Mary Phillips;
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THE BRITISH MUSIC BULLETIN
violas, Miss Steele and Miss Lily Mukle; 'cellists, Miss Hildegarde Arnold,
Mr. Ivimey (with his trio), Miss F. Marshall and Mr. Valerie Orde; pianists,
Mr. Dunhill, Mr. Percival Garratt, Mrs. Heyman, Miss Roma Jesson, Miss
Kathleen Long and Mrs. Norman O'Neill; singers, Mr. Robert Anthony, Mrs. F. E.
Collins, Mr. Charles Compton, Miss Muriel Crocknell, Miss Marta Cunningham,
Miss Leda Hilma, Mr. E. Bingham Hall, Miss Lindsay, Miss M. Minor, Miss Doris
Montrade and Mr. Leonard Sickert, who also took part in Christmas carols with
Miss Petty, Miss Hilda Petty and Mr. Petty. The Tooting branch of the King's
Service Choir also sang carols, and Miss Gwynne Kimpton's Orchestra played at
one of the concerts.
The programmes were all of a high order, and included the
Tschaikovsky Violin Concerto, the César Franck Sonata, a sonata of Ireland's,
and piano solos and songs ranging from Purcell to Goosens.
The Annual Meeting was held on January 12th. At this meeting it was
unanimously agreed to give a further series of ten Sunday Evening Concerts at the
"Venture," beginning Sunday, January 29th, at 8.15, on which occasion
Dr. Wheeler will give a Lecture on "How we Listen to Music," with illustrations
played by Mrs. Lee Mathews. It was also decided that a social evening should be
arranged at an early date, to which British composers resident in London should
be invited. The Hon. Secretary, Mr. A. F. Jones, 22, Edwardes Square, W. 8, would
be very grateful to hear of any artists who would be willing to assist at the
Venture Sunday evening concerts.
A.F.J.
43
LIVERPOOL
It was
The meeting of the Liverpool Centre on December 14th took the form
of a Violin and Pianoforte Recital, with a group of Modern British Songs.
The Elgar Sonata in E Minor is clear and direct in its appeal. The Violin
part, in particular, makes considerable demands upon the executant, and Miss
Le Mesurier (violin) and Mrs. St. George Moore (pianoforte) must be congratulated
on their enterprise in tackling so difficult a work. The Romance of the
John Ireland No. 1 Sonata in D Minor is particularly beautiful, and the final
Rondo one of the finest of Ireland's expressions of Cockneyism.
delightfully played by Miss Le Mesurier and Mrs. St. George Moore.
Mr. Walter L. Irvine sang modern British Songs by Armstrong Gibbs, Butter-
worth, Gerrard Williams and Walford Davies, and also one by Mr. Norman Peterkin,
the Liverpool composer-
an admirable setting of Fiona MacLeod's "The Rune of
the Burden of the Tide," which caught the atmosphere of the poem very cleverly.
Mr. Irvine sang with great feeling and had a most able accompanist in
Mrs. St. George Moore. All the performers were members of the Society.
Mr. Eugene Goossens and Mr. Alfredo Casella have recently composed some
pianoforte music specially for the player-piano, which is extremely modern and
complex in character. The composers have taken advantage of the greater scope
possible as between the player-piano and the human hand, and have composed
works which would be technically impossible of performance in the ordinary way.
Any members interested can hear these in the Player-Piano rooms of Messrs.
Rushworth & Dreaper without obligation to purchase.
NELSON
The meeting held on December 14th was devoted to modern string quartets.
Mr. W. Butterworth, Honorary Musical Director for the Burnley Branch, was the
lecturer. His opinions on matters musical are always sound. He possesses an
extensive musical knowledge, has the courage of his convictions, and, in addition,
does not hesitate to express himself with freedom. His lecture was very much
appreciated. The local string quartet, consisting of Mr. L. Greenwood, Mr. A.
Catlow, Mr. W. Butterworth and Mr. A. Winterbottom, played movements from
quartets by Tschaikowsky, Borodine, Dvorak, Debussy, Frank Bridge and
Percy Grainger. Their ensemble playing has considerably improved, and their
performances of the items chosen were uniformly of high standard. Miss B.
Wormwell sang songs by Cornelius and Kennedy-Fraser with taste and
discrimination. Miss D. A. Hartley accompanied skilfully and with sympathy.
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THE BRITISH MUSIC BULLETIN
On December 20th an extra meeting was arranged, at which Mr. R. Gregory, the
Manchester pianist, resident for the past nineteen years in Vienna, gave a Recital.
His programme was selected from the works of Couperin, Mozart, Beethoven,
Schumann, Liszt, Dvorak and Leschitizky. He showed himself to be the possessor
of a remarkably good technique with a very efficient left hand. He has most
convincing powers of expression, equally facile in the delicacy of soft passages as
in the full volume required for fortissimo effects. In addition, his phrasing is
skilful and lucid. His playing of Schumann's Fantasia in C major was masterly
to a degree. The Brahms' Rhapsody, given as an encore, made a most effective
Miss E. Massey
conclusion to a pianoforte recital of sustained excellence.
was the vocalist and sang Bantock's "Lament of Isis" and Verdi's "O Don Fatale"
with good dramatic power. Miss E. Wilmore accompanied artistically.
44
Music lovers in
On January 3rd the Catterall Quartet were welcome visitors.
this corner of Lancashire have for many years had a warm regard for Mr. Arthur
Catterall and the Quartet that bears his name. The programme consisted of
Beethoven's String Quartet, Op. 130, in B flat, Haydn's Quartet in G major,
The four musicians had
Speaight's "Lonely Shepherd" and a Minuet by Glinka.
an excellent reception from a large audience, and gave a magnificent exposition of
string quartet playing. Collectively they play in a manner approaching perfection;
their phrasing, sense of rhythm and sympathetic co-ordination are a revelation to
the listener. They are well disciplined, and show remarkable loyalty to the master
mind of the Quartet without in any way disturbing their spontaneity. As encores
they contributed a movement from one of Dittersdorf's quartets and a slow
movement from a Haydn quartet. We hope to have the opportunity of hearing
them again next winter. Mr. E. Pollard sang songs by Somervell, Wallace and
Lidgey. He has a voice of good baritone quality, and sings with intelligence. H.D.H.
PAISLEY HIGH STREET SCHOOL BRANCH
The monthly meeting was held on December 10th, when a programme of Chopin
and Elgar pieces (pianoforte and violin solos) was submitted by several of the
members.
On Tuesday, December 20th, a Concert was given by members of this Branch
in the Central Hall to a large and appreciative audience. The various items on
the programme were enthusiastically applauded and several encores were demanded.
The outstanding features were the orchestral pieces, the songs of Miss Jean Martin,
and the duets and quartets for two pianos. At an interval in the programme
Mr. Donald Campbell, M.A., gave a short address on the aims of the Society. K.R.
PALMERS GREEN AND DISTRICT
tinctive features.
The January event of the Branch's programme was a Concert of British music
given by the Palmers Green Orchestral Society. The programme possessed dis-
Under the bâton of Mr. Kenneth Sullens, the orchestra gave a
brilliant rendering of Edward German's "Welsh Rhapsody," and the delightful
overture The Children of Roger Quilter, followed later by the charming
Ballet music "Hiawatha" of Coleridge Taylor. The chief interest of the evening
centred in the production of a new work, an Orchestral Suite of Thomas J. Hewitt's,
entitled In Downland." Whether the composer, himself a Sussex man, suc-
ceeded in capturing and conveying the sense of breeze and openness, of skimming
shadows and distant wooded glimpses-" blue goodness of the Weald "-is a
question for individual hearers to determine. The first movement, " April Song,"
had much charm; the second movement had for its subject a violin solo with
muted string accompaniment. Here, one thought, the subject would have been
better expressed by the solo instrument in the wood wind. The melody called for
the oboe or clarinet. It was a graceful and pleasing movement, without striking
distinction. The conclusion of this miniature suite was an allegro movement,
"In Lavender Time." The performance was received with much favour..
Mr. Leonard Lovesy-always a favourite with North London and North Middlesex
audiences-was the vocalist.
He was heard in Goring Thomas's "O Vision
Entrancing," with orchestral accompaniment, and later in a new song cycle,
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THE BRITISH MUSIC BULLETIN
gave
66
"The Curiosity Shop," by Arthur Tate. To the insistent demand for encores he
"On with the Motley," and a comedy setting of the nursery classic, Sing a
Song of Sixpence." According to the custom of the Society, the principal items
were prefaced by a brief and clear exposition of their history and outstanding
features, given by the Branch's Hon. Local Representative, Miss Anderson Lounds-
to the evident interest and appreciation of the audience.
45
E.M.R.
Mr. A. F. Paddon, 34, Ulleswater Road, Southgate, N. 14, has been appointed
Hon. Secretary of the Palmer's Green Branch for 1922.
PLYMOUTH
This Centre was very fortunate in having a visit from Mr. Edward Mitchell last
month. He gave a musical Recital, prefaced with short explanations. The first
part of the programme was devoted to modern British composers, and the second
to modern Russian. Particularly was appreciated the Glazounow Sonata, and
what amazed his audience was Mr. Mitchell's wonderful memory. It is hoped
that in the near future another visit to Plymouth will be paid by this eminent artist.
W.P.W.
SALTBURN
At his lecture on December 12th, Major Bavin introduced himself as a
"music-missionary," to put big things in a simple way. The subject was "From
Folk-song to Symphony," and it was found of such interest that when Major Bavin
suggested to the audience, after two hours, that they should disperse, they
remained seated to a man, and plainly asked for more." A previous lecture
having dealt primarily with the emotional aspect, it was now seen that this must be
controlled by the intellectual. We need all possible beauty in our lives, and
increase of knowledge brings increase of enjoyment in this art as in any other.
The lecturer proceeded to make clear the chief elements, melody, harmony,
counterpoint, rhythm and form. The audience detected well-known melodies
in inner parts with much satisfaction and amusement. The growth of form was
traced from the simple beginnings of purely vocal music, with the subsequent
development with the coming of good instruments. The history of the Minuet
under Handel, Mozart and Haydn, with Beethoven's use of the Scherzo, and the
evolution of Sonata Form from the Suite, and First Movement Form from
the simple Ternary, were all discussed. Illustrations were given on the pianoforte
by Major Bavin and Miss M. E. Coupe, whilst gramophone was used for
orchestral music.
M.E.C.
SHIPLEY AND SALTAIRE
On December 8th, in the Congregational School, Saltaire, a Vocal Recital was
given by Mr. Philip Wilson (tenor), assisted by Miss Atkinson (pianist) and the
M.B.M.S. Pianoforte and String Quintet. Miss M. V. Stell, who is a member of
the quintet and who should have played the piano parts, was unfortunately ill,
and by the doctor's advice unable to attend, and her place was taken at very short
notice by Miss Atkinson, of Shipley. Great praise was due to Miss Atkinson for
so willingly and ably taking a difficult part, and her beautiful playing of five
Schumann pieces was one of the most enjoyable items of the evening. Mr. Philip
Wilson, who possesses a voice of great beauty, contributed a long and varied
programme of songs, including a group dating back to the 16th century,
which were particularly interesting. Other groups included the more modern
writers, and showed the singer's gift of interpretation. The string quartet played
the accompaniment to some of the songs, and their rendering of three Russian
dances was a delightful contribution to an interesting programme.
A Social Evening, taking the form of a "Cobweb Social," was held in the
Congregational Schools on December 17th, for members and friends. The Folk
Dance Section gave an interesting display of Morris, country and sword dancing,
and musical items were contributed by Miss Eleanor Deacon, Mrs. Cyril Lane and
Miss Gwen Lane.
H.C.
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46
THE BRITISH MUSIC BULLETIN
SOUTHPORT
There was an excellent attendance of members and their friends at the
"Future British Musicians" Recital given in the Southport Art Gallery on
December 14th. A most interesting programme was given. Miss Eileen Stuart-
Smith, aged 17, a pupil of Miss Sarah Andrews, of the Royal College of Music,
Manchester, showed remarkable talent for so young a singer. She has a voice of
excellent quality and should go far in her profession. To those keen on heredity
it is interesting to note that she comes of a musical stock, her father being an
accomplished musician. She is also a pupil of Mr. John Bridge, the well-known
violinist of the Catterall Quartet, and is a good pianist. Miss Phyllis Eley,
L.T.C.L., is already, at the age of 15, an excellent pianist. She is a pupil of
Miss Marian Heap, A.Mus.T.C.L., who is also a member of the British Music
Society. Her playing of Cyril Scott's "Danse Nègre" revealed a sense of rhythm
which few grown ups ever manage to attain. She won the first prize and the gold
medal for the best piano soloist under 16 at the Southport Winter Gardens
Musical Festival on January 27th. She already holds six prizes, fifteen certificates,
and the Paton Gold Medal for the Piano. Douglas K. Baldwin, aged 15, who
created such a favourable impression when he played for the Society in January
last, again showed his remarkable powers of composition and technique, and in
Allegro con Brio," from Beethoven's Piano Concerto in C minor, Op. 37, with
Mr. Fearnley at the second piano, he gave a masterly performance. In "Presto
Feroce," from his own Dych Tan Sonata in F minor, he proved once again that he
has quite exceptional gifts, and there is no doubt that later on he will join that
little band of British composers who are going to prove to posterity that England
is once again taking her old place among the musical nations of the world. He is
studying with Dr. B. Lofthouse, our Local Representative. Five choir boys from
All Saints Church sang carols in a way that must have gladdened the heart of
Mr. F. W. Dickerson, F.R.C.O., A.R.C.M., L.R.A.M., the gifted organist of that
church. Mr. Harold Brodrick proposed a vote of thanks to the artists for their
services, and gave each one a little personal helpful criticism.
66
Our next evening will be held in the Art Gallery on January 27th, at 8 p.m.,
and will take the form of a Lecture on "The Seven Lamps of Music," by
Dr. Chas. Budden, illustrated with songs by Miss Cecilia Dalton and pianoforte
solos by Miss Dorothy Mee.
B.L.
STRATFORD-ON-AVON
""
6.
On January 12th, the first Concert took place at the Town Hall. Miss
Margaret Prior and Mr. Bloomer gave the First Movement of Beethoven Sonata
in F. A group of violin solos was given by Miss Prior "Chanson de Nuit"
(Elgar), "Chinese Folk-Song" (Goossens), "Bolero (German), "Rondino"
(Beethoven, Kreisler), "Slav Fantasie (Dvorak, Kreisler),
Viennese Valse
(Kreisler). Miss Marjorie Jones (piano) played Arabesque" (Debussy),
Princess and the Pea" (Korngolds). Mr. Bloomer gave three English pieces
"Cuckoo's Call" (Cyril Scott), "Twilight Bells" (Cyril Scott), "Sunset
(Frank Bridge). The expenses of the Town Hall and piano were generously
defrayed by Major Fairbanks Smith.
On January 19th Mr. H. G. Sear gave a Lecture on " Grieg and his Music."
The illustrations at the piano were given by Mr. C. Hall, and Miss D. Wallis,
accompanied by Mrs. Howe, sang three songs, "Autumn Thoughts," "The Swan,
and "Solveig's Song." The lecture was held at the Shakespeare Gallery Rooms,
which have been kindly lent by Mr. A. Whitcombe for the whole season.
The
resident, Mrs. Roberts-West, was unable to be present owing to family
bereavement, but wrote sending her best wishes for the success of the lecture.
An Ibach grand piano has been secured for the season. Mrs. Batchelor has very
kindly sent £5 5s. towards the cost.
C. DU S.
""
WORTHING
The Choral Society, mentioned in the November issue as having been newly
instituted, was at home to members and their friends on December 17th at
www
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2
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Cabinet Models from
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On Sale at all Stores
and Music Sellers.
see the New Models
The
Great
Artists
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the World
including Dame Clara Butt
and Kennerley Rumford,
Sir Henry J. Wood, Albert
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Eisdell, Frank Mullings,
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Record ONLY
for
COLUMBIA
Records.
Columbia a
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48
THE BRITISH MUSIC BULLETIN
The Studio, when a delightful programme, consisting of Rounds (Purcell) and
Old Carols ("In dulci Jubilo," "Here we come a wassailing," "A Babe
is born in Bethlehem ") was given, this being the first performance in Worthing.
Further items were two violin solos (Coleridge-Taylor) by Miss Hensen,
Slow Trio (Hurlstone) by Mrs. Frank Cripps, Miss Hewer and Miss Walker; and
delightful Parodies on Nursery Rhymes (H. Hughes), which were charmingly given
by Miss Stanford. A collection was taken up for the purpose of starting a music
library, and the satisfactory amount of £2 13s. was realised. This was further
augmented on the evening of December 20th, when eight members of the Choral
Club went round singing carols at various houses in the district and secured 14s.
as reward for their effort. This Branch owes a debt to its Secretary, Miss Hodge,
through whose efforts the Choral Club has sprung into being, and to whom is due
F.C.-A.
the idea of starting a music library.
YORK
On January 14th, Dr. R. R. Terry, of Westminster Cathedral, lectured on
"Tudor Music,' " under the auspices of the local Centre. In the course of his
remarks, Dr. Terry said that he wished to emphasize that the idea that music was
continually progressing from relative barbarism to perfection was quite wrong.
What does happen is that the idiom changes while the fundamental truths of art
remain. He gave a short account of the various composers of the Elizabethan
period, and said that when more of their music came to be printed it would be
recognised that at that time English music was far the most remarkable in Europe.
Without exaggeration, Byrd was as great in the musical world as Shakespeare in
the dramatic and poetical; and whereas Byrd was now referred to as the English
Palestrina, he was confident that the time would come when Palestrina would be
called the Italian Byrd. The Lecture was illustrated by a choir under Mr. H. A.
Bennett, F.R.C.O., and by a string quartet. The choral illustrations were Morley's
"My Bonny Lass She Smileth," Parson's "Ave Maria," and to bear out the
lecturer's remarks on Byrd and Palestrina a "Lumen ad Revelationem Gentium,"
by each of these composers. The string quartet gave two compositions bearing the
title"In Nomine," by Parsons and Perslye..
The next event on our programme is a pianoforte and violin recital by
Mr. Wm. Baines and Mr. Charles Dunstone, on February 11th.
C.R.A,
The views expressed by the Editor, or the Contributors, are not
necessarily the official views of the Society; nor does the Editor hold
himself responsible for opinions expressed by Contributors.
The Society does not place its faith on any particular composers and
the articles and reviews are not part of a definite propaganda but are selected
in the endeavour to make the magazine both useful and interesting.
LITERARY COMMUNICATIONS should be addressed to the
Bulletin " Secretary, 3, Berners Street, London. W. 1. Although every
care will be taken to return rejected MSS. the Editor does not hold
himself responsible for loss.
RATES OF SUBSCRIPTION: One year 8s. post free; single
copies 8d. each post free. Postage 2d. to any part of the world.
New Subscribers are
recommended to place their orders for the
Bulletin " at the Bookstall Mess W. H. Smith and Messrs.
Wyman & Co.
""
1 FEB 22
RU
RU
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pp
Sical
in.
by
plete
CO.
, W.1
D
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MA
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TRY OF
N, W.
THE BRITISH MUSIC
BULLETIN
Volume IV No. 3
C.M.C. Concert
Last Year and This Year
The Cambridge Opera-
E. J. DENT
Annual Meeting
CONTENTS.
Some March Concerts
Correspondence
Foreign News
Centres and Branches
MARCH, 1922
PAGE
50
50
51
52
54
55
60
61
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THE BRITISH MUSIC
BULLETIN
VOL. IV
MARCH, 1922
No. 3
SPECIAL NOTICE TO MEMBERS.
The next Concert of the Contemporary Music Centre will be held
on Monday, March 6th, in the Drawing Room, Y.M.C.A. Headquarters,
Great Russell Street, at 8.15 (entrance in Caroline Street). The
programme will include a quartet by Vaughan Williams (first London
performance), Conversations by Arthur Bliss, quartet by Malipiero,
and new works by Stanley Wilson and Maurice Jacobson. All
London Members are invited to this concert.
LAST YEAR AND THIS YEAR
THE
HE summary of the year's work, printed in this issue of the
Bulletin, shows fairly enough that the British Music Society has
had a year of active work and has made progress really notable in
times which have not been generally prosperous. It is clear that
there is plenty for us to do and that the coming twelve months ought
to be a period of increasing growth and influence. But the balance
sheet, while hopeful in many respects, shows that the margin of
resources for the work among Centres and Branches is all too small,
and until our membership reaches nearer to ten thousand much must
be left undone which it is most desirable to do.
A little reflection will make clear that every extension of work
actually accomplished makes it easier to attract new members.
Wherefore it follows that if we can gain a big accession of strength
soon, further growth will be almost automatically ensured. It is now,
at this very moment, when the effort is required that will fairly
establish the British Music Society. We make, therefore, a definite
appeal to each and every member to win us at least one additional
subscriber during the coming year. It is not a great deal to ask, nor
should it be very difficult; yet if we could double our numbers the
way would thenceforth be clear for our progress, and our power and
influence much more than doubled.
Every member must find us a new subscriber, and to that end with
this issue of the Bulletin is enclosed a membership form. We look
confidently to the swift and effective use of it by each adherent of our
Society.
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THE BRITISH MUSIC BULLETIN
51
THE CAMBRIDGE OPERA
THE production of Dr. Cyril Rootham's opera, "The Two Sisters,"
at Cambridge on February 14th, was an event of importance for
many reasons besides the intrinsic merits of the opera itself. We
have reached a strange situation in Engl d as regards opera. Since
1914 there has been an extraordinary growth of interest in English
opera, and in opera in English. The subject is perpetually discussed in
the press, and most of us could bear witness to the state of ferment
which only finds expression privately. Yet English Opera on the
public stage is a failure. Every operatic company makes public
complaint of the impossibility of carrying on its work in modern
conditions. These conditions are not much worse in England than in
other countries. The age of Meyerbeer, Wagner and Verdi gradually
built up a tradition of opera on a scale too colossal for modern
enterprise to keep up. We thus find ourselves saddled with huge
theatres, requiring huge voices, a repertory of operas requiring huge
scenic effects and huge orchestras, and a public just ready to develop
a huge appetite for all this. This appetite can no longer be satisfied
at the price which the public is prepared to pay. The film supplies
our Ersatz, and Covent Garden becomes a Temple of the Movies.
The contemporary history of the film bears curious resemblance to
that of early Italian opera. The cinematograph began as a scientific
toy; it is now a vast industry. The plot and scenario of a modern
spectacular film has just the same extravagance and absurdity as a
Venetian opera of the nineteenth century. Shall we see a Scarlatti of
the cinema, a Glück, a Wagner, a Dubussy?
It is a remarkable
At Cambridge the professional element in opera is non-existent,
for even the professionals who took part in Dr. Rootham's work
approached it in the spirit of amateurs.
achievement that a company of which 85 per cent. were amateurs
should put on the stage a modern opera, put it on for the first time,
and play it nightly for a week. The composer himself, in his speech
to the audience on the last night, observed that it was probably a
unique experience for an English composer to see his first opera
performed six times in five days, though he thought he should in all
probability never see it performed again. Dr. Rootham is unduly
pessimistic.
66 What
Professional opera fails because professional musicians will not use
their brains to adapt themselves to new conditions. English opera
wants a Gustav Mahler to cry out to them as he did to the Viennese,
you theatre people call tradition is nothing more than your
own laziness and slovenliness!" The laziness which ruins English
opera is not so much physical as intellectual. Here places like
Oxford and Cambridge can do their duty in giving the country a lead.
Those who go to a university opera expecting something like Covent
Garden will be disappointed. But the age of Meyerbeer is over; if
opera is to be saved, it can only be saved by people who take a pleasure
in thinking out new problems. "The Two Sisters," considered as
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52 BMS Bulletins 22, p_p_1946_bbb_1922_p052 |
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THE BRITISH MUSIC BULLETIN
The fact that the
an opera by itself, presents new ideas in opera.
bad girl of the family is a high soprano and the good girl a mezzo,
while the old gentleman is a tenor and not a bass, is of no particular
importance. What is valuable is the notion of founding the whole
musical construction on a single traditional ballad-tune. One of the
most vital problems of opera is that of its musical form. Dr. Rootham
He has also evoked a
offers an original and very admirable solution.
vocal style of his own, derived largely from folk-song and from plain-
song. It has its defects; the declamation often drags when it ought to
hurry, but the whole opera gains a musical colour quite its own. Another
novelty was the ballet, based on English folk-dances; whether the
Supreme Pontiff of folk-song would have given it his blessing I do not
know, but the audience applauded it rapturously. The characteristic
quality of the opera was a certain atmosphere of chilly English spring---
it is the season in which the play is supposed to take place-and the
decoration of Mr. Lionel Primrose, as well as the production
of Mr. Dennis Arundell, intensified the pre-Raphaelite effect of the
whole. Mrs. Fausset's libretto suffers from too much desire to get a
Maeterlinckian sense of impending tragedy. The Harper (Mr. Steuart
Wilson) is the only character who gets a chance of being a real
personality. The others, especially the Knight and the Younger Sister,
are shadowy figures driven by unseen agencies, and of these unseen
agencies neither librettist nor musician ever succeed in making us really
conscious. The total result was to some critics undramatic, but this
was largely a question of tempo, and the later performances showed
great improvement. If Dr. Rootham could quicken up his dialogue
and take more advantage of that rapidity of utterance which is one of
the chief dramatic advantages of the English language, his opera
might be made more practicable for the stage. It contains much
music that is genuinely beautiful and individual. EDWARD J. DENT.
52
THE ANNUAL MEETING
THE
HE Annual Meeting of the Society was held on February 3rd
at 5 p.m. at the Eolian Hall. After the preliminary business
the Chairman of the Meeting, Sir Hugh Allen, introduced the report
on the year's work with a brief review of the history of the Society.
By a witty and effective use of a well-known short story of Mr. H. G.
Wells, Sir Hugh showed how the very success of the scheme initiated
by Dr. Eaglefield Hull, when he founded the Society, had led to the
necessity for the merging of his own work and personality in that of
the Executive Council. The name of Dr. Hull, as founder of the
Society, is henceforth placed on all documents issued by Headquarters,
and he remains, of course, a member of the Council. Sir Hugh
quoted the resolution of this body concerning Dr. Hull's work as a
fitting acknowledgment of all the British Music Society owes to him.
As it is only recently that Sir Hugh has taken an active share in
the Council's work, Dr. C. E. Wheeler was asked by him to give some
details of the work done during the last twelve months. This
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53 BMS Bulletins 22, p_p_1946_bbb_1922_p053 |
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THE BRITISH MUSIC BULLETIN
included, besides the actual beginning of the Contemporary Music
Centre, planned in 1920, the addition of sixteen new branches or
affiliated societies to those already existing. Lectures or lecture
recitals had been sent, at Headquarter's expense, to thirteen of the
Branches; ten branches had received grants of money, music or
books, while eighteen had been visited either by a member of the
Committee or the Secretary.
New undertakings at the Headquarters of the Society included the
compilation of a register of professional artists for the benefit of the
Centres and Branches in making their season's programmes, while
a classified register of compositions was also being started for the
same purpose.
53
Speaking of the Congress, Dr. Wheeler said that, though the
concerts had shown a financial loss, they had, especially the British
Concert, been of great interest, while the debates had been well
attended, resulting in very interesting speeches. The debate on
Education, in particular, had led to notable developments, all tending
to enhance the importance of music in education. For instance, the
Society had been asked from an independent source to send a
memorandum on the subject of music in education to the Board of
Education. An important event also was the tour Mr. Goossens had
undertaken to Yorkshire School Branches, which had been enormously
appreciated by the schools visited. Another move had been the
affiliation of the Society to the Conference of Educational Associations,
in which connection two excellent meetings had been held, addressed
respectively by Mr. Armstrong Gibbs and Mr. Roscoe.
In the coming year it was not proposed to hold a Congress, but
the Society hoped that an opportunity for debates and social gatherings
would be found, and suggestions would be very gladly received. It
was hoped, too, to publish a new edition of the Annual, on a scale
involving no financial loss.
Following Dr. Wheeler, the Hon. Treasurer, Mr. Lee Mathews,
presented the balance sheet, which was adopted. He pointed out that
this was the work of the late Finance Committee, to whom-and
especially to Colonel Tatton (unfortunately prevented by illness from
being present)-great gratitude was due. Mr. Lee Mathews then
proceeded to describe important changes whereby Headquarters had
become an effective instrument for the performance of the Society's
work, and paid a high tribute to the quality and abilities of the staff.
He then explained the financial situation as set forth in the balance
sheet. Every member has received a copy of this, so that it is enough
here to summarise it by saying that the Society has still not altogether
cleared itself of the debts inevitable in attempting to establish so
complex an organisation, but is in a fair way to do so.
unfailing generosity of the President, Lord Howard de Walden, has
enabled the Society nearly to reach the point at which it will be self-
supporting, and it only remains for members to make the effort
needed to turn a not very difficult corner.
The
The meeting closed with the usual votes of thanks.
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54 BMS Bulletins 22, p_p_1946_bbb_1922_p054 |
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54
Wigmore Hall
Chelsea Town
Hall
Wigmore Hall
Wigmore Hall
People's Palace,
Mile End Road
Wigmore Hall
Eolian Hall
Wigmore Hall
Wigmore Hall
Queen's Hall
THE BRITISH MUSIC BULLETIN
Queen's Hall
(R.Phil. Soc.)
SOME MARCH CONCERTS
Bach, Ravel, Ireland, &c.
Wed., Mar. 1,
at 8.15
Th., Mar. 2,
at 8.30
Fri., Mar. 3,
at 8.15
Sat., Mar. 4,
at 3
Works by Mozart, Bliss,
Holbrooke, d'Erlanger.
Dirk Schäfer, Franck, etc.
Purcell, Bridge, Bax, etc.
Sun., Mar. 5,
at 3.30
London Symphony, V.-Wil-
liams
Hatikvah, arr. Benas
Bach, Medtner, Brahms
Chelsea Town
Hall
Queen's Hall
Tu., Mar. 7,
at 8.15
Tu., Mar. 7,
at 8.15
Wed., Mar. 8,
at 3
Wed., Mar. 8,
at 8.30
Sat., Mar. 11,
at 3
People's Palace, Sun., Mar. 12, Symphonic Variations,
Mile End Road at 3.30
People's Palace, Sun., Mar. 19, Two Lincolnshire Songs,
Mile End Road
at 3.30
Queen's Hall
Mon., Mar. 20,
at 8
Part Songs, Folk Dances
Bach, Korngold, etc.
Piano Recital
Symphony 2, Beethoven,
Tod und Verklärung, Strauss
Dance Rhapsody, Delius
Concerto 3, S.-Saëns.
Th., Mar. 23,
at 8.30
Parry
Pianoforte Concerto
D minor, Brahms
Three Dances (Faust)
Berlioz
*1st performance.
+Ballad of the Gnomes,
spighi
Till Eulenspiegel, Strauss
Symphony No.5, Beethoven
Th., Mar. 23, Overture, Die Meistersinger
at 8
*Requiem, Delius
Symphony No.9, Beethoven
Works by Brahms, Elgar,
Holbrooke, Heath
Bett
Symphony No.8, Beethoven
*Overture, Bronwen,
Holbrooke
E. Howard-Jones
P.S.Q.
Dirk Schäfer
Irene Scharrer
Adrian C. Boult
B.S.O.
Meredyll Trio
Oriana Madr. Soc..
Isolde Menges
Walter Rummel
Sir H. Wood
N.Q.H.O.
Thibaud
Adrian C. Boult.
Harold Samuel
B.S.O.
Adrian C. Boult.
B.S.O.
Albert Coates
L.S.O.
Overture, Tannhäuser,
Wagner
Albert Coates
Philharmonic
Sat., Mar. 25, Prelude Chorale and Fugue,
at 3
Bach
Scheherazade, R.-Korsakov
Concerto, A minor, S.-Saens
Two Nocturnes, Debussy
People's Palace, Sun. Mar. 26, Prelude Act 3, Wreckers, Adrian C. Boult
Mile End Road at 3.30
Choir
P.S.Q.
H. Sharpe
John Goss
Sir H. Wood
N.Q.H.O.
Suggia
Smyth
Scheherazade, R.-Korsakov B.S.O.
†1st performance in England.
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THE BRITISH MUSIC BULLETIN
55
MEMBERS' RECITALS OF THE PAST MONTH
Mr. Norman Wilks gave a series of four concerts last month at
the Steinway Hall. The programmes were extremely interesting and
the audiences good. Mr. Wilks is at his best, perhaps, in his pianissimo
work. He possesses a strong sense of rhythm and a fine technique,
but should beware of letting these obscure his sense of form.
Miss Margaret Tilly gave a Brahms recital (in conjunction with
Miss Calista Rogers) at the Wigmore Hall on February 16th. She
showed an increased mastery over her instrument in attacking such a
work as the Variations on a theme of Handel.
Mr. Herbert Bedford gave a very interesting lecture at Leighton
House on February 16th on Unaccompanied Song. He pointed out
that composers to-day tend increasingly to let instrumental parts
encroach on the voice: he was there to plead for the single vocal line
for songs of a more complex type than the folksong, and employing a
more modern musical idiom. Illustrations were beautifully sung by
Miss Dora Labbette and Miss Esther Coleman, five of them composed
by the Lecturer.
Miss Eunice Westhead gave her first London recital at the Eolian
Hall on February 1st, assisted by Miss Chilton-Griffin. Miss
Westhead is the possessor of a fine voice which was heard to advantage
in Welsh and Irish folksongs, but lacks the experience for such a song
as the Erlkönig.
CORRESPONDENCE
To the Editorial Committee
99
SIRS, In a notice of some songs by Malcolm Davidson, your
reviewer, D.D.A., throws off the remark that John Ireland and Eugene
Goossens "at times do not realise the necessity of respecting the
spirit of the poems which they set to music. Is not criticism of this
kind rather childish, and hardly what one would expect to read in the
Bulletin of the British Music Society? And which of the two is more
probable: that sensitive musicians like Mr. Ireland and Mr. Goossens
fail to realise such an obvious necessity in song-writing, or that your
reviewer fails to understand the spirit of their music?
Yours, etc.,
R.S.E.
UNACCOMPANIED SONG
To the Editorial Committee
DEAR SIRS, Several composers have already joined me in making
experiments to ascertain how far song of a more complex type than
folk-song, and employing a more modern musical idiom, can be
composed, in such a way that the single line of the voice may suggest
its own atmosphere, contain its own ornament, and either suggest to
the listener its underlying harmony, or give him the desirable
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THE BRITISH MUSIC BULLETIN
impression of completeness without necessarily suggesting harmony
at all. They are Cyril Scott, Frederic Austin, Eugene Goossens,
Arthur Bliss, and Jane Joseph. The unaccompanied voice, however,
reveals itself in a manner so arresting and convincing that as it
becomes better known many another composer will assuredly explore
its possibilities.
56
The illustrated lecture that I recently read at the Society of
Women Musicians, and repeated at Leighton House, is to be given to
the literary audience of the Poetry Book Shop, Devonshire Street, on
March 2nd, and I should be willing to give it at a limited number of the
British Music Society Centres, and bring a singer for the illustrations,
provided that they pay the singer's fee.
The singers who have either already sung these unaccompanied
songs, or are doing so in the near future, are Mignon Nevada, Dora
Labbette, Dorothy Moulton, Esther Coleman, Anne Thursfield,
Grace Crawford, Félice Lynn, Mary Hilliard, Gladys Morgan, and
Hubert Eisdell.
Yours faithfully,
HERBERT BEDFORD.
ENTERTAINMENT TAX AND STUDENT PERFORMANCES
To the Editor
SIR, The Prime Minister was approached in January with regard
to the hardship entailed on Student Performances by the exacting of
Entertainment Tax. In my letter I submitted that such performances
were wholly educational to the performers, were not intended to be
entertainments, and were attended by the audiences for the purpose of
seeing how the education of the students was being carried on in the
art of music, acting or dancing. Owing to the heavy increase in
the cost of giving concerts, or stage performances, compared with
pre-war days, while the audiences remain limited to those interested in
the education of the students, the absorbing of a sixth of the receipts
by the entertainment tax has made it almost impossible for teachers
to carry on this important branch of art education.
In his reply, the Prime Minister "regrets that he is unable to add
anything to the answer given by the Chancellor of the Exchequer."
The correspondence in my possession shows that the justice of the
request has never been called in question by either the Commissioners
of Customs, the Board of Education, the late Chancellor of the
Exchequer, the present Chancellor, or the Prime Minister, all of whom
have in turn given the matter their consideration.
In an interview which I had with a representative of the legal
department of the Customs, it was stated, that counsel's opinion had
be obtained on my submission that, student performances being
wholly educational as regards the performers (which was admitted),
were exempt from the tax under section 1 (5) (b). The Government's
legal advisers had given their opinion that the performances must be
wholly educational" to the audiences.
66
66
While stating that the
Customs must act on that advice, he agreed that every law case was
receded b
The Bo
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57 BMS Bulletins 22, p_p_1946_bbb_1922_p057 |
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PELODY
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explore
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THE BRITISH MUSIC BULLETIN
57
preceded by two counsels' opinions and admitted the possibility of a
Judge deciding that my contention was perfectly correct.
The Board of Education, on being appealed to, gave it as their
"opinion" (presumably based on the same legal advice) that the test
must be applied to the audience.
One of the Commissioners of Customs, in a personal interview,
admitted that student performances were in a different category from
ordinary entertainments, and stated that after the evidence I had
submitted he would not hesitate to grant exemption to public
institutions under section 1 (5) (d) as being "partly educational."
This concession was put in writing, as a definite undertaking to give
favourable consideration to applications from such institutions.
The whole question was then laid before the then Chancellor of
the Exchequer, Mr. Chamberlain. In a long letter it was stated that
the Chancellor had no power under the existing law to grant
exemption to private teachers for student performances, and he
regretted that he did not see his way to introduce amending legislation
on the lines proposed, for the following reason :—
If the provisions of the existing law were amended, so as to
allow the grant of exemption for entertainments which are educational.
only by reference to performers, the concession could not be limited to
pupil concerts and class performances. It would apply also to any
and every entertainment, which was provided for the purpose of giving
performers an opportunity of developing their talent.
A further objection was raised that such exemption would
naturally provoke strong opposition from professional entertainers.
As I was in a position to produce evidence that, on the contrary, the
exemption for which I asked would meet with no opposition whatever,
either from the leading concert managers, theatrical managers or
film proprietors, this particular objection was withdrawn.
Upon this a barrister was kind enough to draft a clause which
provided the necessary limitation. After submitting it I received the
following reply: The question of limitation is not one of drafting
but of fact.
On taking preliminary steps with a view to the new clause
being brought forward during the Finance Bill debate, I received a
letter, from which it was obvious that the present Chancellor of the
Exchequer would oppose the measure, so the attempt had to be
abandoned.
Legislation was finally introduced to exempt film trade shows,
"which were not really intended as entertainments," and agricultural
shows,
"which the public attended for the purpose of seeing how
agriculture was being carried on."
It seems a matter for regret that the fostering of art education
should not be considered of the same importance as the fostering of
film production and agriculture.
I am, &c.,
Savage Club.
STERLING MACKINLAY.
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58
THE BRITISH MUSIC BULLETIN
MEMBERS' RECITALS
On Thursday, March 9th, at 8.15 at the Wigmore Hall, Madame
Munthe-Kaas will give a Song Recital, assisted by Mr. Backer
Gröndahl. She will give a group of famous Beethoven and Schumann
Lieder, two groups of Norwegian songs, and one of modern English,
comprising Harrison, Bax, Delius, and Martin Shaw.
Mr. William Murdoch's programme at the Wigmore Hall on
March 11th, at 3 p.m., is notable for a group of Spanish pianoforte
works.
On Wednesdays, March 15th and 29th, at the Eolian Hall at 8.15,
Mr. Gerald Cooper will give Concerts of Old English, Italian and
German harpsichord, violin and vocal music, assisted by Mr. Godfrey
Ludlow and Miss Dorothy Helmrich.
Miss Clarisse Speed will give her fifth Lecture-Recital at Kingsway
Hall on Saturday, March 18th, at 3 p.m. The subject will be
"Concertos Old and New, their many pleasures; music's new
awakening by Moussorgsky, and what has come of it, etc." The
illustrations will include Bach's Concerto in A minor, for solo violin
and string orchestra, and the second performance of Bliss's Concerto
for pianoforte, tenor voice, strings and percussion. Mr. Bliss will
conduct, and Miss Winifred Smith and Mr. Steuart Wilson will also
assist Miss Speed. Dr. Borland will conduct a Choral Interlude led
by school choirs.
On Thursday, March 2nd, at 37, Gordon Square, W.C. 1 (by kind
permission of Mrs. Robinson-Smith), Miss Mary Barber will give a
Recital of her own compositions for pianoforte, violin (Madame
Henriette Schmidt) and voice.
The Society has sustained this month a very severe loss by
the death of two of its Vice-Presidents. Sir E. E. Cooper, Bt.,
the late Lord Mayor, was at one time Master of the Worshipful
Company of Musicians, and was well-known as the friend and
benefactor of countless musical organisations. Many of our
members will have pleasant recollections of the reception Sir
Edward generously gave to the Society at the Mansion House,
during the Congress of 1920, and this was one of many
kindnesses shown during his Vice-Presidency.
Sir John McClure's keen interest in all educational questions
was too well-known for comment. He was of the small army
of those who are fighting to win for music a recognised place in
schools, and always showed great sympathy with this side of the
Society's work. In his double capacity of Headmaster of a
great Public School and distinguished musician, we shall find
him hard indeed to replace.
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English
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THE BRITISH MUSIC BULLETIN
59
THE NEWCASTLE BACH CHOIR
for the purpose of performing Bach's choral music with vocal and
instrumental forces approximating to those used by the master
himself. It is acknowledged that the present-day practice of having a
huge choir does not give an opportunity for instrumental and vocal
bodies to be balanced in the way intended by Bach, and that many
effects he aimed at are lost. At first, the Choir consisted of 24 voices.
As eight-part choruses were frequently sung, it was found advisable, in
order to make allowance for temporary weakening of the Choir, through
illness and other causes, to strengthen it to 40. There are ten voices
to each part. During its seven seasons the Choir has given both
Passions, the Christmas Oratorio, all the motets, 40 cantatas, besides
a good number of instrumental works, and the B Minor Mass will be
given before the season is ended. The Matthew Passion, for instance,
was given entire, Part I. in the afternoon, Part II. in the evening,
with a choir of 40 (exclusive of ripièno sopranos) and an orchestra of
26. In addition to Bach much attention has been given to British
music, ranging from Byrd's Five-part Mass to Holst's "Hymn of
Jesus," and including works by moderns such as Vaughan Williams,
Bantock, Davies, Dale, Balfour Gardiner, Howells, Boughton and
Bainton.
One branch of the Choir's work is the institution of a series of
cheap chamber concerts, at which such parties as the London and
Catterall string quartets appear, and where programmes are of an
eclectic nature, care being taken to include at least one British
composition at each concert. All the concerts in connection with
the Choir, whether chamber or choral, are given at low rates. Through
the willing co-operation of the authorities, performances of Bach's
church music are given regularly in Newcastle Cathedral. In London
three motets, six church cantatas, and a number of chorales will be
given
[We regret that we must go to press too soon to give a report of
the two concerts of this Choir, conducted by Dr. W. G. Whittaker, and
held at the Eolian Hall, on February 22nd and February 23rd, but
they will be reviewed in April.-Ed., Bulletin.]
AN ENTERPRISING BOOKSELLER
English booksellers are not as interested as they might be in
music and the literature of music. All the more commendable,
therefore, is the enterprise of Mr. Harold Reeves, of 210, Shaftesbury
Avenue, who issues regularly a catalogue of "rare and interesting
musical works, and whose last list fully deserves both these adjectives.
>>
Headquarters would be very grateful for any copies of the January,
February, March, May, August, and September numbers of 1921
Bulletin, as these are now out of print. Postage will be refunded!
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60
THE BRITISH MUSIC BULLETIN
FOREIGN NEWS
Mr. Ernest Whitfield, one of our Hampstead members, is leaving
England immediately to give a series of violin recitals in Berlin and
Vienna. His programmes will include Sonatas by Bax, John Ireland,
Elgar, and Goossens; also works by Medtner, César, Franck and
Lalo, Brahms, and Mozart.
The Léner String Quartet is to give concerts at the Wigmore Hall
on March 15th and 23rd, and April 1st. A special feature is being
made of modern music, and works have been written for them by
Respighi and Malipiero. During a five weeks stay in England they
will, besides playing quartets both classical and modern, be associated
in quintets with Solomon, and also with Olga Loeser-Lebert, grand-
daughter of Siegmund Lebert, the famous pianist and chief founder of
the Stuttgart Conservatorium.
CAIRO.
Cuttings from December numbers of the Egyptian Mail tell us of
extraordinarily interesting programmes of concerts lately given.
These include Holst's "Beni Mora," Vaughan-Williams' Fantasia on
a theme of Tallis (just published by Goodwin & Tabb), Howell's
"Puck's Minuet," and Hurlstone's Pianoforte Quartet in E minor.
SYDNEY.
The Second Annual General Meeting of the Sydney Centre of the
British Music Society was held in the Conservatorium of Music on
Monday, December 19th, Mr. Alfred Hill presiding.
After retiring in accordance with the rules, Mr. G. Faunce
Allman, Hon. Treasurer, Mr. Wilfred Arlom, Hon. Secretary, and
Mr. Roland Foster were re-elected, and Mr. J. Hugh McMenamin
and Mr. Lindley Evans were also elected to the Committee. The
resignations of Mrs. Alfred Hill and Mr. Arthur L. Benjamin
were accepted with regret.
A sub-committee consisting of Mr. Wilfred Arlom, Mr. J. Hugh
McMenamin, Mr. Cyril Monk, and Mr. Arundal Orchard, was appointed
to select music for the new library, and a comprehensive collection of
music should be available very shortly.
It is hoped this year to embark on a vigorous policy of lectures,
discussion evenings, etc., a special feature being made of the old
English masters.
The membership of this Centre has more than doubled itself
during the past year.
During January and February, the summer holiday season, very
little music of note is to be heard in Sydney, and the State Orchestra
is at present on its way to New Zealand for a two months tour of the
Dominion, after which Mr. Henri Verbrugghen will, it is announced,
leave for Europe, via America, for a six months holiday, the Orchestra
returning to N.S.W. and continuing its work under a deputy conductor
to be appointed shortly. The name of a well-known English
conductor has been mentioned in this connection.
W.A.
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THE BRITISH MUSIC BULLETIN
CENTRES AND BRANCHES
BATH
In the Pump Room, on January 26th, Mr. T. F. Dunhill spoke on "The
Principles of Chamber Music" to an audience which, in spite of the influenza
epidemic, was good. Like the recent recital by Mr. Tom Goodey, this event was
under the combined management of the Pump Room authorities and of the
British Music Society. Mr. Dunhill is already personally known to the musical
section of Bath as a judge in the Mid-Somerset Musical Competitions. In his
lecture the work of Mozart and of Attwood, of Beethoven, of Schumann and of
Brahms, in developing Chamber music, and the work of Sir Charles Stanford and
of pupils of his in reviving it in England, were dwelt on. Illustrations were well
given by Mr. Jan Hurst, the musical director of the Pump Room, and by the
Pump Room String Quartet-Mr. John Roberts, Mr. S. Watkinson, Mr. E. Kierton
and Mr. Lionel Taylor.
61
The other event to record since our last Bulletin is the Recital by a native and
local composer, Miss Maud Wingate ("Carlyon de Lyle"), of some of her own
pianoforte and violin compositions, and the singing of her songs by Eelin O'Neill,
a representative of the British Music Society in Spain. Miss Wingate, who is
from Bristol, has studied music in England, and much of her work expresses ideas
associated with local history or legend-for example, "Blaise"
"The
(a suite),
Coming of the Romans" and Aqua Sulis." John Alleyne prefaced Miss
Wingate's music by an address, in which he advocated a movement towards
enabling the British Music Society to control in some measure our national song
and dance music, it being a deplorable fact that their standard is determined more
and more by publishers. As an instance of the taste resulting, John Alleyne,
who is a West Countryman and intimately connected with recent Glastonbury
discoveries, mentioned having seen in a music shop lately an "Avalon
66
Fox-trot"!
F.B.
BELFAST
On January 27th Mr. F. H. Sawyer, Mus.Bac., F.R.C.O., gave members and
their friends an Organ Recital at Queen's University. It was a fine programme,
finely played on a fine instrument, and was deeply appreciated by an audience
which certainly should have been larger. There were two choral preludes and a
fugue in D minor by Bach, all, of course, grand in the old sense of the term, and
the rest was modern English organ music. The big things were Harwood's lovely
Sonata in C sharp minor and James Lyon's first Suite. The other items, which
varied somewhat in interest, included a Legend by Alcock, an Adagio by F. Bridge,
a Scherzo by Turner and an Impromptu by Coleridge Taylor. At the close
Mr. Sawyer received the warm thanks of the audience for his musicianly skill.
G.H.F.
Influenza interfered effectively with the arrangements made for the meeting on
February 10th, but fortunately good musicians were forthcoming to fill the
vacancy, and in the result a really capital programme was provided. Miss Patteson,
an English violinist, gave Svendsen's Romance" and McEwen's "Breath of
June" and "The Elm Shore." The two McEwen solos were specially enjoyed.
Mrs. Herbert Warnock and Mrs. D. R. Taylor impressed all pianists present by
their rendering of a Prelude, Nocturne and Dance of York Bowen's. The Branch
is to be congratulated on possessing amongst its members two such performers.
Mr. John Vine's singing of Bach's "Fast my bitter tears are flowing" was very
effective and much appreciated. As final items, Mr. Vine contributed Balfour
Gardiner's "When icicles hang by the wall" and Cyril Rootham's "Noel." The
Secretary, Miss McAlery, read an interesting paper on "Early Irish Music."
The next meeting will be held on March 10th, when songs from Dr. Fellowes'
edition of Dowland and Ford will be sung, and examples of Elizabethan Virginal
Music will be played.
BIRMINGHAM
R.N.
On Thursday, January 26th at the Mecca Café-Open Social Evening. In
spite of weather conditions, there was a good audience. On the other hand,
however, the programme had been thinned, five out of the eight soloists having
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THE BRITISH MUSIC BULLETIN
succumbed to influenza. The better feelings of artists and audience came to the
rescue, some of the former singing or playing twice as many items as they
had promised, and some of the latter volunteering their services. And indeed, the
A group
informality of the evening lent a special enjoyment to the occasion.
of Hebridean Folk Songs from Mrs. Cranston; songs by Ireland and Liza Lehmann
from Miss Gladys White; Liszt's "The Loreley," and an Ireland song from Miss
Emily Broughton evoked generous applause; Mr. Lester's songs by Ireland, Scott,
and other British composers were much appreciated. Great interest was felt in a
Suite of three Fantasies, composed and played by Mrs. Hyde (Mabel Hyde Bourne),
and by request the last of the three, Aspens," was repeated.
"Dies Irae: 1914," later in the
played another of her compositions, a Rhapsody,
evening, and so scored a second success. A very touching tribute was paid to the
late Julian Clifford by Miss Winifred Browne, who played one of his Preludes.
Altogether, the Social was very enjoyable. Five new members were registered.
66
Mrs. Hyde
H.G.S.
62
BLACKHEATH
66
A Social and Musical Meeting was held on Saturday afternoon, January 14th, at
3, Lansdowne Place, Blackheath, by kind permission of Mr. and Mrs. Robert Whyte.
A large number of members and friends attended. The musical programme was
provided by Mr. Gerrard Williams, who played two sets of his own pianoforte
compositions, and by Miss Phyllis Taylor, who sang an admirable selection of
French and English songs, accompanied by Miss Josephine Smith. Miss Taylor
opened with "Seule (Hahn), "Laments" and "Extase" (Duparc), and
"Les Couronnes "
Mandoline" (Debussy); her second French set including
and
"Le Secret"
"Fleur Setée"
(Chausson), "Au Désert" (Rhené-Bâton),
(Fauré); her interpretation and the flexible quality of her voice were excellent,
and heard to special advantage during the second set of songs, Les Couronnes "
being greeted with exceptional applause. Mr. Gerrard Williams' compositions
were all of the impressionist kind, the first set, "Pot Pourri," being musical
illustrations of four short lyrics which he read to the audience; these were
followed by two Preludes, "Solitude" and "Autumn," and "The Isle" (after
Shelley). His compositions, whilst showing a strong vein of originality in
technique and harmonic structure, were full of brightness and melody, whilst
some of the "Pot Pourri" set indicated a distinct sense of humour. Miss Taylor
concluded with two songs of Coleridge Taylor, Brittany" (Farrar), and
"Linden Lea" (Vaughan Williams), the last named being encored.
interval for tea the Annual Meeting followed, at which the Rev. Cyril Winn and
Mr. Axel Pharo were elected Vice-Presidents of the Branch, the whole of the
Committee being re-elected.
After an
Mr. B.
An informal"Folk Meeting" was held on Saturday evening, February 18th,
under the leadership of the Rev. Cyril Winn, at the Blackheath Press" Rooms,
the present headquarters of the Branch. An original feature of the meeting was
the contribution of several items by the audience, who joined heartily in the
rendering of rounds and folk songs mainly drawn from the " Fellowship Song
Book." In addition, some modern madrigals were sung by the "Rondel" singers
(Miss E. Waddington, Miss E. Tibbitts, Mr. C. E. Dodge and Mr. P. D. Beadle),
Mr. and Mrs. Cyril Winn contributing a pianoforte duet of Fauré.
McCara Symons opened the proceedings with a brilliant rendering of the Brahms
E flat Rhapsody for pianoforte, and closed with the Chopin F sharp Impromptu,
both his contributions meeting with long applause. In the course of the evening
the Local Representative spoke of the new activities of the Branch, which is now
being run as a musical club in the district; he asked all performing members to
take the opportunity of meeting together for ensemble playing both in public and
informally. A Chamber Music Concert provided by the Oxford and Cambridge
Musical Club has been arranged for Wednesday, March 29th.
B.E.C.D.
66
BLACKPOOL
An Organ Recital of British Music was given in connection with this Centre
on Friday, January 27th, in the Parish Church, by Mr. H. Goss-Custard,
Mus.Bac. (Oxon), organist of Liverpool Cathedral.
The distinguished recitalist
played with delightful technique and finish a number of works by Smart, Wesley,
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THE BRITISH MUSIC BULLETIN
Harwood, Wolstenholme, Hollins, Stanford, Bairstow and Lemare, and expressed
his satisfaction with the fine workmanship of the Willis organ. On January 22nd
a special Recital of works by Mr. William Faulkes, of Liverpool, was given
on the same organ by Dr. Wood, assisted by Mrs. J. H. Shorrocks (violinist).
Both recitals were well attended. The Centre also organised a demonstration of
British Folk-dances, in the Central Library on Friday, February 3rd. Sir Cuthbert
Grundy presided, and Mr. F. C. W. Taylor gave an interesting paper on the
revival of British folk-dances, under the guidance of Mr. Cecil J. Sharp. Several
charming types of sword, morris nd country dance were given by Mr. Taylor,
assisted by Miss A. M. Fletcher, Mr. H. J. Huskinson, Mr. H. Gregory and many
others, the tunes being played by Mrs. Huskinson. A vote of thanks to the
dancers, proposed by the President and seconded by Mr. Sweeten, brought a
most enjoyable evening to a close.
F.H.W.
63
BOURNEMOUTH
The Annual General Meeting was held in Holy Trinity Parish Hall on
January 21st.
In the unavoidable absence of the President (Lady Morrison-Bell,
who was again elected President) the chair was taken by Mr. T. Beechey Newman.
After the business had been disposed of, the rest of the afternoon was devoted to
a conversazione and tea, to which members' friends were invited. This scheme
was such a success last year that it was decided to repeat the experiment again on
this occasion, and, although again successful, the attendance was rather smaller
owing to the atrocious weather. A most enjoyable programme of music was given
during tea as under:-Vocal quartets (unaccompanied), (a) "Now I see thy looks
were feigned" (Thomas Ford, 1607), (b) "This sweet and merry month of May"
(W. Byrd, 1590), (c) "In these delightful and pleasant groves
" (Purcell)
(Mrs. McGowan, Miss Annette Blackwell, Mr. Tallis and the Rev. H. McGowan);
pianoforte solos, (a) Mountain Brook" (Cyril Scott), encore (b) "Capriccio
(Mendelssohn) (Miss Nora Bradbury, A.R.A.M., A.R.C.M.); vocal quartets,
(a)"Shall we go dance?" (Stanford), (b) An Eriskay love-lilt" (Hugh Roberson),
(c) "You stole my love" (MacFarren); violin solos, "Three Macedonian sketches"
(J. R. Heath) (Miss Pauline Stock, Mus. Bac.); pianoforte solo. "Scherzo" (Brahms)
(Miss Nora Bradbury). At the conclusion of the meeting the Chairman proposed a
hearty vote of thanks to Mrs. Lucas for her generosity in providing tea, and this
was carried with acclamation. The Centre is to be congratulated on its steady
growth as revealed by the Treasurer's report for the past year.
This shows that
the number of members-Associates. Bulletin Associates, etc.-had increased
from 165 in 1920 to 220 in 1921, and that there was a balance of nearly £90
standing to the credit of the Centre.
S.H.G.
56
BOURNEMOUTH CONSERVATOIRE OF MUSIC
The third Annual General Meeting of the Bournemouth Conservatoire of Music
Branch of the British Music Society was held at the Conservatoire on Tuesday,
January 24th. The following officers and members of Committee were elected for
the ensuing year:-President, Mr. Hamilton Law; Hon. Secretary and Treasurer,
Miss Alberta Gledstanes; members of Committee, Mr. Hamilton Law, Miss Craigie
Ross, Madame Alice Harding, Miss Olive Curtis, Miss Vera Nettle, Miss Leila
Stonnell. Mr. Hamilton Law put forward the suggestion that the different school
Branches of the town should meet and give joint concerts, thus conducing a friendly
competitive spirit which would further the work of these Branches.
BRADFORD
A.G.
A very interesting meeting of the Branch was held in the Bradford Mechanics'
Institute on Thursday, January 19th, Mr. Edward Haley taking the chair.
Mr. York-Bowen, the well-known composer-pianist, gave a causerie on "The
Pianoforte Music of the Younger British School," with illustrations from the
works of the following more or less well-known British composers:-Paul Corder,
John Ireland, Herbert Howells, Felix Swinstead, Arnold Bax, Sydney Rosenbloom,
Frank Bridge, B. J. Dale and the lecturer himself. Amongst the better known
works, Bridge's "Fireflies" was accorded an enthusiastic reception, as were also
Ireland's "Island Spell" and "Merry Andrew." Howell's "Procession" is here
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worthy of mention as being a prize piece in one of Mr. Bowen's competitions.
Felix Swinstead was described as "distinctly Chopinesque."
64
On Thursday, February 2nd, Mr. T. Harding Churton, who is so closely
connected with local orchestral matters, gave a short Address on "Orchestral
Concerts." The lecturer pointed out that the Leeds concerts, with which he is
The reason, he said,
so closely connected, had now been put on a paying basis.
was the choosing of programmes to suit the public taste. Mr. Churton emphasised
the importance of not having too many novelties, one per programme being ample.
Anything new was always better received by an audience whose minds had been
put into a state of receptiveness by something which they had enjoyed, i.e.,
popular. Another point which was emphasised very strongly was the choosing of
some work to close the programme which was also very popular, thus making the
public "want more." Programmes were passed round which had been chosen by
the lecturer, and which fully carried out his principles.
J.E.
BURNLEY
On Friday, January 20th, the evening was devoted to "Music for Strings."
Mr. Bateson conducted an orchestra of twenty players. The compositions were
well chosen-Purcell, Bach, Mozart, Greig, Tchaikowsky and Victor Herbert.
The playing throughout was of a high order and appealed strongly to a most
appreciative audience. Miss B. A. Halstead, soprano, sang two 17th century
songs, one by Henry Lawes, "Amidst the Mirtles," and also "Have you seen but a
whyte lillie grow?" (Anon.). Later she gave "Nobil Signor," from "Les
Huguenots." She has a well trained voice and good expression. Miss K. A.
Hartley, who has the pure contralto tone, gave "Ombra mai fu" (Handel) and
"The Sands of Dee" (Clay). The tenor, Mr. Frank Kippax, has a voice of robust
quality. He shows a careful training. His singing of "An Autumn Thought"
(Massenet) and "O, Land Enchanting" (from "L'Africana ") was in good taste.
Mr. John A. Herbert was the accompanist.
She
The meeting on January 27th was in the hands of Mr. W. Butterworth. The
subject was "Modern Chamber Music." The well-known local Clef Club String
Quartet gave pieces by Dvorak, Debussy, Tchaikowsky, Bridge and Grainger.
Their playing was the feature of the evening. Mr. J. W. Berry, tenor, sang the
song cycle, "On Wenlock Edge," Part I (Vaughan Williams). He maintained an
excellent tone throughout. Miss Doris A. Barker was the solo pianist.
gave (a) Rhapsody. (b) "Island Spell" (John Ireland), and (a) "Fireflies" and
(b) "Capriccio," No. 2 (Frank Bridge), and is to be complimented on her
performance. Mr. Bateson accompanied the vocalist. The audience was most
attentive and showed marked appreciation of a somewhat advanced programme.
Mr. Butterworth's musical knowledge served him in good stead, and his comments
were most helpful, suiting the occasion.
J.A.H.
EASTBOURNE
The second General Meeting was held at the Mayor's Parlour on January 25th,
when the President (the Hon. Lady Henniker-Heaton) and the Hon. Secretary
and Treasurer (Miss Rendle) were re-elected. Two Vice-Presidents were also
elected (Mrs. Hornby Lewis and Mr. Alderman Keay, J.P.), and also a School
Representative (Miss W. J. Wilson). In place of three retiring members of
Committee the following were chosen by ballot :-Mrs. Larking, Mrs. Warren and
Mr. Alcock. The last named having requested to be excused, the next on the list,
Mrs. Lindsay-Blee was afterwards invited by the Committee to fill the vacancy.
The financial statement, kindly audited by Messrs. Soddy, Partridge & Co., was
read, and a balance of £10 17s. 5d. shown. The report of the Centre's activities
since its inauguration in September, 1920, includes particulars of eight concerts
and lecture recitals; of a conference re the better support of the splendid
symphony and classical concerts given by Captain Amer's orchestra at Devonshire
Park; of the coming University extension lectures by Mr. Percy Scholes, in
collaboration with the British Music Society, which has undertaken the musical
illustrations; and the assistance given in the formation of a music section at the
Public Library. One hundred and seventy-two people have joined the Centre, half
of these being full members. It is hoped to give six concerts during 1922, and to
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start a club for members and associates for the informal discussion and performance
of music. The first concert takes place on February 21st, when Mrs. Lyster Todd
gives songs by Coleridge Taylor, Hamilton Harty, Cyril Scott and Lily Rendle,
who will accompany her own four numbers. Mr. Robert Taylor will give pianoforte
solos, and Mr. Sutherland Mackay violin solos. Of Mr. Percy Scholes' lectures
four of the twelve have now been given, and the musical illustrations by
Miss Eileen Lyons, Mr. London Granville, Miss Rendle and Mr. Dear, with
members of his choir, have been fully appreciated. At the next two lectures, on
Thursday, March 2nd, Mr. Granville and Miss Rendle will give examples of
Elizabethan songs and keyboard works, and Miss Rendle at the piano will
illustrate the lecture on "How big pieces are made." Two extra practice recitals
of pianoforte music are also being given between the fortnightly lectures.
L.R.
65
GLASGOW
The activities of this Centre have during January been confined to the
completion of the series of five lectures given by Mr. Julius Harrison as
introduction to the concerts of the Scottish Orchestra, of which he is co-conductor
with Sir Landon Ronald. The first was on "Brahms and the Classical
Symphonists," and Mr. Harrison showed how Brahms continued and developed
the symphonic form in succession to Beethoven. With Brahms form and beauty
,,
of idea came first and colour second, which accounts for the "austerity" with
which he was so long credited. In the next lecture Mr. Harrison's subject was
"Scriabin and Debussy." He gave many interesting details regarding the
two composers, and defined their places in the evolution of music. Debussy led
the inevitable reaction against the magnitude and the weightiness of the works of
Wagner and other modern Germans. Scriabin's music is more tangible in quality
than Debussy's, although-paradoxically-he was the great spiritualist in music.
The Poème de L'Extase was his high-water mark as a composer, and its final
chord seems to suggest the absolute triumph of soul over matter. The last lecture
was devoted to Modern British Composers," and Mr. Harrison showed clearly
how men like Elgar derive their musical descent from the old English idiom as
shown in such tunes as Sumer is icumen in. The Lecturer dwelt at length on the
characteristics of John Ireland, Arnold Bax, Gustav Holst and Eugene Goossens.
He made it clear to his audience that his sympathies are strongly with evolution
rather than revolution in music, and his point of view was endorsed by their
hearty applause.
Α.Ε.Τ.
HAMPSTEAD
Three more public concerts and the first of our informal evenings for members
and their friends have given the Executive and Concert Committees plenty to do..
It were invidious to single out any particular artist or performance for separate
mention; nor do I feel inclined to blame those alleged music lovers in Hampstead
who still do not come to our concerts, for the fact of their missing what they do
miss is a punishment in itself. In December the Philharmonic Quartet gave
us the Bax String Quartet and the Dvorak Piano Quintet with Miss Gertrude
Peppercorn, who also played a group of solos; Miss Dorothea Webb was the singer.
In January the Grimson Quartet played Beethoven and a modern English group;
Miss Jessie Grimson and Mr. Arthur Alexander were heard in the Elgar Sonata,
while Mr. Alexander accompanied a group of his own songs which were sung by
Mr. Norman Notley, who also gave us three of the Holst songs for voice and violin
(Mr. Charles Woodhouse), and a group of French songs.
On February 15th, Mme. Lily Henkel, M. Desiré Defauw, M. Raymond
Jeremy, and M. Emile Doehaerd took part, along with M. Louis Fleury, who
was very warmly welcomed, and Mr. John Buckley in a programme containing
works or songs by Chausson, Dvorak, Blavet, Julius Harrison, Debussy,
Inghelbrecht, Purcell, etc.
At the informal evening early in February, Miss Frances Coopman, Miss
Margaret Fairless, Miss Grassi and Miss Vance opened this series with a Mozart
Piano Quartet; the first two also contributed a group of solos each, and the three
string players joined Mr. Eric Cundell in a performance of his MS. piano quartet,
whose charm is not diminished by a second hearing.
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THE BRITISH MUSIC BULLETIN
In spite of the excellence of the programmes, the result, owing to lack of
support chiefly, has been a heavy financial loss on our first five concerts, and
the Centre finds itself severely handicapped in its efforts to assist musical
decentralisation.
A.L.B.
66
HASLEMERE
A very successful Concert was given on February 4th at the Public Hall. It
was well attended, a thoroughly representative British programme was listened to
with keen attention, and the fine artists who appeared were received with
enthusiasm. Mr. Steuart Wilson gave three sets of songs, by Armstrong Gibbs,
Cyril Scott, Dalhousie Young, Vaughan Williams, and various folk-songs arranged.
Miss Winifred Small and Miss Denise Lassimonne gave portions of Sonatas for
violin and pianoforte by Sir Edward Elgar, and John Ireland, and violin solos
by Benjamin Dale, York Bowen, and Rowsby Woof, and Mr. Maurice Blower gave
two pianoforte pieces by Dr. Harold Darke. During the afternoon Mr. Tobias
Matthay, the Hon. Local Representative of the Society, stated that the main object
of this Society was to further the interests of the British composer and British
performer. After the great Elizabethan era, commerce grew and music dwindled.
The converse seemed true now-commercial enterprise seemed to be weakening,
and certainly the British composer and artist was coming to the fore, not only here,
But there still remained to be overcome a good deal of the prejudice
engendered by the last musically slack centuries. Also we had no ministry of
fine arts here, nor did we spend public money (as abroad) for musical propaganda
work. Hence the need of this Society. Its purpose, however, could not be served
unless the public joined up as members and associates. Hence his present appeal.
The Hon. Secretary is Miss Dorothea Mozley, of the White House, Haslemere.
but abroad.
HUDDERSFIELD
At a meeting of Huddersfield members held on February 10th, it was decided
to commence activities as a Branch. Mr. E. J. Bruce, J.P., was elected President,
Mr. W. Cawthorn, Hon. Treasurer, and Mr. G. H. Osborne, Hon. Secretary.
KINGHAM CHORAL SOCIETY
Our Concert on January 26th-the first since the affiliation of Kingham Choral
Society to the British Music Society-went off well, and a really enthusiastic
audience showed their appreciation of free programmes and free seats by
subscribing over £16 to our expenses. The programme was in two parts, grave
and gay.
Holst's "Turn back, 0 man" and Bach's Actus Tragicus "God's time
is the best" were the most significant numbers in the first part. This beautiful
cantata would, of course, be beyond the scope of any unaided village choir.
With
the help of Mr. Roland Jackson and of our patron, Mr. F. H. Grisewood, both
singers of the first rank, who not only took the solos but also poured out their
splendid voices in the choral numbers like invigorating oxygen, with the help, too,
of a string band of distinguished players, including Miss Venables, the leader of
the Orchestral Society in Oxford, and of a pianist (Mr. Hely-Hutchinson, of
Balliol) who reads from the full score as others read a hymn tune, some impression
of the solemn ground-tone of the work, of its candid realism and all-transforming
faith, was conveyed even to the simplest hearers, and its performance was felt to
have been more than justified. By printing the words of the cantata in our
programme we secured initial attention, and were also able, in the absence of an
alto soloist, to appreciate a beautiful rendering of the aria, "Into Thy hands I
commend my spirit," which was taken by Mrs. Joseph on the viola to the
accompaniment of muted strings. The second part of the programme touched its
climax in a couple of duets by Purcell and Puccini, in which Mr. Jackson and
Mr. Grisewood blended their voices to the general ravishment, and, when they
intended, made the very rafters ring. They were called back, and gave Harry
Lawes's "Man's life is but vain." The orchestra, too, were encored after playing
a selection from a suite by Purcell in G, prettily arranged for strings by Adrian
Boult; and Mr. Roland Jackson, who admirably expressed the distinction and
liquid beauty of three settings of Elizabethan verse by Roger Quilter, might have
been kept singing all the evening had time been as generous to us as he (R. J.) is
Feet with
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THE BRITISH MUSIC BULLETIN
67
wont to be. The last item on a varied programme was Stanford's "Songs of the
Fleet," with Mr. F. H. Grisewood as soloist. The evening came to an end in
universal radiance, and it was said that before next concert the hall must be
enlarged.
B.S.
LITTLEHAMPTON
(b)
The Littlehampton section of the Worthing Branch arranged a most pleasurable
afternoon on January 21st, which enabled them not only to return hospitality
received on various occasions at Worthing, but also to entertain local music lovers,
including Her Grace the Duchess of Norfolk. Her Grace, in expressing
appreciation of Mr. Dunhill's address, invited support of the West Sussex Choral
Competitions, which had done so much to encourage musical endeavour throughout
the county. The musical items comprised: The last movement of a Mendelssohn
Sonata for 'cello and piano; songs, (a) "Lament of Isis" (Granville Bantock),
"The Star" (James H. Rodgers); trio, written by Mozart when nine years of
age (copied from the original MS. by Mrs. Bredt), for violin, 'cello and piano; old
carol, words and melody 14th century: two pieces, "Alla Menuetto" and "Alla
Bouree," Thomas F. Dunhill; 'cello and piano (the composer), contributed by
Mrs. J. B. Hollis, soprano, the Choral Club of the Worthing Branch; Mr. W.
Bredt, violin; Mr. Edwin Jay, 'cello; and Mrs. Alice Verne Bredt, piano; whilst
Mrs. R. Holmes accompanied. The concluding item, Finale for all," was a
surprise in the shape of Alice Verne Bredt's delightful Suite for Toys and
Orchestra. The orchestra, under Mr. Dunhill, with the composer at the piano,
comprised those of the audience who were instrumentalists, augmented by others
with toy instruments, including Her Grace, who proved adept with the drum.
R.J.S.
LIVERPOOL
The three informal Club Evenings held in the Club Room since the beginning
of the year, have been particularly interesting in view of the fact that young
Liverpool composers have been brought into prominence.
At the first of these, held on January 13th, Miss Muriel Herbert, who is the
holder of the "Liverpool" Scholarship (which she won for composition) at the
Royal College, appeared in the triple role of composer, singer and pianist. She
presented a Violin and Piano Sonata, and also sang two groups of her own songs.
The former, in which she was joined by Miss Gertrude Newsham (violin) was
perhaps her most ambitious effort. The work was extremely musicianly, the two
performers co-operating with degree of artistic ability that presented the music to
the best advantage. The songs, which were accompanied by Mr. Frederick Nicholls,
of whom Miss Herbert was at one time a pupil, all showed feeling and a thought
for melodic line, the most interesting being settings of Tennyson's "Swallow,
Swallow" and "Now Sleeps the Crimson Petal," and Masefield's " Tewkesbury
Road." During the course of the evening Major Wintle sang several songs, including
examples by Korbay, Debussy, etc., in which he was accompanied by Mr. Walter
Wright.
Mr. Norman Peterkin's compositions were the feature of the second evening,
on January 26th, at which Mrs. Abercrombie acted as hostess.
This composer's songs and pianoforte works have won a greater measure of
attention in this country among musicians than from the public at large, though
well known in America. Mr. Peterkin's gift is essentially pictorial and atmospheric,
and though he works to a certain amount of programme, his representation is
rather that of moods than that of physical detail. In the songs, what one chiefly
observed, besides their harmonic originality, was the admirable turn of phrase, the
perfection of syllabic valuation, and the neatness with which the endings were
managed.
Among the pianoforte pieces presented, "Dreamers' Tales," a set of four
impressionistic tone pictures, gave extreme pleasure. In these to a great extent
the interest is rhythmic and harmonic. In the Polonaise, a work belonging to
such an early period that it almost ceases to be representative, his melodic gift was
revealed in a striking vein.
Miss Dorothy Adams sang the soprano songs with freshness and beauty of
expression, while Mr. W. L. Irvine, a local member, gave dramatic renderings
of the baritone songs.
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THE BRITISH MUSIC BULLETIN
On the third evening the works of Mr. E. L. Lodge, a young composer who has
been highly approved by the Advisory Board for Composers, were given prominence.
In the opinion of some of the best local critics, this composer has a sure future.
Technically his works are extremely difficult, and one is inclined to wonder whether
At the same time his work shows great
the pianoforte is his right medium.
exuberance and strength. His programme consisted of a Sonata, a Ballade and a
Suite, together with some songs. These latter suffered somewhat at the hands of
the vocalist, who was undoubtedly very nervous.
In the second half of the programme, a miscellaneous one, Miss Scollick and
Mr. G. F. Sutton played the Beethoven Sonata in F Major, Op. 24, while Miss
Gladys Divas, who has just completed her vocal training in Paris, sang songs by
Stanford, Hahn, Pessard, etc., in an intelligent and artistic manner.
A valuable work has recently been added to the Library in the splendid "Life
of Beethoven," by Thayer, which has been so exhaustively reviewed in all the
papers, and which is proving of particular interest to our members.
In addition to this monumental work, great pleasure is being derived from the
"A Musical Pilgrim's Progress."
charming little autobiography of J. D. M. Rorke,
J.B.
68
NELSON
The meeting arranged for January 17th was held in the Congregational Church.
Mr. H. Halstead, the organist at this church, was the lecturer, his subject being
"The Power of Sound.' The programme submitted included organ solos by the
Lecturer from the works of Bach, Arensky, Sibelius, Gounod and Lemaigre.
The Church Choir contributed part-songs by Cornelius and Fletcher. Quite a
feature of the evening was the remarkably fine singing of the Primet Council
School Prize Choir. They gave the cantata"Walter von der Vogelweid," by
Rathbone, as also part-songs by Bantock and Ireland.
On January 24th the meeting of the Clef Club was devoted to string
orchestral music. Twenty local enthusiasts have formed themselves into a
string orchestra, under the baton of our Hon. Music Director (Mr. C. H. Bateson).
They gave works by Purcell, Bach, Mozart, Greig, Tschaikowsky and Victor Herbert.
Particularly impressive was their rendering of the Tschaikowsky serenade from
Op. 48. The whole performance reflected great credit on the instrumentalists,
and stamped Mr. Bateson as a gifted and capable conductor. The soloists were
All three acquitted
Miss B. A. Halstead, Miss K. A. Hartley and Mr. F. Kippax.
themselves well. Mr. J. A. Herbert accompanied with taste and discrimination.
On February 7th an open members' night was arranged. The programme was
selected from items submitted by members of the Clef Club. Mr. H. Fothergill,
our Hon. Secretary, was in charge of the proceedings, and in his opening remarks
emphasised the fact that meetings of this type showed the true Clef Club spirit.
An excellent programme was obviously enjoyed by a good attendance of members.
The vocalists were Miss I. Oldroyd, Miss E. Wilmore and Mr. D. C. Lambert.
Mr. T. Duerden was 'cello soloist. The pianoforte soloists were Miss K. Roberts,
Mr. L. Haighton, Mr. F. R. Roche and Mr. W. Rogers. Miss G. Barker and
Mr. G. F. Hartley acted as accompanists. The composers represented were
Mendelssohn, Chopin, Glück, Debussy, Goring Thomas, Ambroise Thomas.
Goltermann, Coleridge Taylor, Quilter, Head, York Bowen and Sterndale Bennett,
The evening was a pronounced success.
H.D.H.
NEWCASTLE-ON-TYNE
On January 14th Mr. Arthur Bliss delivered a Lecture to this Branch on
"What Modern Music is aiming at." After briefly dealing with the aims of
composers in the various periods of the past, the lecturer stated that the composers
of any given period could be divided into two classes-those who were content to
work on lines already laid down by their predecessors, and those who sought about
for new means of expression. One of the outstanding tendencies of present day
music was towards simplification. The older composers had employed a certain
amount of padding, but the modern cut out everything he considered unessential.
Another tendency was to separate music from any literary basis (such as in
the case in programme music), and look at it mainly as beautiful sound. The
musical illustrations included a gramophone record of the lecturer's
Rout," and
66
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THE BRITISH MUSIC BULLETIN
69
a performance of his Concerto for piano, strings, tenor voice, and percussion, the
latter being repeated by request.
J.B.C.
PALMERS GREEN AND DISTRICT
The February meeting of the Branch was the occasion of a Lecture on the
subject
Music in the Schools," delivered by Mr. Clement Bishop, F.R.C.O.,
L.R.A.M. The lecturer, a well-known and valued member of the Branch, for
which he acts as School Representative, spoke from wide experience, he being the
Instructor of Music in the Grammar and Secondary Schools of Enfield, Southgate,
and Wood Green (Middlesex). The lecturer treated of the educational aspect of
music in training young people, not only as performers, but as intelligent listeners.
He dwelt upon the value of choral work, as one of the best ways of securing
a greater liking for music was the endeavour to take part in its performance. This
point was well illustrated by the delightful singing of a choir of girls, all senior
scholars at Southgate County School, whose choir training is carried on voluntarily
after school hours-with excellent results, both to the youthful singers and their
listeners. No music lecture would be complete without dwelling upon musical
appreciation, and the use of the gramophore with records of Beethoven, Schubert,
Tchaikowsky, in orchestral and Chamber music, was of great value, and much
appreciated by scholars. The interpretation of the First Movement of the
Sonata in D (Op. 10 Beethoven) by Miss Dorothy Spring, was made use of by the
lecturer as a demonstration of an appreciation lesson on Sonata form. Songs by
English composers were contributed by Miss Lucy Haworth and Miss Ethel Laws,
both youthful performers showing admirable results of the value of after-school
training. A crowded audience showed great appreciation of a charming and
informative address.
E.M.R.
SALTBURN
66
On January 28th Mr. Percival Garratt and Mr. Louis Godowsky gave a
Pianoforte and Violin Recital. The visit of two artists of such eminence to
this small town is understood to be an unprecedented event, only now made
possible through the formation of the British Music Society Branch. Mr. Garratt
first gave a short history of concerto form, showing the many developments which
have led to the present balance of orchestral and solo parts. The programme
then opened with the First Movement of Elgar's Violin Concerto, Op. 61. For
many in the audience this was a first hearing, and with attention divided between
appreciating" the fine work, both of the composer and the two performers,
the result mentally was that of most first hearings of big works-a certain
amount of bewilderment eing mixed with the very definite pleasure and interest.
However, when the more familiar Tchaikowsky Violin Concerto in D followed,
everyone was perfectly happy. The moral is obvious, and the popularity of the
Branch increases. Works on a smaller scale illustrating types contrasting in
period and nationality formed the rest of the programme, of which two most
memorable modern ones were the strange "Il canto della Lontananza," of
Malipiero, and Mr. Garratt's Prayer," arranged for violin by Godowsky, with
its very direct appeal.
M.E.C.
SHIPLEY AND SALTAIRE
On January 19th, in the Congregational School, Saltaire, a most interesting
lecture was given by Miss Maud V. Stell on "Grand Opera." Special attention
was given to the operas which were to be produced in Bradford by the National
Opera Company, and this gave an added interest to the lecture. In speaking of
French opera, the Lecturer noted the unity of words and music in Gounod and the
musical developments of Saint-Saëns. She expressed the opinion that the story
of the "Magic Flute" was not particularly intelligible, being based upon Masonic
ideals and mysteries, but the music had all the beauty, purity and charm which
is peculiar to Mozart.
The greater part of the lecture was devoted to the Wagner
operas, and particularly to "Parsifal." From this opera the Lecturer isolated
most of the principal themes, and showed how beautifully they were blended
and how wonderfully they were worked into the third act. A number of
solos and duets from the operas were most artistically sung by Miss Alice Stell
and Mr. Charlesworth George.
H.C.
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70
THE BRITISH MUSIC BULLETIN
SOUTHPORT
During
A Lecture was given by Dr. Charles Budden to the members of the British
Music Society at the Southport Art Gallery, on Friday, January 27th.
the Salonica campaign the lecturer was being constantly asked wherein lay the
difference between good music and poor music, and why people appeared to prefer
the bad to the good. The fundamental answer to both these problems lies in
musical education. No one can differentiate between good and bad without
knowledge, either acquired or hereditary, and few enjoy what they cannot
understand. The Seven Lamps of Music " are offered so that listeners may
erect with the material given a substantial edifice of real criticism. The Seven
Lamps are the seven attributes to which good art must subscribe. The first is
that of melody; the second, rhythm; the third, harmony; the fourth, form; the
fifth, meaning or memory; the sixth, truth or tone; and the seventh, sacrifice-
for that which costs nothing is worth nothing. Music is essentially an emotional
medium, and can only be adequately expressed by those who feel deeply. The
lives of the great master musicians have usually been lives of tragedy; such
was that of the giant Beethoven, of Tchaikowsky, of Wagner, of Chopin, and of
the great Russian composers of to-day. Conversely, Mendelssohn's music is so often
trivial, because he never knew suffering. Liszt's love of effect was the natural
outcome of a life in which success came early, and without much self-expenditure.
The lecture might stand as a model of what musical appreciation lectures
ought to be, and alas! so often are not. Dr. Budden has an excellent voice,
a clear and illuminating gift of language, and a very pretty wit. There was not
a dull moment in it, and the warmth of his reception was very gratifying. He
paid a special tribute to the beauty of setting for a musical evening in the Art
Gallery, and, whether playing or talking, kept his audience spellbound. The
musical selections chosen, to point a moral and adorn a tale," were skilfully
chosen and admirably given by Miss Dorothy Mee, L.R.A.M., at the piano, and
Miss Cecilia Dalton. Miss Mee played the Adagio from Sonata, C sharp minor
(Beethoven); Prelude and Fugue, B flat (Bach); Study, F minor (Liszt); "The
Island Spell" (John Ireland); Scherzo, B flat minor (Chopin); and the " Rigoletto
Paraphrase" (Verdi-Liszt). To say that her playing was worthy of the instrument
she played upon is a very great compliment to both. Her technique is wonderful.
Miss Cecelia Dalton sang several songs with great charm, being most successful,
perhaps, in the beautiful 15th century song, Amarilli," of Caccini.
R.L.C.
66
66
STRATFORD-ON-AVON
On Wednesday, February 8th, a Lecture-Recital took place at the Shakespeare
Gallery Rooms. Mrs. V. I. Balkwill, M.A., the Secretary of the British Music Society,
gave a short address on the aims and ambitions of the Society. She mentioned how
necessary it was to have a Branch at Stratford-on-Avon, "for it was the shrine to
which most of the world pilgrims found their way some time or other, and it was
desirable to have in Stratford a body of people representative of music at its best,
and aiming at making music what it was in Tudor days-a birthright, and
not a luxury." And that is our definite hope. We must make music for our own
delight in our own homes, that so we may truly possess it. Dr. Wheeler was
the lecturer, and a most interesting lecture was given "How we Listen to Music."
Dr. Wheeler invited the audience to think of the various ways in which music
appealed to them, and proposed to bring to their notice four of these ways. The
first way of listening was one almost entirely concerned with the senses, the music
came to them as a succession of sound which flowed over, and the listeners did not
think of the music at all. Mrs. Lee Mathews illustrated this phase by playing
Schumann's Intermezzo, Op. 26, and her wonderful interpretation was most
convincing. Dr. Wheeler next mentioned the method of listening, in which
was principally concerned. A Minuet and Trio of Beethoven's
emphasised the lecturer's point, and Dr. Wheeler passed to the third mode of
listening concerned more with fancy than imagination, and in listening to the
music their minds were set weaving pictures. The last and most important way
was the spiritual way, and it was through music one could attain a serenity of
understanding; by listening to music wisely they might come again to be little
children, and so grow fit to enter the kingdom of heaven.
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THE BRITISH MUSIC BULLETIN
71
musical illustration included compositions by Schumann, Brahms, Chopin, and
Scriabin. The President, in proposing a vote of thanks, said Dr. Wheeler had
given them a lecture suggestive of thought. They could not appreciate the best of
everything without listening to the best. In the past British music had been
consigned to the ash bin, but they believed that British composers could take their
place with the great musicians of other nations. Mr. Thomson seconded the
motion, which was carried unanimously, amd acknowleged by Dr. Wheeler.
C. DU S.
WORTHING
Two interesting items have to be recorded this month. The first an At Home
under the auspices of the Littlehampton section of this Branch, details of which
are given under a separate heading. The second, a really excellent Concert,
which took place on Saturday, January 28th, in St. James's Hall, and at which
the following artists assisted:-Mrs. J. B. Hollis (Angmering), Mr. Ernest Groom
(London), Mr. Michael Dawson (Storrington), Mr. William Bredt (Littlehampton),
Mr. J. W. Mansfield (Worthing), Mr. A. Taylor (Arundel), and lastly, but-
(we all know the adage), Madame Mathilde Verne, who at a moment's notice, and
in spite of an injured thumb, came down from London to take the place of
Madame Alice Verne Bredt, who was unable to appear owing to illness. This,
entailed a slight alteration in the programme, a Sonata in D minor, by T. F.
Dunhill, for piano and violin had to be omitted, but the remaining items were
excellently rendered, and our warmest thanks are due to Madame Mathilde Verne
not only for her beautiful playing but for her kindness in rescuing us from what
would otherwise have been a very serious dilemma. The programme was as
follows:-Trio in E flat for piano, clarionet and viola (Mozart), rendered by
Madame M. Verne, Mr. A. Taylor (who sustained an excellent clarionet part)
and Mr. W. Bredt; a violin solo, Legend" (Arnold Bax), by Mr. M. Dawson;
a beautiful Quartet in C minor for piano, violin, viola and 'cello (Fauré), by
Madame Verne, Mr. Dawson, Mr. Bredt and Mr. J. W. Mansfield (a very able
'celloist, who is also a great prop to the cause of music in Worthing). Vocal
numbers were contributed by Mrs. J. B. Hollis and Mr. Ernest Groom, whose
beautiful baritone voice gave great pleasure to a large audience, and, perhaps,
most of all in a small encore which was secured after very strenuous recalls.
It is pleasant to record that this concert was very largely attended, and has been
an entirely profitable concern.
66
F.C.A.
YORK
The month from the middle of January to the middle of February was a very
busy one for the members of the York Centre, the annual meeting, two meetings of
musical interest confined to members and their friends, and one open concert all
following within these dates.
The Annual Meeting dealt chiefly with formal business, but was nevertheless
interesting to those members who braved a very wintry evening to attend it.
The
financial statement was very satisfactory, showing a balance in hand of about £30
after allowing for outstanding liabilities. Mr. Laughton was reappointed Hon.
Secretary till April, when he will be reinforced by Mr. S. E. Reid, and
Mr. Barkworth Hon. Treasurer until the end of the season, when the office will be
taken over by Mr. N. Hodgson.
A Bach Cantata and Holst's "Hymn of Jesus" were given in the Minster on
January 29th, and as an introduction Dr. Bairstow was kind enough to address
our members on the 21st. He made some caustic comments on the lack of
appreciation which greeted any progressive work in music, and said that many
people did not seem to realise that music must change with the changing times in
the same way that the styles of architecture and painting had altered from century
to century. He also went through the works and explained their various
characteristics. The actual performance in the Minster was a great success
artistically, but there was the usual disheartening financial loss.
On February 4th we had a Gramophone Recital, in preparation for the next
week's concert, the principal records heard being Elgar's Sonata, Op. 82, for violin
and piano, and Ireland's second Sonata for the same instruments.
need more than one hearing for full appreciation, and those who attended were
These works
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THE BRITISH MUSIC BULLETIN
well rewarded, not only by the pleasure extracted from the gramophone recital,
The records were prefaced
but also by the knowledge gained of the two sonatas.
by a paper written by Mr. Baines on the works which were to follow.
72
The Open Concert was held on February 11th, when Mr. William Baines, the
York composer and pianist, and Mr. Dunstone, a young violinist, played the two
sonatas above mentioned, and also Grieg's Sonata in C minor, Op. 45. They
combined exceedingly well, and the technique and expression of both was
generally beyond cavil. The audience was very appreciative.
Our next Concert is the last of the winter season, and is to be held on
Mr. Raymond
March 11th, when the Sheffield String Quartet will appear.
Hartley is to sing Vaughan Williams' "Wenlock Edge" Cycle, accompanied by the
Quartet and Dr. Bairstow (on the piano).
C.R.A.
The views expressed by the Editor, or the Contributors, are not
necessarily the official views of the Society; nor does the Editor hold
himself responsible for opinions expressed by Contributors.
The Society does not place its faith on any particular composers and
the articles and reviews are not part of a definite propaganda but are selected
in the endeavour to make the magazine both useful and interesting.
to the
Although every
LITERARY COMMUNICATIONS should be addressed
Bulletin" Secretary, 3, Berners Street, London. W. 1.
care will be taken to return rejected MSS. the Editor does not hold
himself responsible for loss.
"
RATES OF SUBSCRIPTION: One year 8s. post free; single
copies 8d. each post free. Postage 2d. to any part of the world.
New Subscribers are recommended to place their orders for the
"Bulletin" at the Bookstalls of Messrs. W. H. Smith and Messrs.
Wyman & Co.
THE ENGLISH MADRIGAL SCHOOL
The complete works of English madrigalists in thirty-six
volumes, transcribed, scored and edited from the original
editions by Edmund H. Fellowes, M.A., Mus. Doc.
NOW READY.
SET FIVE.
Madrigals of five
XVII. HENRY LICHFILD.
parts (1613)
VOL. XVIII. THOMAS TOMKINS. Songs of three, four,
five and six parts (1622)
VOL.
VOL. XIX. JOHN WARD. Madrigals to three, four,
five and six parts (1613)
XX. GILES FARNABY. Canzonets to four
voices (1598)
VOL.
...
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7
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OS
5
S
e
ans
e
d
NS
W.1.
D
RS
Μ.Α.
liams
Y OF
THE BRITISH MUSIC
BULLETIN
Volume IV No. 4
Special Notice to Members -
The British Federation of Musical Competition
Festivals
The Accomplishments of Members
Book Reviews
CONTENTS.
Music for Review
Some April Concerts
Correspondence
Foreign News
APRIL, 1922
Centres and Branches
PAGE
74
75
76
76
78
79
80
82
83
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VOL.
THE BRITISH MUSIC
BULLETIN
IV
APRIL, 1922
SPECIAL NOTICE TO
MEMBERS.
IT is proposed to hold a
Conference of
the British Music Society in London
from Friday, June 30th to Monday, July
3rd. Important fixtures are being arranged,
comprising a Debate and a Members' Meeting
at the Eolian Hall, a Banquet on Saturday,
July 1st, and some Concerts, among which
it is hoped to include that of the Contem-
porary Music Centre on Monday, July 3rd.
It may also be possible to arrange special
music in various churches on Sunday.
Members are asked to make a note of the
date, and make a special effort to attend;
further details will be announced in the
May issue.
The next Concert of the Contemporary
Music Centre will be held on Friday,
May 5th, at 8.15 p.m., in the Drawing
Room, Y.M.C.A. Headquarters, Great Russell
Street (entrance in Caroline Street). It is
hoped to include the new Ravel work for
violin and 'cello,
Bowen's 'Cello Sonata,
violin and piano.
and some new Fkstor
No. 4
THE
ed Kingdo
a vill have
kals, whic
old-time s
Competition
thousa
Although t
especial
from
men's inst
loyees of
atral Office
ich have b
movemen
pers to me
The Fest
de results
furthe
t of the
formation
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No. 4
THE BRITISH MUSIC BULLETIN
THE BRITISH FEDERATION OF MUSICAL
COMPETITION FESTIVALS
MUSICAL COMPETITION FESTIVALS
75
[The attention of the British Music Society has been drawn to
the work being done by this organisation, and we are happy to print
an authoritative statement of its work and intentions. The range of
the Federation is very considerable, and covers the greater part of the
United Kingdom and Ireland, and clearly there is room for co-operation
between it and ourselves. The exact ways of co-operation require some
thought and planning, but if our readers will extend their sympathy to
this account and master the ideas of the Federation directors the first
step will have been taken, and all subsequent ones will be so much
the easier.-EDITOR.]
The recently incorporated British Federation of Musical Competition
Festivals, which has taken Central Offices at 117, Great Portland Street,
W. 1, deserves the support of all those who hope to see Britain regain
her old-time supremacy in the world of music.
Competition Festivals cater largely, but not exclusively, for the
many thousands of people whose means do not permit them to enjoy
individual tuition, and provide the only possible opportunity for them
to benefit by expert advice.
Although they provide classes for soloists, both vocal and orchestral,
they especially encourage choral singing by village choirs and those
drawn from social and educational clubs, boy scouts, girl guides,
women's institutes, and similar existing organisations, and also from
employees of works.
It is expected that as a result of the work now being done by the
Central Office amongst the headquarters of the various organisations
which have branches both in towns and in the country, this section of
the movement will greatly increase, faster, indeed, than the supply of
competent conductors, unless a great effort is made to train willing
helpers to meet the demand.
The Festivals have always made a feature of providing special
classes and in some cases special days-for Children's Competitions.
The results have been excellent, and this most important branch is
being further developed with the help of school teachers and the
support of the education authorities.
The selection of music for test pieces is carefully made, and the
standard is remarkably high. It is noticeable what a high percentage
of British composers is to be found, sometimes to the exclusion of
all others.
The Federation is interesting itself in special means to encourage
the formation and training of club and village orchestras and violin
classes. It hopes to see Folk-songs and dances brought back once
more to take their old places in village life.
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THE BRITISH MUSIC BULLETIN
In addition to the demand for conductors and organisers of choirs,
there is a need for honorary lecturers, competent to give human and
interesting primary education on matters musical, and it is confidently
hoped that members of the British Music Society will respond to
these needs by volunteering their active help in the districts in which
they live. Any such offers will be greatly appreciated by the Secretary
of the Federation at the above address, and will be gratefully
acknowledged.
H.F.J.
76
THE ACCOMPLISHMENTS OF MEMBERS
THER
HERE is now in existence at Headquarters, a register (which will
be kept up to date with the aid of our members) whose aim is
to embody the range and nature of the accomplishment of every
subscriber, professional or amateur, in the interpretation and per-
formance of music. This is not only a matter of academic interest,
for the existence of the register makes it possible for Centres and
Branches planning concerts or lectures to see whether they cannot
avail themselves of the help of members. It is (among other things)
a regional register, and clearly for a Branch secretary to know of talent
within a reasonable distance is to save travelling expenses. Further,
all British Music Society professional members are willing, where
circumstances demand, to help their fellows by taking smaller fees,
and that is a genuine and important contribution to British Music
Society work.
79
Centres and Branches sometimes seem to fall into the error that
only "stars" of the profession can interpret music satisfactorily. The
great artists are, of course, the supreme interpreters, but it is also
true that, given a reasonable technical skill (and technical skill is not
rare), sincerity and imagination can enable a masterpiece to make its
own overwhelming effect. Centres and Branches should rather aim at
making the most of their own local resources and so perchance doing
something for the "stars" that are yet to arise. However great the
visitor, he (or she) gives of his art and goes. The stimulus may be
great, but it is fleeting. But the art that grows out of a town or
village is its abiding possession. It is there to discuss, to criticise,
it may be to amend, and in the long run more of pleasure and profit
may thus come into being. It will be, therefore, worth while for
members to remember and to use the register which lies waiting for
employment at Headquarters.
BOOK
REVIEWS
A Fine Record*
The admirable work done by the Carnegie Trust in publishing
works of modern British composers is well known, yet we venture to
* Carnegie Trust Publications of New Works by Modern British Composers;
a Description." By Percy A. Scholes. Published by Stainer & Bell, 28, Berners
Street. Price 6d.
Scholes
real desem
composer
all whose d
h to comp
reciations
subtler
than in
trenchant
respondin
portion to
convert
most persc
downrig
the unlea
Musica
Yet
ano
the voie
y other
& notat
DESSIOD
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pond
rateful
S
hich
Se aim
and
interes
tres a
Furthe
kill is
make
her aim
nce do
great t
18 may
town
critice
and p
while h
waiting
hlichen
Compe
THE BRITISH MUSIC BULLETIN
77
think that few citizens are aware of the number and variety and
excellence of them. Clearly publication should be the preliminary to
performance, and it is with a view to making possible performers
acquainted with the scope and general drift of these works that
Mr. Scholes has prepared this description. From it, any enquirer can
determine which work or works is likely best to suit his needs.
Mr. Scholes has done his work most efficiently. His descriptions
are real descriptions, not vague impressions. The principal musical
material is given, and the value of each is greatly enhanced by the
fact that Mr. Scholes has in all cases submitted his descriptions to
the composer (or his representative), and thereby ensured that it shall
be as far as possible authoritative. The list should be in the hands
of all whose duty it is to draw up concert programmes, and should do
much to complete the object of publication by extending a knowledge
of the chosen works.
Musical Portraitst
Here in a compact volume lie Mr. Rosenfeld's appreciations and
depreciations of twenty composers, from Wagner, Berlioz and Liszt to
Stravinsky and Block. Each one is the expression of a clear cut
judgment, very sure of itself, a shade flamboyant in its phrasing, but
obviously sincere and studied. Once more we are made to feel how
much subtler and more penetrating a critic is in explaining what he
likes than in cursing what he hates, and how fatally easier it is to
be trenchant and severe than to be profound and understanding.
Correspondingly, readers will in the main value these studies in
proportion to their agreement with their conclusions. We doubt if they
will convert anyone, but they will give more pleasure and less much
as most personal estimates do. At any rate, there is great refreshment
in a downright judgment, and Mr. Rosenfeld at least gives his reasons
as well as his sentence. Also, there is much useful historical matter
for the unlearned in these things, and whenever Mr. Rosenfeld admires
(and he admires deeply and widely), he is stimulating and helpful.
By Paul Rosenfeld. Published by Kegan, Paul,
Price 10s. 6d.
+ " "Musical Portraits."
Trench, Trubner & Co., Ltd.
The Singer and His Art
Yet another contribution to the ever increasing number of books
on the voice and its troubles. This work is a welcome addition
written in plain English, which will make it of real use to the student,
who must frequently get bemused with the verbal complexities of
many other books of this nature.
A notable feature of this book is the space devoted to Facial
Expression and Make-up, liberally illustrated with photographs, which
will prove of special value to singers whose goal is opera.
A further recommendation of this book is the list of sponsors from
the Metropolitan Opera House, New York, which speaks for itself.
"The Singer and His Art." By Thaddeus Wronski. Published by
D. Appleton & Co., Ltd. Price 15s.
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78
THE BRITISH MUSIC BULLETIN
MUSIC FOR REVIEW
First in importance are two new volumes of Dr. Fellowes' edition
of the Lutenists (Winthrop Rogers): these are Dowland's Second
Book of Airs (Part I) and Campian's Songs from Rosseter's Book of
Airs (Part I). There is no need to stress the value of these volumes
with their original lute and new piano accompaniments. The
engraving is good and misprints have almost been eliminated. Of
four new De la Mare songs by Armstrong Gibbs (Winthrop Rogers)
I like "John Mouldy" and "Silver" best. "A Song of Shadows
is effective, but "Five Eyes" does not seem to come off. This poet
and composer are admirably suited to each other and their co-operation
is always charming.
Josef Holbrooke's "Wild Fowl" (Fantasie from "The Children
of Don") arranged for pianoforte duet by W. T. Fenney (Goodwin
& Tabb), is in a different category. Not having heard it in its original
form, I cannot say if it is well arranged from the score.
It is certainly
interesting, but parts are hardly playable on the piano, and the
primo and secondo at times encroach on each other. It is also
impossible to transcribe violins and flutes in their high register for the
piano; the last three bars (the top A major triad on the piano),
quadruple pianissimo, tied and paused cannot sound. But this is
perhaps mere carping, for the reading of this arrangement has
employed and interested me several times.
From Boosey & Co. come Maytime in England," by Sir Frederic
Cowen, and William Watson's poem "As drones the bee," set by
Herbert Bedford; each setting is in the usual vein of the composers.
It is a pity that Miss Marie Hall allows her name to recommend
Mabel Ackernley's "Berceuse," for violin and piano (Bosworth & Co.);
it is even stated that Miss Marie Hall has played it with great success.
I fear it may be true.
""
or
Easthope Martin's music* fits Ellen Taylor's "Minstrel"
adequately, but is not so effective when allied to Tennyson's "Break,
break, break' "De Profundis," but we can imagine the latter
being performed constantly by contralto and organ. Herbert Hughes
arrangement of a Derry ballad, "If I had a-knew," begins
promisingly, but rather fails towards the end. George Buchanan's
Harpenden Common "* and Arthur de Greef's Apart "* will
please those who like a lilting "derry down derry" and a high
"heigh-ho" or a dream-and-pray song. If "The Enchanted Hour"*
cycle by John Heath could be sung by a child it would be very
charming, but the words are not good enough; Stevenson is difficult
66
66
to imitate.
Stuart Archer's "Five Short Variations on a Scots Air" (Paxton)
for organ are interesting, but he has not used the best version of
Gala Water," and must the tremulant (even ad lib.) appear in
modern organ work?
66
D.D.A.
* Enoch & Sons.
The Londom
April 29th
On Mond
Fison will
scribed f
himself.
es at re
On Tues
t, anothe
gramme
dern grou
turme
MEME
Lecture
afternow
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edition
Secon
Book of
volumes
Roger
his pos
peration
Childre
Goodwi
origin
certain
er for the
piano
ment
Frede
omposers
commen
thi l
succes
Minstrel
begi
uchan
and a
ed Hom
d be re
is diffe
version
D.I
Chelsea Town
Hall
Wigmore Hall Wed., Apr. 5,
at 8.15
Wigmore Hall
Wigmore Hall
Queen's Hall
THE BRITISH MUSIC BULLETIN
Queen's Hall
SOME APRIL CONCERTS
Song Recital, Gluck, Roland Hayes
Rameau, Quilter, Negro
Songs, &c.
Wed., Apr. 12, Holbrooke, Bax, Beethoven,
at 8.30
Ravel
Fri., Apr. 21,
at 8.15
Sat., Apr. 22,
at 3
Mon., Apr. 24,
at 8
Bach, Veracina, Goossens,
Holst, &c.
Concerto, Vivaldi
Orphée, Ducasse
Intermezzo, A Village
Romeo and Juliet, Delius
Pianoforte Concerto,
Prokofieff
Sat., Apr. 29, Suite No. 6, Bach
at 3.
5th Concerto, Beethoven
Till Eulenspiegel, Strauss
79
P.S.Q., & Fransella,
Mason,
Draper,
Leon Goossens
Flonzaley Quartet
Marie Hall
Albert Coates
L.S.O.
Prokofieff
Sir Henry Wood
Lamond
N.Q.H.O.
The London String Quartet are holding a Beethoven Festival at the Eolian
Hall in the last week in April, from the 24th to 28th inclusive, at 8.15 p.m., and
on April 29th at 3.15 p.m.
On Monday, May 1st, at the Wigmore Hall at 8.15, Mr. Philip
Wilson will give another recital of the songs of the Lutenist period,
transcribed from the original editions by Dr. Fellowes, Peter Warlock
and himself. Mr. Gerald Cooper will accompany on the harpsichord.
Tickets at reduced rates to members of the British Music Society.
On Tuesday, May 2nd, at the Wigmore Hall at 8.15, Miss Ann
Kraft, another of our members, will give a pianoforte recital. Her
programme includes works by Beethoven, Bach and Chopi and a
modern group comprising two works performed for the first time,
Nocturne by Corder, and Sonata-Ballade by Medtner.
MEMBERS' RECITALS OF THE PAST MONTH
Miss Clarisse Speed had a large audience at the Kingsway Hall for
her Lecture-Concert on March 18th. Her programme, which was
bolder than usual, emphasised the excellence of her method for
teaching an audience to enjoy more by understanding more of what
they hear. She placed Bach's first violin concerto at the beginning of
the afternoon, and Bliss's concerto for chamber orchestra and tenor
voice at the end, and in contrasting the old with the new she used
Moussorgsky's "Pictures" to illustrate the important step forward
which was made when, not very long before the war, Russian influence
in music, opera, ballet, and all forms of decorative art, including
posters and shop windows, began to grip the countries of Western
Europe. Miss Speed was assisted by Miss Winifred Smith (violin),
Mr. Steuart Wilson, Dr. Borland, who conducted songs in which
the audience joined, and Mr. Bliss, who conducted the Concertos.
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THE BRITISH MUSIC BULLETIN
On Thursday, March 2nd, Miss Mary Barber gave an interesting
recital of her own compositions for piano, violin (Mme. Henriette
Schmidt), and voice (Miss Gladys More Smieton and others). The
works performed showed great versatility of expression, a set of piano
duets and a sonata for violin and piano being particularly successful.
Miss Barber's fine setting of "What shall we do, Cytherea?" won the
encore it deserved.
80
CORRESPONDENCE
To the Editorial Committee
DEAR SIRS, With reference to my offer, made in 1920, to perform
original works for the Military Band or transcriptions for it of the
if approved
classics during the following Kneller Hall concert season,
by my Committee: I beg to forward herewith the Report of the latter
on the works sent in during 1921. In all 16 were submitted for
I would once
consideration a considerable falling off from 1920.
again urge composers to consider the possibilities of the Military Band
as a medium for their ideas and a means of popularising their work.
One of the accepted compositions sent in last year has now been
published (Dr. Harris' " Egyptian Scenes," Boosey & Co.), and I
understand that the publication of at least one other is under
consideration.
Kneller Hall,
I am, Sirs,
March 22nd, 1922.
666
'Scherzo '
Faithfully yours,
REPORT
"We have examined the scores for Military Band sent us by
Colonel Somerville, and have chosen the following :-
JOHN C. SOMERVILLE,
Alla Marcia
Colonel, Commandant,
Royal Military School of Music.
H. A. Keyser.
T. Verney.
"We again deplore the fact that composers of merit do not seem
to have been attracted by the military band. Most of the scores
sent in are quite without distinction. While fully recognising the
value of light music, we fail to see why music which is merely vapid,
perfunctory or frivolous should have a place in the military band
repertoire any more than in that of the orchestra. We believe that we
are consulting the best interests of the future of the military band by
refusing any works which do not reach a reasonably high standard.
"(Sgd.) A. WILLIAMS.
(Sgd.) R. VAUGHAN WILLIAMS."
DRAR STR
Dr. Fe
Smatore
Suffoll
Da
DEAR STR
the writ
Irelan
thes
bable:
B.you
old prew
la Britis
understa
attempt
posers
Appeal,"
et inten
portanc
neither
I mus
blame
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Ocr'd Text:
ccessful
won the
perfor
approved
the latte
mitted f
Ould one
r work.
now bee
18 Un
ant
Sent us
do not
mising
erely
litary
Tere that
WILAY
THE BRITISH MUSIC BULLETIN
To the Editorial Committee
DEAR SIRS, I understand that only 200 copies of Dr. Fellowes'
"Dowland and Ford," published last September, have been sold. Surely
this is not as it should be. Cannot the branches do something to
assist Dr. Fellowes in his national work?
Lisnatore,
Suffolk,
Dunmurry,
66
Co. Antrim.
Yours truly,
81
RICHMOND NOBLE.
President, Belfast Branch,
British Music Society.
To the Editorial Committee
DEAR SIRS, I fear your correspondent R.S.E. is an idol-worshipper
that he writes in so arbitrary a vein. My innocent remark that
John Ireland and Eugene Goossens "at times do not realise" the
necessity of respecting the spirit of the poems which they set to
music has drawn Mr. E. remarkably. I marvel that such "childish
criticism" was thought worth comment. "Which of the two is more
probable that sensitive musicians like Mr. Ireland and Mr. Goossens
fail to realise such an obvious necessity in song-writing, or that your
reviewer fails to understand the spirit of their music?" Really,
Mr. E., you should not beg the question. A composer's sensitiveness
should prevent him from disregarding "such an obvious necessity,"
and a British Music Society reviewer ought-I cannot say necessarily
to understand-but at least try to understand the spirit of the music
he attempts to review.
If I wished to be equally arbitrary, I would suggest that when
composers choose to set Sir Philip Sydney's "Bargain," Wyatt's
Appeal," Shakespeare's"Mistress Mine," Dekker's "O, the month
of May," or Daniel's "Love is a sickness," they should model
themselves on Dowland, Campian, Cornishe and the two Lawes: (I
might almost demand that Dekker's "Month of May" be set, as the
poet intended it in "The Shoemaker's Holiday," as a catch for three
men). Were this "childish advice" carried out, Mr. E. could find out
for Mr. Ireland that Dekker has not the same outlook as Sydney and
for Mr. Cyril Scott that the Elizabethans at least considered the
importance of declamation, and for Mr. Roger Quilter that Shakespeare
is neither Herrick nor Henley. But to capture the spirit of "Sea
Fever" needs no scholarship, and "The Rat" speaks for itself.
I must apologise for this lengthy epistle, for you expect me to
review music, and in all this I have neither praised nor blamed the
music of any of the composers I have mentioned. May I borrow from
Mr. E's store of humour, and with him remark "Who am I to praise
or blame recognised musicians?"
I am, Sirs,
Yours, etc.,
D.D.A.
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82
THE BRITISH MUSIC BULLETIN
THE NEWCASTLE BACH CHOIR
THE
HE visit to London of Dr. W. G. Whittaker and the Newcastle
Bach Choir drew crowded audiences to the Eolian Hall on
February 22nd and 23rd, and to St. Michael's, Cornhill, on the 24th.
This last programme, which included four of the Sacred Cantatas and
the instrumental introductions to four others, was the best of three
good performances. The cantatas Sweetest Trust," given at
St. Michael's, and "There arose a great strife," given on the first
night, have never before, so far as can be discovered, been performed
in London. The programme for the 22nd consisted of the Overture
in D and more cantatas: "The Spirit also helpeth us," "O, Fire
Everlasting," and "Oh God, how many pains of heart," with
Miss Dorothy Silk, Miss May Champneys, Mr. Clive Carey and
Mr. Steuart Wilson as soloists. On Friday the Motets, "Come, Jesu,
Come" and "Sing ye to the Lord," and some chorales were sung by
the Choir, with songs from the Schemelli Book and Anna Magdalena's
Book by Miss Silk, and the Partita in B and other keyboard works,
played by Mrs. Gordon Woodhouse. Throughout the week the level
of performance by choir and soloists was extremely high. Only in the
Motet, "Sing ye to the Lord," did the training and capacity of
the chorus appear to be overstrained, and indeed the pace and
exuberance of this eight-part work made it a severe test. Otherwise
the difficulty of the music was hardly ever apparent. Miss Silk's
singing at this second concert would, on the other hand, be hard to
praise too much. Her perfect tone and phrasing in "Bist Du bei
Mir" were a pure delight.
66
FOREIGN NEWS
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BANGALORE, SOUTH INDIA
On January 6th a preliminary meeting of those interested in music
was held in the Hall of the Convent of the Good Shepherd, with the
Hon. W. P. Barton, resident in Mysore, in the chair. Mr. J. A. Yates
explained the purpose and functions of the British Music Society,
and it was decided to start a Branch in Bangalore. Mr. Barton kindly
consented to be President.
On February 13th a business meeting was held in the same hall,
at which members and associates were enrolled and subscriptions
received.
Subsequently, Major A. S. Andrews was elected Hon.
Treasurer, Mr. J. A. Yates, Hon. Secretary, and Mrs. Lee, Hon.
Correspondent, together with a committee of ten members.
meeting was successful; then and afterwards, 34 members and
54 associates joined.
The
On February 14th a music meeting was held, at which a programme
of British Music was performed and was much appreciated. The
Composers, with exception of Purcell, were all modern, including
Elgar, Dale, York Bowen, Vaughan Williams, John Ireland and
Dunhill.
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THE BRITISH MUSIC BULLETIN
The meeting was open to the public, and, including our President,
members and associates, about 200 people were present. J.A.Y.
83
VIENNA
On February 20th, Mr. Cyril Scott played his Pianoforte Concerto
in Vienna, the conductor being Nils Grevillius, of Stockholm. The
success of the performance may be gauged from the fact that the
composer received five recalls.
We quote a few extracts from the Vienna newspapers :
-
"An interesting Piano Concerto . . . . the study of which
can hardly be neglected by the modern pianist, considering the
scanty choice of new works of this kind."
"With all his modernity, Scott is fortunately not an ex-
tremist, and he is never guilty of the bad taste of being obscure."
On March 15th, Mr. Scott will give a Pianoforte and Vocal Recital
in the same city in conjunction with Madame Vera Maid-Tiller.
CENTRES AND BRANCHES
LONDON CONTEMPORARY MUSIC CENTRE
On Monday, March 6th, this Centre gave its third concert.
The programme
illustrated the new policy dealt with in the February issue, consisting of two works
by well-known composers, a quartet by Vaughan Williams, and the Conversations
of Bliss-two works performed for the first time, the first, A Phantasy of Spring,
by Stanley Wilson, the other, Two Movements from a quintet by Maurice Jacobson-
and finally a string quartet, Rispetti e Strambotti, with which Malipiero recently
won the first prize in an American competition. The works were performed by the
New Instrumental Quintet, an interesting combination consisting of violin, viola,
flute, oboe and horn. Members of the Centre showed their appreciation of the
programme by attending in greater numbers than usual, and the hall was filled.
We would ask members of the Centre always to look in the Bulletin for
announcements of the concerts, as the Centre is now so large that it is not
possible to notify members individually.
V.I.B.
AYLESBURY
On Tuesday, March 14th, the Mayor (Alderman J. Robinson) presided over a
well attended meeting, held in the Council Chamber of the Town Hall, to consider
the question of establishing a People's Centre of the British Music Society in
Aylesbury. Supporting the Mayor were Mr. J. H. Coales, Dr. Wheeler (Editor
of the Bulletin of the Society) and Mrs. V. I. Balkwill, M.A. (Secretary of the
Society). The Mayor, in a brief opening speech, wished the movement every
success. Mr. Coales explained that he had called the meeting as the result of the
resolution passed on a previous occasion when Dr. Wheeler and Mrs. Lee Mathews
had given a recital at the Council Schools. Dr. Wheeler, who followed, outlined
the aims and objects of the Society, of which the underlying purpose was to make
music once more a great force in this country of ours. The Society did not merely
aim at the cultivation of native music, for it felt that English music could only
take its rightful place by being able to bear comparison with the greatest and the
best music of the world. An informal discussion followed, in which questions were
asked by members of the audience. Mrs. Balkwill, in answering these, stated that
she certainly thought it possible that Headquarters would be able to find a
conductor, if necessary, and also that it would be quite feasible for the Comrades'
Orchestra, composed entirely of ex-Service men, to affiliate with the local branch
of the Society. The resolution was passed that a Branch be formed, and the
following officers were elected :-Chairman, Mr. J. H. Coales; Hon. Treasurer,
Mr. T. J. Bell (London Joint City and Midland Bank); Hon. Secretary, Mr. S. B.
Sheckell. A Committee of twelve ladies and gentlemen was appointed, including
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THE BRITISH MUSIC BULLETIN
two representatives to be nominated by the Aylesbury School Authorities.
About 50 members joined at the close of the meeting. A vote of thanks was
recorded to the Mayor for presiding, and to Mrs. Balkwill and Dr. Wheeler for
coming down from London.
BATH
On February 17th, in the Pump Room, two local members, Miss Christian
Carpenter and Mr. Lionel Vibert, provided the programme of one of our best
enjoyed evenings. Mr. Vibert's paper on Chopin showed the composer to us first
as a child of ten in Warsaw, offering a military march to the Grand Duke
Constantine; then as starting a career in Vienna, where, on the tragic downfall
of his native city, he was inspired to write the "Revolutionary" Etude; later in
Paris, where his genius and charm, and the capital's passing craze for things
Polish made him popular, and Balzac, Heine, Ste. Beuve, Liszt, and others
became his friends. Chopin was never strong; disease attacked him, which the
Majorca visit with Georges Sand aggravated. By 1847 his health was gone, and
to his mortal illness quarrels he had with friends must be ascribed. Mr. Vibert
spoke of Chopin's ensuing poverty and refusal to sell works of his that he
considered unworthy. The '48 Revolution drove him from Paris; and that year,
at the age of 39, he died, after what one dislikes to know was a wretched
sojourn in England. Mr. Vibert quoted many critics, and at intervals in his talk
on the compositions, Miss Carpenter played as illustrations a Mazurka, a Nocturne,
a Prelude, a Polonaise, an Etude, and a Ballade.
of
On March 3rd Mr. William Vowles gave a stimulating Lecture on the subject
Music and the Sister Arts." The lecture was intended to provoke general
discussion. As the lecturer said, the name of "conférence," given by the French
to such meetings, is far more suggestive of their function than our own work.
Mr. Vowles found fault with musicians as a whole for their indifference towards
arts other than their own: no artist in any particular art can afford to ignore any
of the other means by which men create exterior forms of their own nature."
He suggested that the arts formed a hierarchy in which the order upwards was
architecture, sculpture, painting, music, poetry; that this order was borne out by
the historical development of the arts accompanying man's evolution; that the
highest arts are those which are least dependent on material conditions (e.g.,
the architect's artistic expression is limited by narrow bounds imposed upon him
by the purpose of his building and the character of his materials, while the
musician's is direct); and of other points of interest. The ensuing discussion
disclosed some disagreement with the theory of a hierarchy, but the matter is one
that demands and deserves careful thought.
F.H.B.
BIRMINGHAM
At the Midland Institute, on February 24th, Mr. Sydney Grew delivered a most
thought-provoking lecture, the subject of which was "Influences and Tendencies
in Music." Mr. Grew showed that music which lives does so less by virtue of its
poetic content, however pure this may be, than by its close identification with the
absolute, or the unceasing stream of creation which underlies all great thought.
The audience, if small, was appreciative, and the general opinion was that
Mr. Grew should be asked to lecture next season in more comfortable surroundings.
At the same time it is but just to remark that the small Lecture Theatre would be
infinitely more cheerful were it better filled.
A Violin Sonata Recital by Mr. Alex. Cohen and Mr. Lloyd Hartley in the
Royal Society of Artists Gallery, on March 16th, brought the season to a close.
Bach in E major, Mozart in G, Beethoven No. 10 in G, and Brahms in G, formed
a deeply interesting programme, since none of them is often heard. Mr. Cohen's
interpretations were all arresting, perhaps a little severe, but always well considered.
Mr. Hartley gave us some most beautiful piano-tone, particularly in the Brahms.
His playing was admirably restrained-his Bach clean, his Mozart and Beethoven
full of poetry. The audience was the most appreciative of the season but
disappointingly small.
We hope, next season, to hold our meetings in a good central café; this will be
an economy, and at the same time a more social atmosphere will be attainable-
with the help of members
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THE BRITISH MUSIC BULLETIN
85
Members are reminded that Subscriptions for 1922 were due on January 1st,
and, as the Secretary is anxious to clear his books and draw up the balance-sheet,
he will be glad to receive them promptly.
H.G.S.
BLACKPOOL
Dr. Adrian Boult paid a visit to this Branch on February 23rd, and delivered a
Lecture on the "Art of Conducting." His address was followed with great
attention by the members, many of whom are successful conductors of local choirs.
At the close a vote of thanks was moved by Mr. L. H. Franceys, and seconded by
Mr. Herbert Whittaker, the conductor of the Blackpool Glee and Madrigal Society.
Previous to the lecture Dr. Boult had paid a visit to the School Branch organised
by Miss J. Smallpage at the Girls' High School, and had given a delightful
address to the scholars on the methods of listening at concerts and the
characteristics of orchestral instruments.
On Friday, March 10th, Madame Nellie Keighley gave a splendid Recital of
British Songs at the Savoy Café. The programme included examples by
M. V. White, Stanford, Quilter, Armstrong Gibbs, Bainton, Warlock, Bantock,
Mary Carmichael, Cyril Scott, Walford Davies, Hamilton Harty and the late
Sir Hubert Parry. Madame Keighley is one of the ablest demonstrators of
British songs before the public at the present time, and her artistic interpretation
of the programme delighted a crowded audience. It is to be hoped that other
Centres will avail themselves of her undoubted gifts. The popularity of the song
recital proves its value to the Society as one of the best means of helping the cause
of British music. Mr. Vivian Jackson contributed to the success of the evening in
no small measure by his skilful accompaniment. Both singer and accompanist
were thanked at the close by Mr. J. Turral, B.A., seconded by Mr. Franceys.
F.H.W.
BOURNEMOUTH CONSERVATOIRE OF MUSIC
A Concert in connection with the above was held at the Conservatoire on
Tuesday, February 28th. Pianoforte and violin solos and songs were given.
Amongst the items were those by such well-known composers as John Field,
Roger Quilter and Graham Peel.
A.G.
BRADFORD
On Thursday, March 2nd, an interesting Concert was given at Madame Neal's
rooms, Darley Street, by Miss Helen Anderton, assisted by the following artists:
Mr. W. W. Holmes (violin), Mr. H. E. Ambler ('cello), Mrs. Osborn (pianoforte).
Miss Anderton sang two songs, one by Scarlatti and the other by Marcello (1686 to
1739) as representing the old school, and songs by Butterworth, Clive Carey and
Frank Bridge representing the modern British school. The accompanist was
Miss A. Greenwood. Mr. Holmes, Mr. Ambler and Mrs. Osborn gave Bridge's
Fantasie Trio" in C minor and Beethoven's Trio in B flat. Mr. Holmes also
played solos as follows: Legend by Delius and a Paganini "Tempo di menuetto."
The concert was very much appreciated by a large and enthusiastic audience, and
it seems a matter for regret that the Centre has not more concerts this season to
look forward to.
Interest in this city in matters musical, particularly in British
musical matters, seems to be growing steadily.
Prior to Miss Anderton's concert a Committee Meeting took place, at which a
satisfactory approximate financial statement was approved and one or two other
details were discussed.
Forthcoming Events.-Thursday, April 6th, Mr. Guido Delni's Concert; artists,
Miss Alice Moxon, Miss Kate Scutte, Mr. A. Beck, Mr. H. Illingworth and
Mr. J. Bentley. Friday, April 28th, Social Evening with music.
J.E.
BURNLEY
66
66
On Friday, February 17th, Mr. Luther Greenwood, of Colne, gave An Evening
on Choral Music." He was particularly at home" in this branch of the art, and
his recital was immensely enjoyed and appreciated. He was, of course, well
known to his audience as leader of the Clef Club Quartet, and his appearance as
lecturer and conductor was eagerly anticipated. He left a delightful impression
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85
on the audience, which numbered about 1,000 persons, and the latter felt that
Mr. Greenwood's evening had been one of the best of the session. Compositions
were rendered by Madame Edith Bannister (soprano), Miss G. Williamson (contralto),
Mr. H. Ashworth (tenor) and Mr. W. Higgin and Mr. Alan Irving (baritones),
also by the Colne Orpheus Glee Union. Mr. J. Taylor accompanied the
items successfully. The programme included "Scenen aus der Frithjof-Sage'
(Von Estas Tegner), Op. 23 (Max Bruch), for male chorus and soli, with glees,
songs, etc., by Wm. Beale, Shaw, German, Webbe, Barnby, Mackenzie, Gluck,
Smart, Vaughan Williams, Elgar and Fletcher. The attack and fine quality of
tone of the choir was very noticeable.
21
On March 3rd Mr. Samuel Langford, of the Manchester Guardian, was the
musical director and accompanist. The subject was "The Songs of Hugo Wolf";
the vocalist Mr. Charles Neville. The meeting held a week later, viz, March 10th,
was a great success. The Catterall Trio, comprising Mr. Arthur Catterall (violin),
Mr. Johan Hock ('cello) and Miss Lucy Pierce (piano), is a wonderful combination.
Their playing was an exquisite delight to all. The expressions of individual
members of the audience were exceedingly complimentary, but their best expressions
is shown in the remarks of Mr. Catterall. He said: 66 We have never played
before a better audience, nor have we enjoyed a more cultured appreciation."
The silence during the recital was intense. The programme included Trio (for
violin, etc.), in C major (Haydn), Trio in C minor, Op. 101 (Brahms), Trio in
A minor, Op. 50 (Tschaikowsky). Miss Lucy Pierce kindly played solos, by request.
Her natural ability, together with temperament and outstanding technique,
made the music of Chopin and Scarlatti renditions long be remembered.
It is pleasing to know that we may be at liberty to welcome her to our next
session. Miss Nora Rust sang "To the Forest" (Tschaikowsky) and "Absence
(Hector Berlioz) to the accompaniment of her sister Miss Louie Rust. She is a very
promising singer. Our last evening of the session is being eagerly awaited, when
we are to have a "Symphony Programme," with Mr. W. Butterworth as director.
This takes place on the last day in March.
J.A.H.
DRAKE AND TONSON'S SCHOOL BRANCH, KEIGHLEY
On Monday, February 20th, the above Branch had the pleasure of hearing a
delightful 'Cello Recital by the distinguished artists Miss Marion Keighley Snowden
and Mr. John Snowden. The opening number-Brahms' Sonata in E minor for
piano and 'cello-gave opportunity for vigorous effects and able combination, but
the most interesting of their joint efforts was the rendering of a "Folk Tale," by
Arnold Bax, and a series of pieces by Purcell Warren, which were played with
exquisite taste and feeling. The two artists were very successful also in the
Introduction and Polonaise Brillante by Chopin. Mr. Snowden gave further proof
of his skill as 'cellist in an unaccompanied Suite of Bach, in which the
characteristic qualities of the instrument were brought out to perfection. Just as
delightful was Miss Snowden's pianoforte solo, the "Papillons," of Schumann.
The Keighley Branch may congratulate itself on having secured the services of
Miss and Mr. Snowden, whose delightful and entertaining performance was
greatly appreciated by the enthusiastic audience.
Later a meeting was held to consider the formation of a Local Branch of the
British Music Society in addition to the existing School Branch. A resolution was
passed that a Clef Club should be revived as a Branch of the British Music
Society. A number of ladies and gentlemen were nominated to meet the old Clef
Club Committee and arrange a thoroughly representative gathering of local
musicians and music lovers.
E.S.
GLASGOW
Our March meeting, held on the 6th, was in the nature of a new departure,
but was quite in line with one of the Society's cherished missions and
raisons d'etre, the encouragement of native British musical art. It took the
form of a Member's Concert, in which most of the items and the performers were
new to the general public. Miss Emmeline Faulin and Mr. John Horner played
pieces by Bach, Brahms, Chopin and Debussy, which showed them to be
extremely promising and talented, and particularly well-trained on the side of
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THE BRITISH MUSIC BULLETIN
87
technique. Mr. Eric Chisholm played a Sonatina in three movements of his own
composition. It showed the influence of the French impressionist school, and was
somewhat difficult to follow at a first hearing. Mr. Chisholm has musical ability,
however, and we shall doubtless hear more of him. Three songs by Miss Rose
Carleton Smyth (sung by her sister) were enjoyed, and also two groups of three
songs by Miss Ethel Angless, played and sung very charmingly by herself. In the
absence, through illness, of Mr. Ian Macpherson, Miss Margaret Colquhoun very
kindly took his place at the shortest of notice, and thoroughly pleased an audience
of encouraging size by her recitations. Two especially in the Glasgow doric were
irresistible to Glasgow people!
Α.Ε.Τ.
KENSINGTON
This Centre began a further series of ten Sunday Evening Concerts for the
people at The Venture, Portobello Road, on January 29th. At the opening concert
Dr. Wheeler gave his lecture on "How we Listen to Music," with pianoforte
illustrations played by Mrs. Lee Mathews. For the six succeeding concerts
Chamber music has been provided by the Kendall String Quartet, the Monique
Poole Quartet, and a Trio by Dr. and Mrs. Jordan and Mrs. Heyman. The
singers include Miss H. Read, Miss Sainsbury (with Celtic harp accompaniment by
Miss Coates), Miss Marjorie Ayling, Miss Ellen Clarke, Mrs. Collins, Mr. Harry
Child, Mr. Sickert and Mr. Owen Bryngwyn. The solo pianists have been
Mrs. Heyman, Mrs. Lee Mathews, Miss Jones, Miss Ann Kraft and Miss Olive
Byrne, who is also bringing her trio for the last concert of the series. Violin solos
have been given by Miss Herron, Mrs. Jordan, Miss Dorothy Walenn and Miss
Horsburgh, and a delightful addition to the last concert was Mrs. Conway Mason,
the Lyric Siffleuse. The warmest thanks are due to all these artists for the
pleasure they have given to the enthusiastic audiences, for whom they have one
and all given of their best, and that means a great deal.
A.F.J.
LIVERPOOL
On February 22nd, in the small concert room of St. George's Hall, a large
audience, consisting of the members of the Liverpool Centre and their friends,
enjoyed a Chamber Concert of the highest quality when the Philharmonic String
Quartet, London, on the occasion of their second visit to the Centre, presented a
most attractive programme. The four instrumentalists who form this combination,
Mr. Frederick Holding, Mr. Cecil Bonvalot, Mr. Raymond Jeremy and Mr. Cedric
Sharpe, have attained a perfection of ensemble and a range and variety of
expression which could only have been achieved by habitual playing together.
Particularly charming was their playing of the two ingenious pieces of musical
impressionism, Eugene Goossen's "By the Tarn" and "Jack o' Lantern," while
in the Mozart Quartet in D minor numbered K.V. 421 and in the Quartet
Movement of Schubert their treatment was the acme of artistry and a model of
what quartet playing should be. That these highly gifted players can also
respond to music of a more robust style was evidenced in the Quartet in G major
of Arnold Bax. The striking rhythmic qualities of the work were splendidly
emphasised in the playing, and a fine performance was secured.
On Wednesday, March 8th, in the Rushworth Hall, the members of the
Liverpool Centre gathered in much expectancy to hear one of the pioneers in
present day music, Mr. Arthur Bliss, in works of his own composition. Mr. Bliss
was assisted by a Chamber Orchestra of ten pieces, with soprano and tenor
vocalists, and with these instruments he treated his audience to some unique
combinations, the music being followed with interest and appreciation. The
informality of the proceedings and the suitability of the hall as a setting for such
chamber music gave additional charm to the evening's enjoyment. In a short
preliminary address Mr. Bliss expounded on the economic and artistic advantages
of the chamber orchestra over the large concert orchestra of the present day,
maintaining that modern tendencies in composition were moving in the direction
of the smaller arrangement. His own works were all scored for various
combinations of a small number of instruments. Miss Grace Crawford (who is
Mrs. Lovat Fraser) opened the musical programme with Mr. Bliss's recently
published "Madam Noy," singing it first to the composer's pianoforte
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accompaniment and again to the accompaniment of six instruments. "Rhapsody"
illustrated the blending of soprano and tenor voice with the orchestra, the voices
treated as instruments and vocalising on an open "ah" sound. Two pleasing
settings of nursery rhymes by Frances Cornford were appreciatively received, the
clarinet accompaniments possessing unusual charm, and the programme ended
with "Rout," for soprano and chamber orchestra, in which Mr. Bliss has depicted
in lively fashion an impression of carnival revelry.
J.B.
88
NELSON
The meeting held on February 21st was devoted to Chamber Music for strings
and piano. Mr. A. W. Catlow, Mr. W. Butterworth and Mr. A. Winterbottom
played the violin, viola and 'cello respectively, and Mr. C. H. Bateson, our Hon.
Musical Director, officiated at the piano. The programme included Mozart's
Quartet in G minor; Andante from Brahms' Quartet in G minor, Op. 25;
Scherzo from Fauré's Quartet in C minor, Op. 15; Second Movement from
Quartet in C minor, by Wall; and Finale from Schumann's Quartet in E flat,
Op. 47. The artists are to be congratulated on their excellent ensemble work.
Particularly meritorious was their rendering of the Fauré Scherzo. Miss M. Rossall
sang songs by Beethoven and Mozart with taste and intelligence.
songs arranged by Quilter for voice, piano, violin and 'cello, were also included in
the programme. The interpretations of these by Miss Rossall and the three
instrumentalists were noteworthy for their artistry and beauty.
Three pastoral
On March 7th, an excellent choice of music was made for the benefit of the
members. Mr. C. H. Bateson was the lecturer, and gave us some very interesting
particulars relative to the lives of Brahms and Gustav Holst. A very convincing
performance of Brahms' Sonata in G minor for violin and piano (Op. 78) was
given by Mr. A. Barker and the lecturer, the playing of the Adagio being
particularly impressive. In addition, a Mozart Sonata for violin and piano was
included in the programme. A praiseworthy interpretation of four songs written
by Gustav Holst for voice and violin, was given by Miss M. Ogden and Mr. Barker.
Miss Ogden's singing of these unique songs was singularly appropriate, and the
violin accompaniment was in complete sympathy with the vocalist. In addition,
Miss Ogden contributed songs by Harty, Martin Shaw, and Eric Fogg. Quite
a feature of the evening was Mr. H. Allen's performance of six songs from
Gustav Holst's Hymns from the Rig Veda." His interpretations were of
sustained excellence, his declamatory powers being remarkable; Mr. Bateson
accompanied these songs perfectly.
H.D.H.
66
PAISLEY HIGH STREET SCHOOL BRANCH
It has been decided that the senior and junior members of this Branch will hold
separate meetings. The seniors met on February 4th, when some of the members
performed works of Bach and Cyril Scott. Unfortunately the attendance was poor
owing to the prevalence of influenza. The meeting on February 25th was better
attended. The composers chosen for that day were Schumann and John Ireland.
The juniors met on February 11th, and again on March 11th, when short addresses
on Musical Appreciation were given, illustrated by gramophone selections. At
the second of these meetings a number of piano solos and one violin solo were
played. Two members, Miss Melvin and Miss Baxter, are to be congratulated on
gaining medals at the Renfrewshire Musical Festival.
On March 4th a combined meeting, which was open to friends and others
interested, was addressed by Miss Tennant, Hon. Secretary of the Glasgow Centre,
on "The Poles and their National Music." Miss Fairley supplied the illustrations,
and both ladies were listened to with great appreciation. Rev. John Chambers
occupied the chair, and the usual votes of thanks terminated a very successful
meeting.
K.R.
""
PALMERS GREEN AND DISTRICT
A most enjoyable "Members' Miscellaneous Evening " was held on March 2nd.
The programme included two very delightful works of Francis J. Morgan-the
Sonata, No. 5, in E minor, for violin and piano, and the Trio, No. 4, in F major,
for violin, piano and 'cello. In each the composer played the piano, Mr. Kenneth
Sullens the violin, and in the Trio, which on this occasion received its first
cash appre
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THE BRITISH MUSIC BULLETIN
performance, they were joined by Mr. Reginald Neale. The composer was invited
to give a brief exposition of the themes and their treatment before the playing of
each work, which he did to the great appreciation of our members, who also
much appreciate his gift to the Branch Library of both these compositions.
The works are of real merit, especially the Trio; they were splendidly interpreted,
and received spontaneous and enthusiastic applause. Other delightful instrumental
items were the piano solos of Mrs. Sewell Sims, including the dainty "Dew Fairy"
of Frank Bridge, and the charming "Baigneuses au Soleil" of De Sévérac played
by Miss May Beaton. Vocal solos and duets were contributed by Madame Violet
Rawson and Mr. Frank Marriott, Principals of the Enfield and Winchmore Hill
School of Music, including the Recitative and Air de Lia of Debussy, "O Star of
Eve," from "Tannhauser," and "Onaway, beloved" (Cowen), while the recitations
of Mrs. F. E. Taylor greatly added to the pleasure of the last "Members' Evening"
of the present session.
We conclude with a most important programme of
Miss Nellie Chaplin's revived Ancient Dances and Music in St. John's Hall on
Thursday, April 6th.
A.L.
PLYMOUTH
A well attended concert was held at the Y.M.C.A. rooms on Saturday evening,
March 18th. The programme was of an international character. The first three
movements of Borodine's No. 2 Quartet were splendidly played by Miss Florence
Woolland, Mrs. Cooke, Mrs. Treleaven and Miss Phoebe Cooke. Miss Olive Cloke,
a young pianist of very great promise, received an ovation for her splendid
performance. She played the last movement of Ravel's Sonatina, and a rhapsody
by Dohnanyi, and the Scriabine Nocturne for left hand as an encore. Miss Hilda
Smart played with great brilliance the Gavotte and Variations by Rameau-
Leschetizky, a study by Mendelssohn, and "A.D. 1620" from the sea-pieces of
Mrs. Lloyd, who has a good voice and is a perfect actress, sang
"Air de Salome" of Massenet, and two songs by Landon Ronald ("Sylvan" and
a little Love Serenade), for which she received an encore. Mrs. Lampard sang an
Irish love song arranged by L. Winterbottom, and " Silent Noon" by Vaughan
Williams, with most artistic finish. Mr. Fernley Pope sang with dramatic effect
Onaway, Awake, Beloved" from Coleridge Taylor's Hiawatha," and Eugen
d'Albert's setting of Robin Adair. The whole concert was most thoroughly enjoyed.
Macdowell.
A great concert of combined choirs and a local orchestra has been announced
for September 30th. Fuller particulars will be announced later.
W.P.W.
SALTBURN
66
66
89
At Miss Lorna Weber's Song-Lecture on February 18th, the outstanding feature
was her unusual degree of sensitiveness to the inmost spirit of each song.
With this gift, three folk-songs from Somerset, sung unaccompanied, at the
opening of the programme were most refreshing in their spontaneity, an effect
shared by a later French group of Adam de la Hale, with the interesting difference
of national character apparent. Miss Weber then showed the departure from
folk-song with its single line of melody to the development of the "Poem Song,"
beginning with the sixteenth century anonymous "My little pretty one,' " with
its adorable, difficult, simplicity, through the florid type exemplified by Purcell's
"Hark how the echoing air in triumph sings" to the present day songs, such as
Parry's "Sleep " and "Fairy-Town," and Vaughan Williams' Bright is the
ring of words," finishing with Stanford's cycle "The Fire of Turf," sung with all
its elusive Irish charm. The vivid background of accompaniment of these
modern songs was played most sympathetically by Miss M. J. Overton.
On March 2nd Mr. Alec Robertson gave a most interesting and helpful Lecture,
in which he pleaded the cause of the composer of the day. Musical history shows
that the advent of such giants as Bach, Beethoven, or Wagner, is preceded by an
age of experiment necessary to find the form to be perfected by the master-genius;
the climax reached, a less inspired period of imitation follows till the cycle is
complete and experiment again necessary. The music of to-day is of such a
character. Debussy is no longer novel; a Tchaikowsky-trained generation is
asked to leave the sorrowful sentimental for the grotesque; the new path is sought
in every direction. Mr. Robertson turned to the problems of the audience, and
skilfully piloted them through Holst's " Hymn of Jesus," having unfortunately
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THE BRITISH MUSIC BULLETIN
66
only a pianoforte as medium of this masterpiece of new thought. Fresh effects of
orchestral colour were observed by the use of the gramophone, in the quaint
Empress Bath" from Ravel's "Mother Goose Suite"; Bliss's use of the voice
as an instrument in the vivid carnival-picture "Rout" followed. More emotional
was the wonderful beauty of the slow movement from Elgar's 'cello concerto.
These lectures concluded a most successful first season of the Branch, bringing one
result not included in the prospectus. It has been observed that a musician is no
longer necessarily eccentric nor abnormal. From seeing a succession of its
members, it seems there is a type able to deliver astonishingly convincing lectures,
with an uncanny knowledge of the minds of new audiences, a flourishing sense of
humour and an undeniable disposition to friendliness.
M.E.C.
90
SHIPLEY AND SALTAIRE
A splendid Concert was given in connection with this Branch in the
Congregational Schools, Saltaire, on February 23rd, when the artists were
Miss Gladys Cockroft (soprano vocalist), Miss Isabel Purdon (solo violin) and
Miss Marion Brearley (solo pianoforte). Miss Cockroft, who possesses a powerful
voice of excellent quality, sang songs by Holbrooke, Quilter, Bridge, Walford
Davies, Goossens and Coleridge Taylor. Miss Purdon played a number of violin
solos, including Beethoven's Romance in G, ballet music from Rosamond "
(Schubert-Kriesler) "Spanish Dance" by Sarasate), Nocturne (Chopin-Auer),
Cyril Scott's "Cherry Ripe," Frank Bridge's "Moto Perpetuo," On Wings of
66
Song" (Mendelssohn) and Hubay's "Heije Kati." All the items were rendered
most artistically. She also joined Miss Brearley in a Sonata by Grovlez, the
French composer, and both artists gave a fine rendering. Miss Brearley is a
pianist whom it is always a great pleasure to hear. Her technique and power of
interpretation were abundantly shown in the varied programme she gave.
Gerrard Williams' selection, "Pot Pourri," was delightful, as was also the
Schumann Romance in F sharp major. Debussy's "What the West Wind said,"
Couperin's "The Nightingale in Love," and two Chopin studies were all
beautifully played. Miss Esme Bee and Miss Brearley made excellent
accompanists.
H.A.C.
STRATFORD-ON-AVON
The largest number we have had present so far attended the Musical Evening
given us by Dr. Tom Goodey and Mr. Michael Mullinar on Friday, February 24th,
at 7.15 p.m., at the Shakespeare Galleries. The company included Miss Marie
Corelli, the Patroness, and Mrs. Roberts West, the President. The general public were
also invited to be present, and a very appreciative audience listened to the
delightful all British programme rendered so ably and musically by Dr. Goodey
and Mr. Mullinar. Some of Mr. Mullinar's own compositions were included in
the programme.
E.B.
66
On Thursday, March 2nd, Miss Winifred Browne gave a Piano Recital at the
Shakespeare Gallery Rooms. Her programme was well chosen, and included
Sonata (Scarlatti), Fantasia C minor (Mozart), Theme and Variations (Paganini
Liszt), Prelude in C minor (Julian Clifford); "The Hurdy Gurdy Man" and
"The Old Musical Box," from "Kaleidoscope" (Eugene Goossens); "Interlude,"
MS., first performance (Doris Brooke); A Quiet Corner," "Joy Bells," "Elfin
Gambols" and Caprice No. 2, from Silhouette," (York Bowen); Nocturne, for
left hand (Scriabin); Impromptu in A flat and Scherzo in C sharp minor (Chopin.
Miss Browne, in the interpretation of her programme, displayed a keen insight
into the works, save for an occasional hesitation, particularly noticeable in the
Mozart number, but a more careful study of rhythm will no doubt eradicate this.
She showed a predilection for the modern composers, and caught exactly the right
atmosphere in Goossen's "Hurdy Gurdy Man" and "Old Musical Box."
performance of an "Interlude" by Miss Doris Brooke, a young Birmingham
composer, was well received, and in Miss Browne's playing of it we fully realised
A first
its delicate charm.
C. DU S.
YORK
Our last concert of the season, held on March 11th, was very well attended and
provided a most encouraging ending to the winter's activities. The Sheffield String
MAA
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As
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bringing
SICIAD IS
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The
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Standard for 25 years.
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Normar Allin, W. H. Squire,
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THE BRITISH MUSIC BULLETIN
Quartet, who were the chief attraction, played Beethoven's Op. 95 (in F minor),
an "Andante" by William Baines, to which a special local interest naturally
attached; Percy Grainger's delightful setting of "Molly on the Shore," and
Elgar's Quartet in E minor (Op. 83). Perhaps the most interesting event of the
evening, however, was the singing by Mr. Raymond Hartley of Vaughan Williams'
"Wenlock Edge" Suite, accompanied by the Quartet and Dr. Bairstow (on the
piano). The audience received this with great enthusiasm, and "Is my Team
Ploughing?'
?" had to be repeated. Cherry Ripe" was also given as an encore
to "Molly." A Gramophone Recital, in preparation for this concert, took place on
March 4th, when the Elgar Quartet "Molly" and "Wenlock Edge" were played.
In addition, we were able to hear the "Beggar's Opera" songs and the Kipling-Elgar
Fringes of the Fleet." Mr. John Browning's Annual Concert was held on
C.R.A.
66
March 3rd.
92
The views expressed by the Editor, or the Contributors, are not
necessarily the official views of the Society; nor does the Editor hold
himself responsible for opinions expressed by Contributors.
The Society does not place its faith on any particular composers and
the articles and reviews are not part of a definite propaganda but are selected
in the endeavour to make the magazine both useful and interesting.
LITERARY COMMUNICATIONS should be addressed to the
"Bulletin Secretary, 3, Berners Street, London. W. 1. Although every
care will be taken to return rejected MSS. the Editor does not hold
himself responsible for loss.
RATES OF SUBSCRIPTION: One year 8s. post free; single
copies 8d. each post free. Postage 2d. to any part of the world.
New Subscribers are recommended to place their orders for the
Bulletin at the Bookstalls of Messrs. W. H. Smith and Messrs.
Wyman & Co.
""
""
NOW PUBLISHED.
TWO NEW VOLUMES OF
The English School of
Lutenist Song Writers
THOMAS CAMPIAN
Songs from Rosseter's Book
of Airs, 1601. Part 1. Ten
Songs
JOHN DOWLAND
Second Book of Airs, 1600.
Part 1, Ten Songs
""
Volumes previously published:
JOHN DOWLAND
First Book of Airs.
""
THOMAS FORD
Part 1
Part 2
6s.
Songs from Music of Sundry
Kinds
6s.
5s.
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The TOBIAS MATTHAY
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For instruction under his teachers, and
under his supervision, on the lines laid
down in "Act of Touch," "First Prin-
ciples of Pianoforte Playing," "Some
Cominentaries." "Relaxation Studies,'
"Child's First Steps," 'Forearm Rotation
Element." "Musical Interpretation,"
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Open to Professionals and
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The Staff consists of 27 Professors of
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For further particulars write-
BRITISH
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Sical
n.
by
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CO.
W.1
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Μ.Α.
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W.
THE BRITISH MUSIC
BULLETIN
Volume IV No. 5
C.M.C. Concert
Proposed Taxation of Music
Reviews
CONTENTS.
May Concerts
British National Opera Company's London Season
Foreign News
MAY, 1922
Centres and Branches
PAGE
94
94
95
97
98
99
101
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THE BRITISH MUSIC
BULLETIN
VOL. IV
MAY, 1922
SPECIAL NOTICE TO LONDON MEMBERS.
The next Concert of the Contemporary Music Centre will be held
on Friday, May 5th, in the Drawing Room, Y.M.C.A. Headquarters,
Great Russell Street, at 8.15 (entrance in Caroline Street). The
programme will be found on page 101.
No. 5
THE IMPORTATION OF MUSIC INTO THE UNITED
STATES
[NOTE The alterations in the tariff on imported music into
U.S.A. are a serious consideration to music publishers in England.
The facts are stated in this article.-Ed. Bulletin.]
(1) PRESENT CONDITIONS
For some
UNDER the United States Tariff Act of 1913, music in books and
sheets was assessed at 15 per cent. ad valorem.
considerable period it was the rule to invoice music published at 2s.
net (which was the price of the bulk of the music imported) at the
approximate cost of production, i.e., 4d. per copy, on which sum duty
was paid, this amounting to under 1d. per copy.
About two years ago the Customs Authorities, acting under orders
from the Treasury Department, decreed that all music must be
invoiced for Customs purposes at not less than 65 per cent. of the
marked selling price. It should be noted that this decree was not an
enactment of Congress, but a ruling of the Treasury. The effect of
the enactment was that duty had to be paid on 1s. 3d. per copy,
instead of, as heretofore, on 4d. per copy, duty therefore being 21d.
per copy, or more than 50 per cent. of the actual cost of production.
The actual amount received from the United States importers in
payment for sheet music sold at 2s. per copy may be taken at 8d. per
copy. Music publishers in this country naturally protest against a
ruling which involves invoicing for Customs purposes at nearly double
the actual sum received.
British music is on the whole sold at a higher price in the United
States than music published
that country, and therefore no question
BRIT
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daty
at propor
freed to
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Dericans
ich is all
ited Stat
export
before
the
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No. 1
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UNITED
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England
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THE BRITISH MUSIC BULLETIN
95
of dumping or unfair competition could arise should it be decided that
duty should be assessed at 8d. per copy.
(2) FUTURE CONDITIONS
In the Permanent Tariff Bill now being considered by Congress
the duty on sheet music has been raised to 25 per cent. of the
American selling price. If this Bill is passed, it will mean that a
great proportion of the trade of English publishers with America will
be forced to cease.
The Music Publishers' Association, The British Music Society, The
Incorporated Society of Authors, Playwrights, and Composers, and
The Publishers' Association of Great Britain and Ireland, all unite in
expressing the opinion that, should the United States Government
pass the Bill as it now stands, it would react in an extremely unfair
manner upon the music publishers of this country.
The American National Association of Book Publishers and The
American Booksellers' Association have themselves expressed the view
before the Finance Committee of the Senate that not only was the
Bill in question unfair, but that it was detrimental to the interests of
Americans themselves, on economic grounds. Music imported from
England is of a high standard, and by far the larger part can be
classed in the category of classical music, and therefore is of
educational value. On the other hand, most of the American music
which is allowed into this country duty-free is of a very low standard.
It appears in the past year or two to have been the policy of the
United States to make it as difficult as possible for foreign publishers
to export music to the States: this was possibly caused by the fact
that the manufacturing clause of the American Copyright Law did not
affect music; that is to say, that there is no obligation to print music
in the United States in order to secure the copyright, but they hope,
by increasing the duty to an exceedingly high figure, to force
publishers to have their printing done in the States. There is now a
Bill before Congress revising the copyright laws, by which the
manufacturing clause is abolished for all publications. For this
reason it is possible, should this clause of the Fordney Bill be rejected,
that the United States Treasury Department might be induced to
revise their method of assessment.
MUSIC REVIEW
New Music*
This month we have some very interesting work for review headed
by the full score of Vaughan Williams' Fantasia on a theme by
Thomas Tallis for double stringed orchestra" (8s.), and of Arthur
* Goodwin & Tabb, Limited.
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THE BRITISH MUSIC BULLETIN
Bliss' "Rout" (Chamber orchestra) (8s.). These works, like the full
score of Holsts' "Planets by the same firm, are beautifully engraved
and their production is a great credit to their publishers, Armstrong
Gibbs' String Quartet No. 3 is very charming the second movement
is most invigorating.
96
There are a number of works by Holbrooke, of which "Jamaica'
(piano solo for the young in four volumes 2s. each) is most attractive.
The tunes, which are characterised as Ring Tunes, Digging Songs,
Dancing Tunes, were collected by the composer in Jamaica. They are
certainly "for the young" in the sense that children will enjoy them,
but there are too many accidentals to make them enjoyable for
children to play. Several tunes seem reminiscent of English melodies,
notably "Crahss lookin' dog" in the second volume, which is to all
intents" When I go out of door " from "Patience." Holbrooke's five
songs (2s. each) do not appeal to me with the exception of "To the
East Wind," which would be effective once the difficulties of the
accompaniment and the intonation were overcome.
""
66
Felix White's "Robinson Crusoe suite for piano (3s. 6d.) is
bizarre. The numbers are "Crusoe digs his cave," "Crusoe looks in
vain for a sail," "Crusoe's Parrot," "The despairing Crusoe reads his
Bible," Cannibal's Dance" and-no mention of Friday! This I
find a flaw, but perhaps another set will come later on. The songs (2s.)
by the same composer vary in quality: "The love of the Archer
Prince" and Leila" are effective, "The Minion Wife" (from
Ralph Roister Doister") and "The Neophyte" (Alice Meynell) are
very interesting: the "Cradle Song" is too uneven.
66
The Piano Trio No. 4 (7s. 6d.) and Violin Sonata No. 1 (6s.), by
Francis Morgan, are more straightforward than modern Chamber
work usually is, and the Trio, which is in three movements, is
very pleasing.
""
"Three Choral Pictures for mixed voices (First Set 1s.), by
Cyril Jenkins, are a valuable addition to choral music, but his "Song
of Indian Women" does not appeal to me.
But all this batch have been interesting, and most are valuable
additions to British publications.
"Arabescas," for piano, by E. G. Calderon de la Barca (Fuentes y
Asenjo, Madrid), is full of spirit, and supports those who believe in
nationality of music.
D.D.A.
BOOK REVIEW
Music and Letters-April No.
One of the most interesting articles in an interesting number is
that on "Nikisch," by Mr. Adrian Boult-for it is a technical criticism
by one specially well qualified to make it, which helps to explain (to
bors
The use
like to
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Insie Soci
BE
On M
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the fil
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Songs
They are
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D.D.
THE BRITISH MUSIC BULLETIN
the small extent to which it can be explained) the extraordinary
power and magnetism of that great conductor. Mr. Howells writes
of Vaughan Williams' Pastoral Symphony and J. B. Trend on Falla,
in each case with the sympathy which makes criticism revelatory.
Among other articles, all of which really deserve special mention,
contributions on "Music in Public Schools" will be noted, by various
There are more song translations, and altogether the
issue is as varied and entertaining as we expect the numbers of this
quarterly to be.
authors.
A GRAMOPHONE JOURNAL
The users of the gramophone are so many, and the educational
possibilities of it so extensive, that many British Music Society members
may like to know that there is a monthly journal which deals with new
records and old ones, and gives details which may help those desiring
to select either or both. It is called "The Musico's Club," costs
3s. 6d. per annum, and is published at Columbia Building, Clerkenwell
Road, London, E.C.1. A specimen copy will be supplied to British
Music Society members free of charge.
97
BRITISH NATIONAL OPERA COMPANY
On May 1st, at Covent Garden, begins the first London Season of
the British National Opera Company. The programme announced
for the first half of the season (four weeks) shows a determination to
challenge the best Wagner records of Covent Garden, for not only
Parsifal," Meistersinger," and "Tristan," but the whole of
The Ring" (and the whole of each section of it) is announced for
performance. In addition, "The Magic Flute" and an Offenbach
opera, "The Goldsmith of Toledo," which, if not new to Covent
Garden, has at least not been heard there for many years, are set
down, together with several popular favourites. Opera lovers, therefore,
should grasp their opportunity. The Company has been having great
success in the provinces, and London must do its share. Members of
the British Music Society particularly might care to make a special
study of one or more operas. The prices are lower than used to be
charged in old Italian opera days, in spite of the tax. For "The Ring"
and Parsifal" rather more is asked, but even so the amount is rather
less than in pre-war times.
66
66
The first list of artistes includes many well known singers, but
we should like also to know the conductors, for the responsibility
of the great Wagner music dramas and of "The Magic Flute," to
name no others, is a very heavy one; and, having challenged the
past so boldly, all who wish well to the National Opera Company (and
what British Music Society member does not?) will desire most
fervently that they should have the greatest success, even for tliose of
us who remember Mottl, and Richter, and Nikisch.
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98
BELA BARTOK'S RECITAL
Mr.
It was a great pity that at Mr. Bartok's Recital on March 24th, the
Violin Sonata was placed in a penultimate position on the programme,
as the audience's receptive faculties must have been far from fresh,
having had already to grapple with his very virile and vital Suite,
Op. 14, and Improvisations on an Hungarian Folk Tune.
Bartok's music is the very embodiment of his forceful personality.
The Sonata is a work of extreme technical difficulty for the violin, and
was played with consummate skill and mastery by Miss Jelly D'Aranyi.
The beautiful opening of the slow movement was exquisitely played
and formed a very vivid contrast to the forceful opening of the first
and last movements. All his works contain many subtleties which
could not possibly be appreciated at a first hearing, and it is to be
hoped that this work will be heard again frequently in our concert
Four songs were sung by Miss Grace Crawford, the third
being repeated in response to very insistent applause.
rooms.
Wigmore Hall,
Wigmore Hall,
Wigmore Hall,
Queen's Hall,
Queen's Hall,
Wigmore Hall,
Queen's Hall,
Queen's Hall,
Wigmore Hall,
THE BRITISH MUSIC BULLETIN
Eolian Hall,
SOME
Tues., May 2,
at 3
Wed., May 3, Pianoforte works by Bach, Ticciati
Beethoven, Mozart, Brahms,
at 3
MAY CONCERTS
Works by Beethoven, The Chamber
Dohnanyi, Bach, Brahms' Music Players
Viola Chaconne, etc.
Sat. May 6,
at 3
Wed., May 3, International Song Recital
at 8.15
etc.
Pianoforte Recital
Th, May 11, Brahms Song Recital
at 3.15
Th., May 11, Trios by Mendelssohn,
Franck. Songs
at 3
Sat., May 20,
at 8.30
Th., May 18, Hugo Wolf Song Recital
at 3.15
Donalda, Mischa-
Léon
Rachmaninoff
Elena Gerhardt
Sat., May 13, Brahms, Mozart, Chopin, Lamond
Schumann, Schubert
at 3
The London Trio,
Mary Copner
Elena Gerhardt
Fri., May 19, Piano works by Beethoven, Ticciati
at 3
Chopin, Ravel, Liszt
Pianoforte Recital
H. Samuel
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THE BRITISH MUSIC BULLETIN
99
MEMBERS' RECITALS
The M'Cullagh String Quartet gave a Concert at the Eolian Hall
on Tuesday, March 28th, the programme including Quartets by
Beethoven and Brahms, and arrangements of English songs. The
Quartet's beauty and purity of tone were especially noticeable in the
Brahms, and the general ensemble was of a quality not often found in
conjunction with individual independence of execution and style.
On Friday, May 5th, at the Wigmore Hall at 8.15, Miss Murray
Lambert will give a Recital of violin works by Handel, Bach, Tartini,
Brahms, Granados, and others.
On Saturday, May 6th, at 3, and Tuesday, May 16th at 8.15,
at the Eolian Hall, Miss Dorothea Webb will give Song Recitals.
The first is an all-British programme, and includes five hymns from
the Rig Veda by Holst, Bliss's Madam Noy, and settings of De La
Mare's poems by Armstrong Gibbs, Bliss, Keel, Carey and Howells.
On May 17th, at 8 p.m. in the County Hall Theatre, St. Albans,
The Mayson Opera Singers, who include several of our members, will
give condensed versions of Faust, Il Trovatore and Martha, produced
by Mr. Sumner Austin, of the Old Vic.
Mr. Philip Wilson's Song Recital, announced for May 1st, has been postponed
owing to his illness.
FOREIGN NEWS
During the past month we have had news of several notable
achievements to the credit and glory of English music and musicians.
Thus Mr. Albert Coates in Rome has strengthened and deepened the
great impression which he made on his earlier visit, and takes rank
there now with the very greatest conductors whom Rome has known.
Among other works he gave the Elgar Variations and a suite of
Purcell.
66
The English Singers" have delighted not only a large audience
in Berlin but the severest German critics as well. Their singing
has been said to set a standard to which all who care for choral
music should try to attain, and the madrigals in particular of their
repertory have proved a revelation of new beauty and delight. Miss
Eleanor Toye, in Prague, has had great success in singing English
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THE BRITISH MUSIC BULLETIN
music, folk songs, Elizabethan songs, Purcell, and 18th century songs,
and modern songs. She gave a second concert by special invitation,
so great was the renown gained by the first. As we go to press we
are further informed that Miss Ursula Greville, touring through
Austria and Germany with programmes made up of works by young
English composers, has been able to win for these works not only a
sympathetic but an enthusiastic hearing, and it is hoped that her efforts
will lead to a wider Continental fame for these song writers.
100
BANGALORE
from
66
The monthly music meeting was held on March 20th, in the Convent
of the Good Shepherd. About 120 members and associates and a few
others were present. A short programme was performed, including songs
and part-songs by Purcell, Elgar, Hatton, Ford and Somervell. The
songs by Elgar from his "Sea Pictures," and the songs by Somervell
Maud," respectively sung by Miss Johnson and Rev. F. V.
Dawkins, were much appreciated. Mr. Dickson played Scriabine's
prelude and nocturne for the left hand effectively, and Miss Short gave
a clean and delicate rendering of Debussy's "Arabesques." The slow
movement of the Kreutzer was played very well by the pianist and
violinist (Miss Peris and Mr. Augustina). Two of Schumann's
Märchen Erzählungen for piano, clarinet and viola, provided a
combination not often heard. The rest of the programme consisted
of part-songs.
Regular practices have been started for a choral section of the
Branch. It is hoped soon to extend activities to small orchestra and
chamber music sections.
SYDNEY
The Sydney Centre of the British Music Society held its first
meeting of the year under the presidency of Mr. Arundel Orchard,
at the Conservatorium Hall on Wednesday, March 8th, when Mr.
Frank Hutchens, newly returned from his visits to England and
America, gave an account of his experiences abroad.
He appears to have been very much impressed by the activity and
enterprise evident in London musical life, and by the sincerity and the
characteristically English feeling which is now apparent in the works
of the composers, especially Vaughan Williams, Gustav Holst and
John Ireland. He also commented on the keen interest now being
shown in the works of our great composers of the Tudor period,
and the fine recitals of Mr. John Coates and the Bach recitals of
Mr. Harold Samuel.
Mr. Hutchens also played examples of modern English and Russian
piano music, and an interesting discussion followed. The outlook for
the Society for the year is very promising and many interesting
recitals and discussion evenings are being arranged.
W.A.
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t only
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THE BRITISH MUSIC BULLETIN
CENTRES AND BRANCHES
101
LONDON CONTEMPORARY MUSIC CENTRE
All London members are invited to the Concert to be held on Friday, May 5th,
at 8.15, in the Drawing-room, Central Y.M.C.A., Great Russell Street (entrance in
Caroline Street). The Sonata for violoncello, by York Bowen, will be played by
Mr. Ambrose Gauntlett and the composer, who will also play a group of pianoforte
soli by Howells, Bridge, Scott and Bax. It has been found impossible to obtain
the new Ravel Sonata, mentioned last month, but in its place has been chosen
Honegger's Sonatine for Two Violins, which will be played by Mr. André Mangeot
and Mr. Kenneth Skeaping.
BATH
Mr. Arthur Bliss's "Rout" was the central feature on the programme of our
closing Concert this season, given on March 22nd under the management of
the Pump Room authorities and of the British Music Society. The composer
conducted; the voice part was sung by Miss Grace Crawford; and the Pump Room
musicians, under Mr. Jan Hurst, provided the orchestral accompaniment. As well,
they gave us some Purcell. Mr. Bliss gave a short talk on Chamber Music, Miss
Grace Crawford sang songs by Arnold Bax, Lord Berners and Eugène Goossens,
and the programme ended with Mr. Arthur Bliss's "Madame Noy."
"Rout" was
encored, as it always is; it filled the majority of its hearers with excitement and
enthusiasm as they heard the carnival "come sounding through the town."
Bang-whang-wharg goes the drum, tootle-te-tootle the fife;
66
No keeping one's haunches still; it's the greatest pleasure in life." F.H.B.
BELFAST
On March 10th there was a large attendance of members. A special effort was
made to interest the members in the national work undertaken by Dr. Fellowes in
making available to the public the songs of Elizabethan lutenists. Mr. John Vine
sang eight of Dowland's and Ford's songs, to the great enjoyment of the audience.
After a few explanatory remarks, examples of the virginal music of Byrd, Morley,
Farnaby, Bull and Gibbons were played brilliantly by Mr. George Smith. Even
those of the audience who had not previously heard such music were enthusiastic.
No doubt such performances as those by Mr. Vine and Mr. Smith will do much to
encourage the local practice of Elizabethan music. Miss Carrodus Taylor and
Mr. George Smith played Brahms' Sonata in E minor for 'cello and piano, and a
very acceptable performance it was. The Amphion Vocal Quartet (which included
a counter tenor, a voice not common in Ulster) rendered a madrigal of Beale's and
Horsley's "By Celia's Arbour," and the audience insisted on an encore.
There was again a crowded meeting of the members on March 31st, when
Mr. F. H. Sawyer, Mus.Bac., read a paper on Purcell. Mr. Sawyer's task was
undoubtedly a difficult one, for his audience contained those to whom the subject
was comparatively new, and also those who had an extensive familiarity with the
music in question; as we know, those who seek to cater for these two sections
usually succeed in mystifying the one and boring the other. Mr. Sawyer acquitted
himself brilliantly, for while he made his theme so simple that it could have been
understood by an intelligent child, yet he did so without detracting in any way
from the interest which the subject held for his more experienced auditors.
The audience was entertained by leading illustrations. Dr. G. H. FitzSimons
illustrated some of the harpsichord music, Mrs. Taylor and Mr. F. Hughes sang a
number of the songs, and Dr. FitzSimons, Mr. Godfrey Brown (conductor of the
local Philharmonic and the Symphony Orchestra) and Mr. Gray (first violinist
in the Symphony Orchestra) performed the Golden Sonata. Altogether a capital
programme of Purcell's secular music and interestingly rendered. The meeting
concluded with a vote expressing appreciation of the work done for the Branch by
the able and energetic Secretary, Miss McAlery.
R.N.
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102
THE BRITISH MUSIC BULLETIN
BLACKHEATH
On Thursday, March 16th, a Musical Meeting was held at the Blackheath
Chambers, with programme provided entirely by members. Miss A. M. Padgham
played the third Suite of Sterndale Bennett and, later in the evening, Liszt's
Sonetto del Petrarca," concluding with Palmgren's "Evening Whispers" as an
encore. Her playing showed a mastery of technique and deep sympathy in a
distinctly difficult programme. Mr. W. B. Edwards contributed some selections
for the 'cello, including an "Andante and Allegro" of his own composition, which
was much appreciated. The rest of the formal part of the programme consisted of
four and six part madrigals selected from the works of Morley, Weelkes, Byrd
and Vaughan Williams, by Miss Davis, Miss Scrutton and Miss Godfrey, and
Mr. Walker, Mr. Davis and Mr. Bacon. At the conclusion of the formal
programme the room was cleared for folk dancing, under the direction of
Miss A. M. Widgery-an experiment which proved highly successful in promoting
the social character of the meeting. Two long ways dances, "Brighton Camp" and
"The Butterfly," were learnt, many of the performers being novices in the art,
which served to warm up many of us on a cold evening. In the course of the
meeting Mr. B. E. C. Davis, the Local Representative, announced the opening of
a fund to provide the Branch with a piano in order to obviate the necessity for
hiring one. He appealed for support by donations from members, all of whom
would benefit by this proposed addition.
On Wednesday, April 5th, at the Blackheath Chambers-now regarded as the
headquarters of the Branch-the Oxford and Cambridge Musical Club provided an
admirable programme of Chamber music. Mr. W. Bredt, Mr. F. Petri, Mr. F. H.
Shepherd and Mr. H. T. Triggs gave admirable renderings of the string quartets of
Beethoven in G minor and Mozart in E flat. These were specially acceptable, as
we have not had string quartets for some time, and it is hoped that our own
instrumentalists will come forward encouraged by this example. Mr. Harold
Rutland contributed as pianoforte solos "The Island Spell" (John Ireland),
"Danse Nègre" (Cyril Scott) and "Twelve Episodes de Ballet en forme d'études"
(Hugo Anson), the last named of which has only recently been published, being
performed for the first time. Mr. Rutland's altogether exceptional playing was
greeted with the applause it deserved, and it was also gratifying to have among us
Mr. Anson, also a member of the Club, as a listener to this first performance of
his witty and original "Études." The vocal programme was provided by
Mr. A. J. Beamish, who sang three English folk-songs, "The Coasts of High
Barbary," "I will give my love an apple" and "Come, all you worthy Christian
men," and three modern English songs, "A Lover's Garland," "Love is a Babel"
(Parry) and "The Heart's Desire" (John Ireland), an admirable selection to
which the singer did full justice, interpretation being his especial gift. The whole
meeting was a great success, and thanks are due to the members of the Oxford and
Cambridge Musical Club, who showed us what a musical club, mostly of amateurs,
is capable of producing, and indicated the lines on which we should wish to see the
Blackheath Branch develop.
A baby grand piano has already been secured, and was played on for the first
time by Mr. Rutland at the meeting on April 5th. It has been secured, but, alas!
is not yet paid for, though some of the money has been advanced. We still need
a great deal more, and ask all members who have not already contributed to do so
according to their ability, and thus help forward an enterprise which benefits
everyone.
BLACKPOOL
The concluding event of the winter session took the form of a lecture by
Dr. Walter Carroll, of Manchester, on Thursday, March 30th. The subject was
"Music in Education." Dr. Carroll, who is musical adviser to the Manchester
Education Committee, gave a practical outline of the work that is being done on
Appreciation lines in the Elementary Schools in Manchester, and illustrated his
points with a specimen lesson in Appreciation, given to a number of girls and boys
from Palatine Road School, Blackpool. Both lecture and lesson were followed with
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THE BRITISH MUSIC BULLETIN
103
the closest attention by a large audience of members and elementary teachers from
the Blackpool schools, who had been invited by Dr. Ikin, the Director of Education.
There was a helpful discussion, and Dr. Carroll held the sympathy of his audience
throughout. A vote of thanks, proposed by Dr. Ikin and seconded by Dr. Wood,
was carried with enthusiasm. The local President, Sir Cuthbert Grundy, occupied
the chair, and the school children acquitted themselves well.
F.H.W.
BRADFORD
On Thursday, March 23rd, Mr. James A. Mackareth, the poet and writer, read
a paper on "The Nature of Art, and Art's Relationship to Life." In his address
Mr. Mackareth maintained, that national art was the sum total of a nation's
civilisation translated into the only terms that would endure. All important art
was of a universal and eternal nature, and it was a fine question as to how far the
personal element and the merely transitory aspect should be permitted to intrude.
Until recently, many people had regarded the arts as outside practical life, and
they were still regarded with suspicion by some sections of the community, but he
was glad the times had gone when dramatists-Molière among them-were refused
burial in consecrated ground. Great artists had often been condemned for their
lapses from the conventional, but we ought to alter our perspective when on their
plane, and think of what they had left behind them. The function of art was not
merely to amuse; to amuse was good, but there were other greater services. Great
art was great worship. What was an artist? In Mr. Mackareth's opinion any
worker, in whatever sphere of activity, who brought joy and fervour into his or her
work was an artist in some degree, it might be in a great degree. At their best
they were all artists. It was not Parliamentarians but artists who must carry the
world forward. Unfortunately, Mr. Mackareth had to leave at the conclusion of
his paper so there was no opportunity for discussion. After an interval for
refreshments Mr. Reginald J. Mackay, who had presided, sang W. A. Aikin's
Sigh no more, ladies!" to his own accompaniment, and Mr. R. Midgley played
Chopin's study in C sharp minor.
66
On Thursday, April 6th, a large crowd gathered at Madame Neal's to hear the
concert arranged by Mr. Guido Delni, the artists being Miss Alice Moxon, Miss Kate
Schutte, Mr. Anthony Beck, Mr. John Bentley and Mr. Harold Illingworth, with
Mr. Fred N. Bentley at the piano. Miss Moxon sang the "Air de Lia," from
Debussy's"L'Enfant Prodigue," and afterwards "Tre Giorni" (Pergolesi), "How
beautiful they are
(from Rutland Boughton's "The Immortal Hour") and Delius"
"Love's Philosophy."
Miss Schutte gave "O, Cessata" (Scarlatti) and
Vittoria, Vittoria" (Carissimi), and later Cyril Scott's "A Roundel of Rest"
and "As ever I saw,'
by Peter Warlock. Mr. Anthony Beck's rendering of
Roger Quilter's Suite 66 To Julia" was highly appreciated. Mr. Harold
Illingworth sang Schumann's 'Widmung," "Serenade" (Bantock) and Sea
Fever" (John Ireland). Mr. John Bentley gave "The Wanderer" (Schubert) and
"I will not grieve" (Schumann), and at the conclusion Schubert's
Dwelling Place."
66
66
My
66
The Annual Meeting, Social and Concert will take place on April 28th, when
the chair will be taken by the President, Lieut.-Col. A. Gadie, T.D., J.P. C.L.J.
BURNLEY
The last meeting of the session was held on Friday, March 31st. The title
of the evening's programme was "Symphony Music." There was a large and
enthusiastic audience.
The Colne Orchestral Society played First Movement
Symphony in G minor (550) (Mozart), Second Movement (Allegretto Scherzando)
from Symphony No. 8 in F (Beethoven), Second Movement from the Unfinished
Symphony (Schubert), Second Movement from Symphony No. 5 in E minor
(Tschaikowsky), and Last Movement from First Symphony in C minor, Op. 68
(Brahms). Mr. C. H. Bateson and Mr. J. L. Wildman, J.P., were the conductors,
the former also acting as accompanist. The pieces were treated in masterly
fashion, the orchestra showing confidence and fine sense of expression. The
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Miss M. Taylor sang
conductors deserve high commendation on their success.
"Del viene (Susanna's Song)," "Lye still, my Dearest," "Now ye Spring has
come," and "Have you seen but a whyte lillie grow."
These were artistic
interpretations. The tone, bright and clear. Mr. L. Thistlethwaite, our local
baritone, sang "Sapphische Ode" (Brahms), "I will not grieve" (Schumann).
"The Mono-tone" (P. Cornelius), and Credo, "Othello" (Verdi). The latter was
an item of outstanding merit, the phrasing and expression being exceptionally
good. Mr. Thistlethwaite also joined Miss Taylor in the duet "La ci darem
(Don Giovanni)." Mr. Butterworth's remarks at the outset added to what proved
to be an excellent performance, the audience feeling they had been present at a
delightful Musical Evening. As stated, this was the last meeting, and on the
performances given throughout the session the Musical Director is to be highly
complimented on his organising ability, his unfailing tact and enthusiasm.
He has had the assistance of two Secretaries (Mr. A. Spencer Bridge and
Mr. Wilfrid Lord). With such a large membership, the work of these two
gentlemen has been heavy, and it is in large measure due to them that the
Burnley Clef Club has proved to be such a benefit to the town and provided such
an ideal enjoyment to its members.
J.A.H.
104
EASTBOURNE
Two Concerts, on February 21st and March 20th, have been much appreciated.
At the first of these the instrumentalists were Mr. Robert Taylor (pianist) and
Mr. Sutherland Mackay (violinist). The vocalist was Mrs. Lyster-Todd (soprano),
and a group of songs by Lily Rendle was included in her items, the composer
accompanying.
At the March Concert Mr. A. Hervé gave viola solos. The pianist was
Miss Lily Rendle, and Mrs. Katharine Barry accompanied a selection of her own
songs. These were rendered by Mrs. Lockhart-Leith (soprano) and Mr. Gordon
Granville (tenor). On this occasion beautiful floral decorations, the gift of
Mrs. Barry, added considerably to the enjoyment of the music.
The next Concert is fixed for the evening of Saturday, May 27th, when
Mrs. Darbishire-Jones and Mrs. Warren will give a programme of Chamber music.
Mr. Percy Scholes' courses of Lectures on "The Story of British Music" and
"A Listener's Course" have been most successful. These were arranged in
collaboration with the University Extension Committee, the British Music Society
local Centre providing the musical illustrations. The following ladies and
gentlemen have generously given their services.-Mr. Granville, Miss Gwynne,
Mrs. Larking, Miss Lyons, Miss Rendle, Mrs. Lyster-Todd, Mrs. Warren. In
addition to these, choral music was illustrated by Mr. Dear's male voice choir and
Miss Rendle's ladies choir.
About 30 new members have been added to the register this year.
L.R.
HAMPSTEAD
Since my last note in these columns the Hampstead Centre has concluded its
series of six public concerts and has held two more of its informal musical
evenings for members and their friends. This series of meetings has been
specially arranged to prevent members feeling that they are in any way being
given bad value for their guineas. Those who enjoyed the playing of Mr. Reginald
Paul and Mr. Edward J. Robinson at the end of February, or the singing of the
Cecilia Ladies' Trio Choir on March 29th, conducted by Mr. Herman Klein and
assisted by Mr. Ashmoor Burch, in an enterprising and varied programme of
works by Wilbye, Este, Balfour Gardiner, Colin Taylor, Bantock, MacCunn,
Malcolm Sargent and others, must have had little doubt left on the point. As to
the members who stay away, they have all the sympathy they deserve.
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THE BRITISH MUSIC BULLETIN
Our last public concert gave Hampstead the opportunity of hearing Mr. Anthony
Bernard's new London Chamber Orchestra, who gave under his direction
delightful renderings of "Eine Kleine Nachtmusik," Purcell's "Old Bachelor
Suite" and Holst's "St. Paul's Suite." Jointly with Miss Harriet Cohen, who
was playing at her very exhilarating best, they gave us the Bach D minor
Concerto and Debussy's
Miss Scott-Turner added to
the extreme attractiveness of the programme in songs by Handel and Rameau
and in two delightful arrangements that Mr. Bernard has made of French
folk-songs, all accompanied by string orchestra.
"Danse Sacré et Profane."
105
There
As a result of extremely strenuous efforts, extra advertising, a considerable
amount of personal canvassing, a unique programme, and certain very generous
"concessions" on the part of the leading artists, a small profit was made on this
concert, but quite insufficient to have any material influence on the big loss incurred
severally and collectively by the previous five. It is now pretty clear that at the
present moment no concert of good music played by first-rate musicians can be
made to pay in this benighted borough except at the expense of the artist.
is no member of the Centre's Executive Committee who is prepared to make them
pay by that means, for the Committee is unanimous that a reasonable fee to the
artist must be the first charge on every concert given by the Centre. So that the
situation is pretty desperate. People who think that a British Music Society can
exist in Hampstead on informal evening or amateur performances of the most
hackneyed pieces of Chamber music simply don't know Hampstead. Anything is
on the cards, from another gallant attempt in 1922-23 to achieve the so far
impossible to wholesale resignations and the disintegration of the Centre. But I
I see, becoming gloomy, which will never do.
A.L.B.
am,
HASLEMERE
A successful Concert in connection with this Branch was given on April 1st,
when the artists were Mr. Harold Craxton, Miss Adelaide Rind and Mr. Spencer
Dyke. Mr. Craxton played a group of pieces by Byrd, Blow, Purcell and Arne,
prefacing each one with a few remarks. A Sonata for violin and pianoforte,
by Henri Eccles, followed, finely played by Mr. Craxton and Mr. Spencer Dyke.
Miss Rind sang songs by Bach, Ford, Purcell, etc., and later delighted her audience
with a group of folk-songs from many nations. Present-day composers were also
represented on the programme, Mr. Spencer Dyke playing solos by B. J. Dale,
John B. McEwen and A. C. Mackenzie. The concert closed with John Ireland's
Sonata No. 2 in A minor. The accompaniments were played by Miss Denise
Lassimonne. Mr. Tobias Matthay, in the course of the afternoon, urged upon
those present who were not already members of the Society their duty of joining
for the sake of Art, and no less for the sake of themselves. The next event in
connection with this Branch is Mr. Adam Carse's Lecture (with lantern slides) on
"The History of the Orchestra," which takes place at the Museum, Haslemere,
at 8 p.m., May 1st.
D.M.
HUDDERSFIELD
On March 28th Mr. John Coates visited the Centre and gave a most interesting
Recital of English song. The meeting, held in the Town Hall, was open to the
public at popular prices as an earnest of the future activities of the Centre. The
programme which was divided into four groups (a) Early English, (b) Stuart and
Georgian, (c) Shakespearian and (d) Modern, was received most enthusiastically by
a good audience equally because of the recitalist's artistry and his delightfully
intimate platform manner.
G.H.O.
LIVERPOOL
evening meeting,
to the members,
In March the Centre was visited by Mrs. V. I. Balkwill, Secretary of the
Society, and Mrs. Lee Mathews. Their visit coinciding with an
Mrs. Balkwill took the opportunity of addressing a few remarks
who were delighted to make her acquaintance. Visits such as these must be of
great value, emphasising as they do the link between Headquarters and the
Branches.
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THE BRITISH MUSIC BULLETIN
Mr. Frederick Nicholls, the Liverpool composer-member, provided the
programme for the meeting in the Club Room on Wednesday, March 22nd, when
he presented a most interesting selection of his own compositions. The items
included one of his latest works-a Pianoforte Suite entitled "
Jabberwocky."
In this some imagination was needed to get the composer's intention. One or two
of the fragments won cordial approval by reason of their bold impressionistic style.
Mr. Nicholls also brought forward some of his work for violin and piano. Two
movements, aptly called " Quietude" and "Unrest" were admirably designed to
show his contrast of style. The violin part was artistically played by Miss Edith
Horsfall. Eight of Mr. Nicholls' songs of diverse moods and expressions were
thoughtfully interpreted by Miss Ethel Penhall.
106
Advantage was taken of the visit of M. Bela Bartok to England to arrange a
Liverpool recital on Thursday, March 30th, in the Rushworth Hall. This created
much interest, and to a large audience he played a representative selection of his
pianoforte compositions. M. Bartok was introduced by Dr. A. E. Hull, the
founder of the Society, in a few well chosen remarks bearing on the composer's
tendencies in music. An evening such as this, with a distinguished foreigner as
the centre of interest, inevitably brings to mind the far reaching possibilities of an
exchange of visits between British and Continental composers and performers.
While admittedly something is being done in this direction, as witness recent
visits of English artists to Vienna, Berlin, etc., it is to be hoped that still more
opportunities will be provided for the propaganda of British music. On this
occasion M. Bela Bartok was very kindly entertained at Leyfield Priory, West
Derby, by Dr. and Mrs. J. D. Hayward.
The evening of April 7th, in the Rushworth Hall, was devoted to a Violin
Recital by Mr. Arthur Catterall. His qualities of dignity and sensitiveness,
warmth of tone and excellence of technique gave genuine distinction to his
performances of the Hamilton Harty Concerto and a movement of the Hungarian
Concerto of Joachim. A group of modern works included the first presentation of
voilin pieces by two lady composers, Miss Millicent Duncan and Miss Eilleen
O'Mally. The compositions were slender but fresh and charming fragments.
Mr. Catterall played them, together with the captivating Humoresque of Holbrooke
and the Legende of Delius, with exquisite taste. The unobtrusively skilful
accompaniments of Mr. Archie Camden contributed in no small degree to the
success of the recital.
NELSON
The Winter session was brought to a close on March 21st, when the Second
Annual Meeting was held. Our Secretary (Mr. H. Fothergill) read his annual
report. This showed that our membership remained at a satisfactory figure, the
total being 575, of whom 61 were members of the British Music Society. A review
was given of the many excellent programmes submitted to our members, and
satisfaction was expressed at the high standard of performance maintained during
the season.
Thanks were accorded to all the local artists who had so generously
given their services, and tribute was paid to the invaluable work done by our
Hon. Musical Director (Mr. C. H. Bateson). Our Treasurer (Mr. Barker) submitted
This showed that a sum of £32 had been forwarded to the
British Music Society. The balance-sheet showed a deficit on the year's working,
but this was not considered unsatisfactory, in view of the fact that a piano of the
best type has been purchased for use at our meetings. The officials and Committee
were re-elected. During the evening musical items were contributed by Miss
Preston, Miss L. Parkinson, Mr. G. Burrows, Mr. R. Duerden and Mr. W. Dixon.
All were much appreciated by the members.
his annual statement.
H.D.H.
PALMERS GREEN AND DISTRICT
The winter and spring season of the Palmers Green Branch closed with a
musical evening of an interesting and unusual nature. St. John's Hall was filled
to capacity by an interested audience, who, for the first time in the locality, heard
compan
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THE BRITISH MUSIC BULLETIN
Miss Nellie Chaplin's performers give examples of her revived ancient dances and
music. The young dancers wore period costumes, and were accompanied by the
Chaplin String Quartet. In keeping with the atmosphere of the entertainment
were madrigals and part songs, given with delightful effect by the Mayfair
Singers, while Miss Mirra Woodhead sang Elizabethan songs. In addition to
accompanying the dances, some delightful playing was heard by the string
quartet in works by Corelli and Purcell, while a violin and 'cello duet (an old
French dance) was received with great favour. Miss Nellie Chaplin's work in
reviving ancient music is well known. Music lovers owe her, and those who work
in accord, a debt of gratitude.
107
That the Branch has justified its existence is shown in its success during a
second and far more trying year. The character of the musical evenings has been
high. The increased attendance and undoubted interest of members and audiences
has been marked.
For the autumn session and new year a very attractive and enterprising
programme has been arranged. The Committee hope for a large increase of
membership and yet further interest in the Society at large.
E.M.R.
PAISLEY HIGH STREET SCHOOL BRANCH
The senior members met on March 25th, when a programme of piano and
violin solos by Mendelssohn and Edward German was submitted by several of the
members. The juniors met on April 1st, when eight of the members performed.
At the close a number of camouflaged tunes were played, which created great
interest and amusement. Roger Quilter's "Children's Overture," on the
gramophone, was much enjoyed.
K.R.
SHIPLEY AND SALTAIRE
66
The sixth and last of the series of concerts for the winter session of the Shipley
and Saltaire Branch was held on Thursday evening, March 16th, and was of
especial interest in that the artists, with one exception-Mr. Percy Allatt-were
members of our own Branch. The four artists-Miss Hilda Cooke, Miss Nellie
Anderson, Mr. Percy Allatt and Mr. Charlesworth George united in a delightful
interpretation of Liza Lehmann's Cycle "In a Persian Garden" (Omar Khayyam).
Miss Cooke sang with delicacy and charm Landon Ronald's" Captive Lark" and
Ecstacy (Rummel). Vaughan Williams' Silent Noon" was sung by Miss
Anderson with beauty of expression, followed by a sparkling interpretation of
"I stood to-day by the shimmering sea
,, (Roger Quilter). Delicate and artistic
were Mr. Allatt's songs, "Love's Secret" and 66
Aubade," by Gerrard Williams,
and Mr. Charlesworth George sang in delightful manner Maud Valerie White's
"Devout Lover" and "King Charles." The evening's enjoyment was considerably
added to by the splendid work of Mr. B. Coventry at the piano. This concert
concluded our winter's programme, which has proved to be most interesting and in
every way but one very successful. Unfortunately that exception is financial-
we finish somewhat in debt. Nevertheless as each concert has resulted in slightly
increased audiences, and as membership has also increased since last year, we do
not despair even of the financial side.
On Saturday, April 29th, there is to be a Social Evening for members and
friends, and it is proposed to have two garden parties during the summer months.
M.V.S.
""
SOUTHPORT
The Lecture-Recital given by Mrs. V. I. Balkwill and Mrs. Lee Mathews on
March 7th was highly appreciated by a very interested audience. The lecture
itself was beautifully written and the musical illustrations given with all
Mrs. Lee Mathews' well-known charm and distinction.
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THE BRITISH MUSIC BULLETIN
On Wednesday, March 8th, two of our members, Mrs. Irvin and Miss
Blumberg, gave a Recital of Duets for two pianos in aid of the Children's
Sanitorium in Hawkshead Street, and handed over a substantial sum to the
institution.
108
On April 7th Mr. Anderson Tyrer gave a Pianoforte Recital to a crowded
audience, which filled the main room of the Art Gallery. A very fine programme
included selections from the works of Liszt, Debussy, Chopin, Schumann and
Granados. No fewer than 84 non-members of the Society attended, some of
whom it is hoped will become new members in September when the autumn
season opens.
At the close of the recital the Annual Meeting of the Society was held.
Mrs. Ireland, Dr. Sheldon, Mr. Baldwin and Mr. Dickerson were elected as new
members of the Committee. The accounts at the close of 1921 were presented
and passed by the meeting. It is satisfactory to record that the year ended with a
balance in hand of £44 6s. 7d. The rest of the season has passed off equally
well, and there is a sum of £35 available to carry forward to cover the expenses of
the meetings in the first half of the next session. The Secretary has arranged to
hold club evenings every Saturday from 8.15 to 10.15 at her house, 14, Weld Road,
Birkdale, when all members who sing or play any instrument will be warmly
welcomed.
R.L.C.
STRATFORD-ON-AVON
The last Concert of the season took place at the Shakespeare Galleries on
Thursday, March 23rd. It was intended that the programme should consist of
members' performances and compositions, but as only three items were forthcoming
it could not be arranged. We were fortunate in securing the services of Miss
Yvonne Yorke (violinist) and Captain Hough (pianist) at the last moment, and
were able also to include the members' items. Miss Yvonne Yorke, who had
played with great success at the Town Hall a few days previously, drew us a record
audience, and many people were unable to gain admittance. She played Handel's
Sonata in D, Prelude and Allegro, Kreisler-Pugnani, and as an encore Bach's
Air on the G string. All these pieces so played that, to quote the musical critic,
"she took us into paths that may only be trodden by a genius." Captain Hough
played two Preludes and Fugues of Bach's, "La Cathedrale Engloutie" and
"Minstrels" (Debussy). Master Philip Thompson accompanied his own song,
"Life's Pathway," lyrics by Mrs. Stanley. This young composer shows promise,
and we hope to have another of his compositions next season. The song was sung
by Mrs. Warden. Mr. Bruce Bradley sang "Oblation," by John Adamson, and
gave a very good interpretation. Miss Ivy Orde, Miss Sylvia Richardson and
Master Roland Svirel played the First Movement of Gade's Trio for violin, 'cello
and piano. They played well, but lacked in rhythm and strength, but we hope
better opportunities will be available for working together, when a more perfect
ensemble will result. This is our first season in Stratford; on the whole it
has been successful, but we must have more members if we are to provide
really good music.
C. DU S.
WORTHING
At the Annual Meeting, held on March 25th, a scheme for giving a series of
popular concerts in the autumn was brought forward. A Music Club is shortly to
be opened, which will provide a meeting place for ensemble playing, part singing,
lectures and informal meetings. The music library is also to be kept there. The
meeting concluded with a musical programme. Lady Radnor's Suite," by
Hubert Parry, and "The Londonderry Air," arranged by Percy Grainger, were
among the orchestral items; also songs in Arabic, Greek, Spanish, Latin and
English completed the programme.
66
Mention must be made of the West Sussex Choral Competitions, held at the
Theatre Royal.
Dr. W. G. Whitaker acted as judge. On the first day the
competitions were confined to adult choirs and vocal quartets. The following day
ges,
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TOSTATE
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THE
BRITISH MUSIC BULLETIN
109
Worthing was fully represented, and competitors also
was given up to schools.
came from Chichester, Horsham, Littlehampton, Bognor, Arundel and several
villages, numbering altogether 23 choirs and 15 schools.
In the hands of such an
adjudicator as Dr. Whitaker this proved to be a most instructive and inspiring
festival.
On April 30th a Mass by Mrs. Verne Bredt, one of our Vice-Presidents, is to be
given at the Palladium, Littlehampton.
YORK
Under the
The chief musical event in York this month was the annual performance of
Bach's St. Matthew Passion in the Minster on Palm Sunday.
guidance of Dr. Bairstow this was, of course, a great success artistically, and even
from the financial point of view there was a great improvement. We may
therefore hope that the Minster will continue its efforts and will maintain the high
standard hitherto set. On the previous evening Mr. H. A. Bennett, F.R.C.O.
(assistant organist at the Minster), gave an explanation and general account of the
music to our members and their friends.
On April 1st the York Symphony Orchestra, with whom we are in very friendly
relation, gave their first concert since the war. The programme included a good
deal of British music and was much appreciated by an encouragingly large
audience.
The British Music Society have also held a successful Concert, at which
Haydn's "Creation" and Brahms' Song of Destiny" were the chief attractions,
these being supplemented by Butterworth's " Shropshire Lad Rhapsody" for
orchestra and the Blake-Parry"Jerusalem."
The Settlement Orchestral and Madrigal Societies combined on April 5th, 6th
and 7th to give Coleridge Taylor's "Death of Minnehaha," which was preceded by
some Elizabethan and Purcell madrigals. It is to be hoped that they also
will continue.
We are having this summer some rather informal meetings for members and
their friends. Three evenings will be devoted to Chamber music by local players,
and on May 3rd Dr. R. Vaughan Williams is to lecture in the Guildhall on
"Gustav Holst and the Modern Spirit." The Committee hopes that members will
support this attempt to keep the musical flag flying during the summer months.
The views expressed by the Editor, or the Contributors, are not
necessarily the official views of the Society; nor does the Editor hold
himself responsible for opinions expressed by Contributors.
The Society does not place its faith on any particular composers and
the articles and reviews are not part of a definite propaganda but are selected
in the endeavour to make the magazine both useful and interesting.
LITERARY COMMUNICATIONS should be addressed to the
Bulletin" Secretary, 3, Berners Street, London. W. 1. Although every
care will be taken to return rejected MSS. the Editor does not hold
himself responsible for loss.
RATES OF SUBSCRIPTION: One year 8s. post free; single
copies 8d. each post free. Postage 2d. to any part of the world.
New Subscribers are recommended to place their orders for the
Bulletin
at the Bookstalls of Messrs. W. H. Smith and Messrs.
Wyman & Co.
(4
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The
Columbia
Cafonola
The Gramophone
that has set the
Standard for 25 years.
a
9
New Prices from £6 10s. to £65
Cabinet Models from
£35
On Sale at all Stores
and Music Sellers.
Ask to see the New Models
The
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including Dame Clara Butt
and Kennerley Rumford,
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Coates, Hamilton Harty, Alick
Maclean, Pachmann, Elsa
Stralia, Tom Burke, Hubert
Eisdell, Frank Mullings,
Normar Allin, W. H. Squire,
Arthur Jordan, etc.
Record ONLY
for
COLUMBIA
Records.
Columbia.
1 MAY 22
Subsc
20s.
Curre
Copie
5s. 3
Post
22,
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HOS
Y₁
ne
lans
Ese
ed
ONS
W
uncing
THE BRITISH MUSIC
BULLETIN
Volume IV No. 6
Officers of the Society
Full Conference Programme
The Conference
Music Reviews -
CONTENTS.
Book Review
Carnegie Awards to Composers
Forgotten Composers
Byrd Festival, 1923
Foreign News
Centres and Branches
JUNE, 1922
PAGE
- 112
- 113
- 115
- 118
118
- 119
- 120
- 121
121
122
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Ocr'd Text:
THE BRITISH MUSIC
BULLETIN
VOL. IV
JUNE, 1922
OFFICERS OF THE SOCIETY
Patron: THE EARL OF BALFOUR
President: THE LORD HOWARD DE WALDEN
Vice-Presidents:
Sir HUGH P. ALLEN
Professor GRANVILLE BANTOCK
Sir THOMAS BEECHAM, Bart. '
Major-General Sir W. S. BRANCKER,
K.C.B., A.F.C.
Sir FREDERICK BRIDGE, C.V.O.
ALBERT COATES, Esq.
Sir FREDERIC COWEN
Dr. WALFORD DAVIES
FREDERICK DELIUS, Esq.
Sir EDWARD ELGAR, O.M.
DAN GODFREY, Esq.
HAMILTON HARTY, ESQ.
Sir HENRY HADOW, C.B.E.
Sir WILLIAM MCCORMICK
CECIL H. BATESON, Esq.
ADRIAN C. BOULT, Esq., Mus. Doc.
W. W. COBBETT, Esq.
EDWARD J. DENT, Esq.
PAUL EDMONDS, Esq.
Dr. A. EAGLEFIELD HULL
Sir S. ERNEST PALMER, Bart.
Sir LANDON RONALD
Dr. ETHEL SMYTH, D.B.E.
Dr. ARTHUR SOMERVELL
The Right Rev. Dr. T. B. STRONG
Professor DONALD TOVEY
Lady MAUD WARRENDER
Sir HENRY WOOD
Committee of Management:
Chairman: Sir HUGH ALLEN, M.A., Mus.Doc.
Mrs. W. LEE MATHEWS
FRANK ROSCOE, Esq., M.A.
W. RUSHWORTH, Esq.
G. BERNARD SHAW, Esq.
FRANCIS TOYE, Esq.
GEOFFREY TOYE, Esq.
Dr. C. E. WHEELER.
No. 6
Hon. Treasurer:
W. LEE MATHEWS, Esq.
Secretary: Mrs I. BALKWILL, M.A.
ITISH MUSH
Offices: 3, BERNERS STREET, LONDON, W.1.
FOLL
TATION
UTARY
NERT
the
BATE FO
BERS
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No.
art.
OPEN
DEBATE
FULL CONFERENCE PROGRAMME
JUNE 30th-JULY 3rd
INVITATION
MILITARY
CONCERT
(Under the
Patronage of
H.M. The King)
THE BRITISH MUSIC BULLETIN
DEBATE FOR
MEMBERS
ONLY
113
66
A Musical Public, and how to encourage it "
11 a.m.
Friday, June 30th, at the Æolian Hall
Chairman: Professor GRANVILLE BANTOCK (engage-
ments permitting).
Speakers invited: Mr. Albert Coates, Miss Myra
Hess, Mr. Robert Radford (British National
Opera), Mr. Percy Scholes (Observer), Mr.
Francis Toye.
NO TICKETS OF ADMISSION REQUIRED.
8 p.m. for 8.30 p.m.
Royal Albert Hall, Friday, June 30th
Band under the direction of Kneller Hall. Comman-
dant: COLONEL SOMERVILLE. Concert organised
jointly by The Incorporated Society of
Musicians, The Federation of British Music
Industries, and The British Music Society.
Members may apply for any number of Tickets they
wish for themselves and friends, by filling up the
form for the purpose on the perforated sheet over-
leaf. It is important that members should apply as
soon as possible, and in no case later than June 16th.
66
The Future of the British Music Society"
11 a.m.
Saturday, July 1st, at the Eolian Hall
CHAIRMAN LORD HOWARD DE WALDEN.
Speakers: Sir Hugh Allen, Mr. Lee Mathews (Hon.
Treasurer), Dr. C. E. Wheeler (Editor Bulletin),
Mr. Frank Roscoe (Teachers' Registration
Council), Mr. Eugene Goossens.
ADMISSION BY MEMBERSHIP CARD.
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114
BANQUET
SPECIAL
ENGLISH
CHURCH
MUSIC
CONCERT OF
LONDON
CONTEMPOR-
ARY MUSIC
CENTRE
THE BRITISH MUSIC BULLETIN
7.45 p.m.
Saturday, July 1st, at the Waldorf Hotel
7.15 p.m. Reception of guests by
Lord and Lady Howard de Walden.
The Speakers during the Evening will be Lord
Howard de Walden, Lady Maud Warrender,
Sir Hugh Allen, Mr. J. L. Garvin and Mr.
Roger Fry.
Tickets for members and their friends (12s. each,
exclusive of wine) can be obtained by filling up the
form provided for the purpose on the perforated sheet
opposite. Accommodation is limited, and members
are asked to apply as soon as possible.
Sunday, July 2nd
Westminster Abbey
(Kindly arranged by Mr. Sydney Nicholson).
Westminster Cathedral
(Kindly arranged by Dr. R. R. Terry).
Southwark Cathedral
(Kindly arranged by Mr. E. T. Cook).
All Saints' Church, Margaret Street, W.
(Kindly arranged by Mr. W. S. Vale).
8.15 p.m.
Monday, July 3rd, at Seaford House,
Belgrave Square, S.W.
(By kind permission of Lord and Lady
Howard de Walden.)
Sonata for 'Cello and Violin (Ravel)
MAY MUKLE and ANDRE MANGEOT.
Songs for Baritone and String Quartet (Butterworth)
Love blou's as the Wind blows
Henley
Life in her Creaking Shoes
Fill a glass of Goiden Wine
Coming up from Richmond
وو
Folksong Sonata for 'Cello and Piano (R. O. Erlebach)
MAY MUKLE and MAURICE JACOBSON.
A Card of Admission (limited to 150) will be issued
to each member strictly according to priority of
application on receipt of form for the purpose on
the perforated sheet opposite.
Friday, Ju
The er
e public,
portance
& po
tinguishe
Profess
A Concr
ety of
to be gim
e program
Bach, as
Suite
is to be h
induced
201
sorming
Dame
by Co
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f Ho
211.
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ng up t
ated
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ichols
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ale).
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THE BRITISH MUSIC BULLETIN
THE CONFERENCE
115
Friday, June 30th, at 11 a.m., Æolian Hall, New Bond St.
The events of the Conference will open with a debate on "A
musical public and how to encourage it." This meeting is open to
the public, and members are asked to take steps to bring as many
music lovers as they can, for the subject is clearly one of the greatest
importance to us all, and needs consideration from as many points of
view as possible. Mr. Albert Coates, Mr. Robert Radford and other
distinguished people have been invited to speak, and as they can all
speak with authority a good start to the debate is assured. It is hoped
that Professor Granville Bantock will take the chair.
Friday, June 30th, at 8.30 p.m., in the Albert Hall
A Concert, organised by the British Music Society, the Incorporated
Society of Musicians, and the Federation of British Music Industries,
is to be given by the Band of the Royal Military School of Music
(Kneller Hall), of which Colonel J. C. Somerville is Commandant.
The programme will include the Meistersinger Overture, and a Fugue
of Bach, as showing how effective a Military Band can be in works of
this character adapted for the purpose. Great interest attaches also
to a Suite of Holst's, written specially for the Kneller Hall Band, and
it is to be hoped that after hearing this other leading composers may
be induced to follow Mr. Holst's admirable example, and write directly
for a military band. We may remind them that a military band,
performing as it does in so many different places in the kingdom
throughout the year, should form a very effective vehicle of
propaganda.
Dame Ethel Smyth is to conduct her fine Overture to "The
Wreckers," and part-songs are to be sung by the Choir for Male
Voices attached to Kneller Hall, a new feature of the excellent work
done by Colonel Somerville.
The Albert Hall is (fortunately) a large building, and members
can have for themselves and their friends as many tickets as they wish
if they will take the trouble to apply for them on the form enclosed
in this issue.
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116
THE BRITISH MUSIC BULLETIN
Saturday, July 1st, at 11 a.m., Æolian Hall, New Bond St.
Lord Howard de Walden will take the chair at a meeting for
members only, to discuss the future of our Society. It is of vital
importance that the opinions of members should be heard in detail,
and this debate is an opportunity which must be turned to account.
The Committee of Management, among other matters, are concerned
with the proper sphere and usefulness of the Bulletin, and proposals
with regard to it will be put before the meeting. But it is not the wish
of the Committee to monopolise the time for discussion; rather, they
earnestly desire to learn the views (and grievances) of members in order
the better to serve them in the future. Sir Hugh Allen will speak, as
also the Hon. Treasurer of the Society, the Editor of the Bulletin,
Mr. Roscoe, and Mr. Eugene Goossens. Certain definite points of
view will in this way be illuminated, and it is hoped that enough
direction will thereby be given to the discussion to enable conclusions
of practical value to be drawn from it.
This meeting is only open to members, who must show member-
ship cards to gain admittance.
Saturday, July 1st, at 7.45 p.m. at the Waldorf Hotel
Lord Howard de Walden will take the chair at the Society's
Banquet, and with Lady Howard de Walden will receive the guests at
7.15 p.m. The price of tickets for this is 12s. (exclusive of wine), and
members can bring as many guests as they wish on payment of the
requisite sum, and due application upon the form for the purpose to
be found in this issue, though, owing to exigencies of space, they
are urged to do so as soon as possible. Lord Howard de Walden,
Lady Maud Warrender, Mr. J. L. Garvin (Editor of The Observer),
and Mr. Roger Fry will speak during the evening.
Sunday, July 2nd
At Westminster Abbey, Southwark Cathedral, Westminster
Cathedral, and All Saints', Margaret Street, special music will be
performed at the services of the day. The only programme available
as we go to press is that of All Saints', Margaret Street :-
MORNING SERVICE.
Te Deum in B flat ...
Mass in G...
Offertory Anthem, "Light of the World"
Healey Willan
Stanford
Elgar
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bes, o
nclusion
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shaping
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Bond St
of
account
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THE BRITISH MUSIC BULLETIN
EVENING SERVICE.
Magnificat and Nunc Dimittis in F
"O Salutaris "
Tantum Ergo
...
117
Walford Davies
Elgar
J. Francis Burnett
Monday, July 3rd, at 8.15 p.m., at Seaford House,
Belgrave Square
By the most kind permission of Lord and Lady Howard de
Walden, a Concert of the Contemporary Music Centre will be given on
this occasion. This is open to members of the Society only, and the
number of tickets must be limited to 150. Tickets will be allotted
strictly in order of application, and all who wish to be present should
apply in good time. The programme will include the new Ravel work
for violin and 'cello, a group of songs to words of Henley, by Butter-
worth, for baritone and string quartet, and a Folk Song Sonata for
'cello and piano by R. O. Erlebach, one of whose compositions has
just received recognition by the Carnegie Trust.
The music performed will therefore be of more than ordinary
interest, and the Committee hope to draw the attention of members to
their enterprise. Its aim is to do for Chamber Music what the Patrons'
Fund does for orchestral works, namely, give a hearing to chamber
music of any promise hitherto unheard. In addition, it aims to keep
attention directed to other chamber music of all nations which has
been written during the last fifteen years, and which, although it may
have gained a hearing, is performed less frequently than its merit
deserves.
Were the Contemporary Music Centre to grow, as it should, and
become the great and wealthy body which it could be if all who care
for its aims would support its efforts, then its activities need not be
confined to London, and its influence, by means of our Centres and
Branches, could extend all over the country.
Conclusion
The Conference offers members an opportunity, first, to improve
their sense of fellowship by mutual discussion and community in
pleasant experience; second, to take a share in suggesting and there-
fore shaping policy for the future. The one certain thing in this
matter of the British Music Society is that we must go forward to our
establishment as a national force, or dwindle to extinction. There is
no halfway house for us. Upon the determination, the effort, the
devotion of members lies our ultimate fate, and the Conference must
be made a significant event in our history.
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118
THE BRITISH MUSIC BULLETIN
MUSIC FOR REVIEW
66
Edgar Bainton's new contribution to Joseph Williams' St. Cecilia
The Lark's Song," is a
collection of part songs for treble voices,
very delicate setting of anonymous words; its charm would depend
on a perfect performance by two very true solo trebles, as the figures
would tend to become heavy when sung by more voices.
66
From Winthrop Rogers come "Water Boy," a negro convict song
The Water Mirror" Suite for
arranged by Avery Robinson (2s.),
Piano by James Lyon (3s.), and "The Ballet of the Trees," by Harry
Farjeon (complete 4s.), the dances published together (2s. 6d.). It is
strange if composers do not follow Mr. Farjeon's lead and write
simple ballets to be danced by children; there are many schools that
dance, and all schools give a concert at least once a year; for them
such a ballet as this will be useful even if they do not choose to
follow the careful directions of movements given by the composer.
The plot is, I feel, too indefinite and the music too uneven, but
Mr. Farjeon and his publishers must be congratulated on setting a
very good example to other writers and firms.
Herbert Hughes' "My father has some very fine sheep" is the
best of Messrs. Enoch's new music; it is an Antrim version of the
old rhyme that once was known to children through the medium of
Caldecott's books. Mme. Chaminade's Op. 161 is entitled "Chanson
Nègre pour Piano." Sir Landon Ronald has set "Let all the Strains
of Joy," by Rabindranath Tagore and "At Morning," by Temple
Thurston; the latter is easy to sing. Easthope Martin's "Dusk of
Dreams will be sung at all seaside concerts this summer.
Armstrong Gibbs, in "Gray and Gold," has not tried to set Miss Helen
Taylor's lyrics as they should be set; he has attempted a much
more difficult task. Mr. Easthope Martin is admirably suited with
Miss Helen Taylor as lyricist; Mr. Armstrong Gibbs' music to
Mr. de la Mare's poems is charming.
I hope Mr. Martin is not
intending to set "Peacock Pie" as a companion to "Songs of
Mr.
the Fair."
D.D.A.
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ܐ
BOOK REVIEW
Edward MacDowell*
Mr. Porte has already done a book on Elgar and one on Stanford,
and this new book follows the same plan. A brief biography (all too
brief) is followed by a description of the works, taken in numerical
order. The book has a very definite use for all lovers of MacDowell.
It will make no converts nor alienate any friends. It is a pity the
English is not better and the musical appreciation more sound and
discriminating.
*66
Edward MacDowell." By J. F. Porte. Published by Kegan, Paul, Trench,
Trubner & Co., Ltd. Price 7s. 6d. net.
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THE BRITISH MUSIC BULLETIN
119
CARNEGIE AWARDS TO COMPOSERS
The works selected for publication by the trustees of the Carnegie
United Kingdom Trust, with the adjudicators' remarks in each case,
are as follows:-
York Bowen-String Quartet in D minor. A well written, pleasing
and effective piece of music in three movements, presenting no
undue difficulty.
Nicholas T. Gatty-"Prince Ferelon" or "The Princess's Suitors."
A musical extravaganza in one act. A charming little poem of
moderate length. The libretto is amusing and original; the music,
though full of beauty and character, is light and not abstruse, and
is likely to appeal to a wide circle of music-lovers.
R. O. Morris "Fantasy for String Quartet." A beautiful and poetic
composition, simple in character and deep in feeling. It is quite
short, and should find a frequent place in the programme of quartet
concerts between two works on a larger scale.
Cyril B. Rootham-"Brown Earth" for chorus, semi-chorus and
orchestra. A short choral setting of a beautiful poem, well-written
both for voices and for orchestra; melodious and sincere in
expression.
Felix White-"The Nymph's Complaint for the death of her Fawn,"
for oboe (or violin), viola, and pianoforte. A musical portrayal
of Andrew Marvell's poem, full of fancy, occasionally, perhaps,
somewhat far-fetched, but genuinely poetical in conception.
An additional award of MS. copies of score and parts is made in
the case of one work :-
Rupert O. Erlebach-Rhapsody Quintet for flute, cor Anglais (oboe),
violin, viola, violoncello.
The adjudicators state that, although on the whole the quality of
the works submitted is not so high as in some previous years, they are
confident that the five compositions selected for the major award of
publication will uphold the high standard which has been set by
previous adjudicators. They express regret, however, that they have
not been able to include in their recommendations any purely
orchestral works.
MEMBERS' RECITALS
Miss Louise Gros, one of our members, is lecturing at 12b,
Pembroke Gardens, W. 8, on June 1st, 8th, 15th and 22nd, at 3 p.m.
The subjects of her lectures are respectively: Bell Music, Chinese
Music, The First Musicians, and Colour Music.
Madame Beatrice Berk, also a member, is giving a Song Recital
on Friday, June 23rd, at the Hotel Majestic, Harrogate, assisted by
Mr. Lloyd Hartley. The programme will include songs by Spohr,
Kennedy Fraser, Brahms, Schubert, Debussy, Herbert Hughes, Scott
and Quilter.
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120
THE BRITISH MUSIC BULLETIN
FORGOTTEN COMPOSERS
It is an extraordinary fact that the men who were the first to
known in their own times throughout Europe, should have fallen into
almost complete oblivion, even in their own country, so that their
works as republished to-day have certain elements of strangeness and
novelty which are usually associated only with the latest works of the
Modernist School. John Dowland-perhaps the most important of
the Elizabethan composers-has been known up to a very recent date
by one or two songs only; Thomas Campian is known as a poet, but
the musical settings which he wrote to his own poems have been
forgotten and so it goes.
It is now well known that Dr. E. H. Fellowes has devoted many
years of patient research to the bringing to light of the Elizabethan
Madrigalists, but his work for the song writers of the same period is
not a matter of such general knowledge. He has found over 500
songs, which are being republished by Winthrop Rogers, Limited.
Five volumes, each containing about ten songs, have already appeared,
and four more are in preparation as a first series. These songs are of
great value to professional singers, offering a large variety of new and
valuable material for programmes, but they appeal perhaps even more
to the amateur musician, who has, in these busy days, more time to
familiarise himself with their many beauties.
As the volumes appear at varying intervals, it is sometimes difficult
for those who want them to know when a new volume is issued, and
for this reason it would greatly facilitate the task of making these
songs known if any who are interested in them would send his or her
name either to the Secretary of the British Music Society or to the
Publishers, Messrs. Winthrop Rogers, Limited, 18, Berners Street, W.1,
so that regular announcements with all particulars of publications
can be sent to them.
Published-
1. John Dowland- First Booke of Songes or Ayres," 1597. (Part 1.)
2. John Dowland-"First Booke of Songes or Ayres," 1597.
(Part 2.)
3. Thomas Ford-Songs from "Musicke of Sundrie Kindes," 1607.
4. Thomas Campian-Songs from Rosseter's "Booke of Ayres," 1601.
(Part 1.)
5. John Dowland-"Seconde Booke of Songes or Ayres," 1600.
(Part 1.)
In the Press-
6. John Dowland-" Seconde Booke of Songes or Ayres," 1600.
7. Francis Pilkington-"First Booke of Songes or Airs," 1605. (Part 1.)
(Part 2.)
In Preparation-
8. John Bartlet-Bocke of Ayres," 1606. (Part 1.)
9. Philip Rosseter-Songs from Rosseter's "Booke of Ayres," 1601.
(Part 1.)
10. John Dowland-"Third Booke of Songes or Ayres," 1603. (Part 1.)
11. John Dowland-"Third Booke of Songes or Ayres," 1603. (Part 2.)
June 2
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THE BRITISH MUSIC BULLETIN
121
BYRD FESTIVAL, 1923
June 24th, 1923, being the Tercentenary of the death of William
Byrd, it has been proposed to organise a Byrd Festival round about
that date. The committee has been formed under the chairman-
ship of Sir Henry Hadow, and it is the wish of this committee that
music lovers all over the English-speaking world will co-operate with
them in organising performances of Byrd's music during the summer
of 1923. Of late the beauty and significance of our Elizabethan music
has begun to receive some of the recognition which has for so long been
denied it; but even yet it is better known by reputation than by
performance. Byrd is generally admitted to be the greatest member
of the English Polyphonic School, and it is hoped that this Festival
will have the effect of drawing attention to a national heritage which
has been compared in value to that of the Elizabethan drama. Full
particulars of the constitution of the Byrd Festival Committee, and
the proposals already made, together with a list of editions of Byrd's
vocal and instrumental music recommended for performance by the
committee, will be circulated by the British Music Society, which has
undertaken the secretarial work connected with this scheme.
CHORAL AND ORCHESTRAL SOCIETIES
We are endeavouring to compile a list of choral and orchestral
societies throughout the country, and while we have received many
hundreds of names, there must be many thousands of which we have
yet to hear. It will render the utmost service to the Society if
members will be good enough to send to Headquarters the name of
any such organisation, either in London or the provinces, together
with the name of the secretary or conductor and his address.
FOREIGN NEWS
BANGALORE
This Branch has now 40 members and 96 associates, and may be
considered to be in a flourishing condition.
A Choral section has been formed, but temporarily, owing to the
hot weather, is in abeyance, but it is hoped to restart it with its own
committee of management in June, when the rains break.
There has been a certain activity in the Chamber Music section,
and some members have met frequently for practices. Now that two
fine rooms for practices, for library and reading room have been put
at the disposal of the Society by Rev. F. Aucouturier, of St. Joseph's
College, we hope to develop this side of the work of the Branch.
number of musical magazines have been ordered, and a start has been
made towards forming a library with music given and music purchased
A
from the funds.
It is hoped to hold monthly meetings at which music will be
performed, free to members and associates. A list of works has been
drawn up for the rest of the year.
At the last meeting, held on
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THE BRITISH MUSIC BULLETIN
April 19th, was given a programme which included a Suite for strings
by Purcell, Dunhill's Phantasy Trio for piano, violin and viola, and
two movements of Dvorak's Terzetto for violins and viola; two
Russian songs and two by Brahms, and piano pieces by Raff,
R. Strauss and Cyril Scott.
122
BRITISH MUSIC ABROAD
Mr. Ernest Whitfield, one of our members, has written us a letter
which, unfortunately, we have not space to print in full, giving valuable
evidence of the desire in Germany and Austria for a larger acquaintance
with British music. Mr. Whitfield himself was received with
enthusiasm, and Dr. Korngold, in the Vienna Neue Freie Presse,
writes with gratitude of the light which his performances have shed
on the modern British sonata, hitherto practically unknown to Vienna.
Rudolf Kastner, in the Morgenpost (Berlin), speaks very strongly of
the absurd neglect of Delius. In Mr. Whitfield's opinion it is not
apathy which restricts the propaganda of British work abroad so much
as the cost, at the present moment prohibitive, of purchase and
performing rights. Is there nothing which publishers can do for
their own good and that of our music?
A most excellent performance of Holst's "Planets" was given at
the Konzerthaus, Vienna, on April 6th last, conducted by Mr. Adrian C.
Boult. The work was given in its entirety, and in the correct order.
On the morning of the same day, two brilliant pianists from England,
Miss Vally Lasker and Miss Nora Day (co-workers with Mr. Holst at
St. Paul's Girls' School), gave a private performance of this work
arranged for two pianos, and also some of Holst's "Perfect Fool"
music, to several of the principal critics of Vienna, in Dr. Paul Pisk's
studio.
There were present among others :-Dr. Egon Wellesz,
Dr. Schalit and Dr. Pisk, and all were deeply interested in the music;
some, indeed, already possessed copies of the score of the "Planets."
At the same concert were performed No. 2 Symphony of Elgar, and
Madrigals of Weelkes, Bateson and Morley, sung beautifully by the
English singers.
CENTRES AND BRANCHES
LONDON CONTEMPORARY MUSIC CENTRE
On Friday, May 5th, this Centre gave its fourth Concert. The programme
opened with a sonatine by Honegger for two violins, very ably performed by
André Mangeot and Kenneth Skeaping. The important English work of the
evening was York Bowen's 'Cello Sonata in A major, Op. 64. The 'cello part
was undertaken by Ambrose Gauntlett, and the composer himself was at the piano.
He also very generously played for us a group of representative pianoforte pieces by
modern English composers, most of which were new to the audience. The said
audience, in spite of the fact that the concert had been announced in the two
previous issues of the Bulletin and elsewhere, consisted of about 30 people.
Yet the 'Cello Sonata alone should have attracted a full house! It is discouraging
for those responsible for the arrangement of these programmes to feel that members
of the Centre support them so inadequately. Is it because admission is free?
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THE BRITISH MUSIC BULLETIN
123
The next concert will be held on July 3rd, at 8.15 p.m., at Seaford House, by
kind permission of Lord and Lady Howard de Walden. It may stimulate the
enthusiasm of members to find that in this instance accommodation is limited
strictly to 150, and seats will be allotted to those members of the Society applying
first.
V.I.B.
BLACKHEATH
On the evening of April 25th a large audience assembled at the "Blackheath
Press Rooms for a Recital by the Rev. Dr. E. H. Fellowes, who came mainly to
introduce to members the Songs of the English Lutenists which have long remained
in obscurity. Dr. Fellowes has the work of publishing these songs very much at
heart, and desires that the general public should be made acquainted with them.
He is especially anxious that members of the British Music Society should assist
him in making these works known, as the work of publication cannot continue
unless the sales increase. Dr. Fellowes sang selections from the lute songs of John
Dowland, Thomas Campian and Thomas Ford-a genuine set of lyric masterpieces,
though but little known, with the exception perhaps of Ford's "Since first I saw
your face."
He also played Brahms' Violin Sonata in G, the Rev. Arthur
Warburton playing the pianoforte part. Miss Ann Kraft contributed pianoforte
solos, including two Preludes and Fugues of Bach, Beethoven's Fantasia, and a
selection of works by modern British composers.
On Thursday, May 18th, members met for an Informal Musical Evening.
The proceedings were partly of a purely social character, but in the course of the
evening pianoforte solos were given by Mrs. Sercombe and Miss A. M. Padgham,
and selections of songs by Mr. P. D. Beadle and Mr. B. E. C. Davis.
All present
joined in singing folk songs, and the evening concluded merrily with folk dancing
in which practically everyone participated.
On Whit Monday next Mr. Gustav Holst will bring the Morley College Choir
and Orchestra for outdoor music all day in the garden of Lindsay House, Lloyds
Place, kindly lent for the occasion by Mr. Harold Moore. Mr. Holst's visit is
under the auspices of the Branch, and members are all invited to attend in the
course of the day either as listeners or participators.
A.M.P.
BOURNEMOUTH
This Centre still keeps up a lively interest in music, and the Committee do not
leave a stone unturned in their search for variety of programmes of a high
standard. On April 10th they secured the services of Dr. R. Vaughan Williams
and Mr. W. W. Cobbett. The former is no stranger to this town, as in addition
to his several visits to the Winter Gardens he has also honoured the local Centre
of the British Music Society on a previous occasion with Sir Henry Hadow.
Mr. W. W. Cobbett kindly stepped into the breach at the eleventh hour and ably
took the place of Sir H. P. Allen, who was unfortunately prevented by illness from
fulfilling his promise. He (Mr. Cobbett) dealt with "Courage in Musical
Opinion," and in the course of his remarks he maintained that the amateur was
the backbone of a nation's music, without whom the professional composer or
performer could do little. Later on he emphasised the fact that British music was
greatly appreciated in the United States and that all the principal cities and
towns possessed orchestras, and in this respect were far superior to us.
was also made of the splendid work done for the cause of Chamber music in
Bournemouth by Mr. Graham Peel, which he hoped would serve as an incentive to
other towns to carry on the good work. Bournemouth, he said, had always been
a pattern to other towns in enterprise, which was largely due to the untiring
efforts of Mr. Dan Godfrey, who was a living example of courage in musical
opinion, as scores of modern composers had reason to know." Dr. Vaughan
Williams confined his remarks to dealing with sincerity in musical opinion, both
from the audience's and the composer's point of view. He said that the object of
the British Music Society was to promote interest in the works of British
musicians, and especially British composers. Everybody was to a certain extent
musical, and everybody had the power of expression up to a point. He thought
that composers ought to go into every place where young people expressed
themselves, so that they might find out what they were trying to say. Then they
Mention
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124
THE BRITISH MUSIC BULLETIN
could take away the dross and find the nugget of gold, and give the public
something that nobody else could give them. The chair was taken by Mr. Dan
Godfrey.
Mr. Vaughan Williams' "Pastoral Symphony" was given at the Winter
Gardens on April 13th, and again on May 4th.
On May 6th the meeting was devoted to a Pianoforte Recital by Miss Winifred
Browne, of Birmingham. Appended is the programme:-Sonata in A (Scarlatti),
Fantasia in C minor (Mozart), Etude (Theme and Variations) (Paganini-Liszt),
Prelude in C minor (Julian Clifford), "Interlude" and "Bridal Procession of the
Elves" (MS.) (Doris Brookes), The Hurdy-Gurdy Man" and "The Old Musical
Kaleidoscope" (Eugene Goossens), Caprice No. 2 (York Bowen);
Valse in G flat, Prelude, Impromptu in A flat (Chopin); Rhapsody in G minor
(Brahms).
.6
Box" from
S.H.G.
BRADFORD
The Annual Meeting took place on Friday, April 28th, with the President,
Lieut. Col. A. Gadie, in the chair. In his report, the Hon. Secretary reviewed the
events of the past season, which showed that the policy of the Committee had
proved successful. The Social Evenings, which were something of an innovation,
had been most attractive. The total membership of 252 was an increase of over
100 members on the previous year. The Hon. Treasurer, in presenting the
balance-sheet, showed that a deficit of some £9 on the previous season had been
entirely cleared, and that now there was a small balance in hand. The Chairman
observed that there was every reason to be satisfied with the result of the year's
work, and encouraged the hope expressed that a thousand 5s. Associates should be
obtained. Officers were elected as follows:-President, Colonel A Gadie, T D., J.P.;
Vice-Presidents, Mr. Edward Haley, Mrs. T. J. Hayes, Mrs. Henry Whitehead,
Mr. Walter Leach, Mr. W. H. Suddards and Mr. H. P. Ambler. The existing
Committee, together with the Hon. Secretary (Mr. C. Lee Jagger) and the Hon.
Treasurer (Mr. F. N. Bentley), were unanimously re-elected. At the conclusion
of the meeting a Social and Members' Concert was held, and a well varied and
interesting programme of vocal and instrumental music was given. Miss Nellie
Judson (soprano) gave a remarkable rendering of four "Songs of the Nursery" and
Gopak" by Moussorgsky. Miss Mabel Priestley played the "Andante' from
Elgar's Violin Concerto, and Mr. A. E. Dunford and Mr. Edgar Drake contributed
a number of very charming violin pieces. Miss Mildred Henry gave a very artistic
interpretation of "The Island Spell" (John Ireland), and Miss Nellie Chapman showed
that she had secured the right spirit in Frank Bridge's "Capriccio" in F sharp.
Miss Louie Mortimer submitted a most musicianly reading of Wm. Baines'
"Still Day" and "Poem Nocturne," and Miss Dorothy Jackson gave a finished
performance of one of Schumann's "Intermezzi" and "The Erlking" (Schubert-
Liszt), Miss Mortimer, Miss May Hud-on and Mr. S. Midgley acted as accompanists.
The concert brought the activities of the past season to a splendid conclusion.
On Friday, May 12th, a Committee Meeting was held, when suggestions for the
coming winter season were under discussion.
C.L.J.
66
GLASGOW
On March 25th, a meeting open to the public was held at which Professor
Tovey played and discoursed upon the new Duplex Coupler piano. He showed it
to have enormous artistic advantages as, for instance, that of octaves of perfect
smoothness and in the doubling of chords in the octave higher. The latter, he
points out, is an absolutely new thing in music, for one performer directly inspires
each note of the combined chord, and that part at the higher pitch is the exact
replica in tone and balance of the chord actually struck by the player's fingers.
With these and many other advantages designed to bring elaborate and extended
music within the reach of one pair of hands, and also the means of producing at
will the delicate tones of the old harpsichord, this new instrument still has the
piano keyboard for which Chopin wrote in no way impaired; tone and key action
are just as we have known and loved it, and it is not necessary to employ any one
of the new devices. Make use of them and you have the power to play, as
Professor Tovey did, a Symphony of Brahms and an organ Fantasia of Bach, or
piano due
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THE BRITISH MUSIC BULLETIN
a piano duet-provided, that is to say, you have the requisite brains and knowledge.
There appears to be no doubt in Professor Tovey's mind that composers will not be
slow to perceive the possibilities of the new instrument and to write especially for it.
On April 3rd Mr. David Stephen lectured to the Society in a most interesting
and useful manner. He related how, as musical director of the Dunfermline
Carnegie Trust, he had been able to develop the musical taste of that town; how,
from small beginnings, they had gradually educated not only an audience eager
and appreciative but, in their School of Music, artists able to give artistic
productions of Chamber, orchestral and operatic works. The Trust had money in
plenty and it was used only to foster delight, and so not to pauperize, but to lead
the townsfolk to pay willingly for their music. Mr. Stephen's talk was of special
usefulness to such present as are interested in developing the love of music here.
While it was felt that the problems of Glasgow are not those of Dunfermline, which
is a town too small to suffer the effects so depressing to local and amateur
music of constant visits from professional performers, still Mr. Stephen has
formed, in the course of his work with the Trust and as director of the School of
Music, conclusions which are of the widest application and interest.
E.D.C.
125
GRASSENDALE SCHOOL BRANCH
The opening meeting of the spring session took the form of a Lecture by
Major Bavin, on Wednesday, February 1st. The subject was "What we hear in
Music." He explained the elements of music, with illustrations on the piano and
gramophone, and recommended the use of the gramophone as an aid to the
appreciation of music. The Branch is hoping, therefore, eventually to buy one.
On March 21st two school members gave a Lecture on "Folk Dancing." It
was illustrated by Morris and country dances, performed by members of
the school.
A Form Singing Competition was held on March 25th. Miss Baker,
Southbourne, kindly acted as adjudicator. Each form sang the same hymn,
chant to Te Deum (verses 1-13) and part song, and each a different folk song of
their own choice. The cup was awarded to VA Form.
On March 29th a Concert was given, when each form supplied two items.
M.L.L.
HAMPSTEAD
On April 26th Miss Elsie Horne lectured to an informal meeting of members,
her subject being "Moods in Music." A somewhat scanty audience showed its
appreciation of Miss Horne's lecturing and playing and of Mis Dorothy Collins'
singing. On May 17th Mr. Ernest Whitfield, fresh from his Continental successes,
was the violinist, Mr. Herbert Fryer the pianist, and Miss Léonie Zifado the vocalist.
The attendance at this meeting was good, and a very enjoyable evening was
provided by the three artists. These were the two concluding evenings of a series
of five, and the last of our season's activities. Whether or not they are the
swan-song of the Centre is not yet decided, but the matter will be settled in
the course of the next month.
A.L.B.
LIVERPOOL
The Liverpool Centre held its Annual General Meeting in the Club Room,
Islington, when a representative number of members were present. Both the
Secretary and the Treasurer, in presenting their reports, showed that the Centre
has made very satisfactory progress during the year 1921 under review, the scope
of its activities having been much broadened and the membership considerably
increased. The various meetings held had made a varied appeal to the members,
including something for every musical taste. The principal visitors to the Centre
had been Mr. E. S. Mitchell, Mr. Eugene Goossens, Mr. Arthur Bliss, the
Philharmonic String Quartet and Mr. Arthur Catterall, all of whom had provided
interesting and enjoyable evenings for the members during the winter, as had also
local members, Miss C. Le Mesurier and Mrs. St. George Moore. In addition,
advantage had been taken of opportunities to arrange visits from eminent
European musicians in Mr. Robert Gregory, of Vienna, and Mr. Bela Bartok, the
Hungarian composer-pianist, each of whom gave a most acceptable pianoforte
recital. An innovation has been the series of iuformal club evenings arranged by
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THE BRITISH MUSIC BULLETIN
Mr. N. Peterkin, which have served to introduce to us a number of local composers
and their works. Encouraging features were the growth of the reference library,
assistance given by members to the Art Studies Association, Walton Prison
concerts, etc. During their stay in the town the conductors and principals of the
British National Opera Company and of the O'Mara Opera Company were made
honorary members of the Centre. The retiring officers, Mr. E. A. Behrend
(Chairman), Mr. J. Brook (Secretary) and Mr. W. Rushworth (Treasurer), were
re-elected.
MANCHESTER
As a result of the Headquarters visit in March, the Manchester Centre is taking
on another lease of life. It gave a very successful At Home at the Day Training
College on May 12th. Alfred Wall's delightful Trio in B flat (MS.) for violin, viola
and piano was played with power and beauty of tone by Mr. Arthur Catterall,
Mrs. Rawdon Briggs and Miss Lucy Pierce, and was the feature of the musical
programme. Miss Vivian Edwards contributed a group of fascinating French songs
by Debussy, and Mr. J. Dale Smith a number of new and interesting songs by
Max Mayer. Both singers were admirably supported by Miss Dora Gilson at the
piano. After the music, plans for the coming season were presented and discussed
with a degree of interest and enthusiasm that promises well for the future.
PAISLEY HIGH STREET SCHOOL BRANCH
The monthly meeting was held on May 6th, when a programme of Mozart and
Stanford pieces (pianoforte and violin solos) was submitted by several of the
members. As a little variety, Caruso, Joseph Hislop and John McCormack were
heard on the gramophone, and thoroughly enjoyed.
G.H.L.
The Junior members of this Branch met on Saturday, May 13th, when six of
them performed. Afterwards a few of the members played camouflaged tunes
of their own arranging for the others to name.
The last meeting of the session takes place on June 10th.
K.R.
YORK
The chief British Music Society event of the month has been the visit of
Dr. Vaughan Williams, who lectured to a large audience in the Guildhall on
Wednesday, May 3rd, on "Gustav Holst and the Modern Spirit." Dr. Vanghan
Williams, in the course of his address, outlined the life of Holst and told us a little
of his many activities. He also spoke a good deal on "Modern Music," which he
defined as music en rapport with the spirit of the age, and showed how Holst's
music is essentially "modern" in this sense. The illustrations were exceptionally
interesting. A choir under Mr. H. A. Bennett sang a long extract from the
"Hymn of Jesus" (this is our third hearing of this in York and each time we
appreciate it more), a carol, and two folk-song settings. Mr. Wiseman (bass-
baritone) sang three "Hymns from the Rig Veda," of which I personally preferred
the second, a battle hymn, but all were made of remarkable stufff. Last, but not
least, Mr. and Mrs. H. A. Bennett played an arrangement of "Venus" for two
pianos, which was listened to in the silence which is the highest possible
compliment that an audience can pay. Dr. Williams adjudicated on the following
three days at the Yorkshire Choral Festival, an annual fixture which always
attracts good entries from the town and villages round York, this year being no
exception.
On April 22nd we had one of our informal evenings, the programme comprising
a talk on Beethoven by Mr. Bennett, preceded by the great composer's Op. 18 (2),
the Cobbett prize quartet by Mr. W. Y. Hurlstone, a work of Purcell's and
Tschaikowsky's "Chant sans Paroles." The players were Mr. Reid (1st violin),
Mr. Cooper (2nd violin), Mr. Bradley (viola), and the Rev. J. Young ('cello).
The whole thing was a great success, which we hope to repeat in the remaining
fixtures. I wish to correct a mistake in my last month's notes, in which I was
made to say that the British Music Society gave the concert at which the
"Creation" and "Song of Destiny" were sung. As local readers will know, the
concert was given by the York Musical Society, to whom I must apologise for
appearing to try to filch the credit for most successful evening.
C.R.A.
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THE BRITISH MUSIC
BULLETIN
Volume IV No. 7
Officers of the Society
Special Notice to Members
CONTENTS.
The Position of the Bulletin
Correspondence
Book Review
Foreign News
Centres and Branches
JULY, 1922
PAGE
128
129
129
130
131
131
- 133
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THE BRITISH MUSIC
BULLETIN
VOL. IV
OFFICERS OF THE SOCIETY
JULY, 1922
Patron: THE EARL OF BALFOUR
President: THE LORD HOWARD DE WALDEN
Vice-Presidents:
Sir HUGH P. ALLEN
Professor GRANVILLE BANTOCK
Sir THOMAS BEECHAM, Bart.
Major-General Sir W. S. BRANCKER,
K.C.B., A.F.C.
Sir FREDERICK BRIDGE, C.V.O.
ALBERT COATES, Esq.
Sir FREDERIC COWEN
Dr. WALFORD DAVIES
FREDERICK DELIUS, Esq.
Sir EDWARD ELGAR, O.M.
W. W. COBBETT, Esq.
EDWARD J. DENT, Esq.
PAUL EDMONDS, Esq.
Dr. A. EAGLEFIELD HULL
CECIL H. BATESON, Esq.
ADRIAN C. BOULT, Esq., Mus. Doc.
Sir HENRY WOOD
Committee of Management:
Chairman: Sir HUGH ALLEN, M.A., Mus. Doc.
Sir DAN GODFREY,
HAMILTON HARTY, ESQ.
Sir HENRY HADOW, C.B.E.
Sir WILLIAM MCCORMICK
Sir S. ERNEST PALMER, Bart.
Sir LANDON RONALD
Dr. ETHEL SMYTH, D.B.E.
Dr. ARTHUR SOMERVELL
The Right Rev. Dr. T. B. STRONG
Professor DONALD TOVEY
Lady MAUD WARRENDER
Secretary:
Offices: 3, BERKES
RITISH
Mrs. W. LEE MATHEWS
FRANK ROSCOE, Esq., M.A.
W. RUSHWORTH, Esq.
G. BERNARD SHAW, Esq.
FRANCIS TOYE, Esq.
GEOFFREY TOYE, Esq.
Dr. C. E. WHEELER.
Hon. Treasurer:
W. LEE MATHEWS, Esq.
BALKWILL, M.A.
No. 7
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STRONG
THE BRITISH MUSIC BULLETIN
129
Congratulations to Sir Dan Godfrey on his knighthood, which
is a recognition, appreciated by all music lovers, of his devoted
service to his art.
SPECIAL NOTICE TO MEMBERS
At the Members' Meeting on Saturday, July 1st, it was resolved:
That for the remainder of the year the Bulletin should consist of 20 pages
instead of a previous minimum of 28.
THE POSITION OF THE BULLETIN
MEMBERS will naturally have been
wondering why the publication
July has
finally appear, its size is diminished. Publication was held over in
order that the Conference of Members might discuss the whole matter
of the journal, and it is now desirable to give their conclusions. The
detailed description of all the business (and pleasure) of the Conference
will appear in the August number, but the following can be regarded as
an instalment of the report.
It is obvious that some kind of link between Headquarters and Branches
is essential, and this the Bulletin supplies. But the Bulletin, even in its
present form, costs more than can be recovered from its advertisements,
and there is no possibility of bringing the present deficit within such limits
as our Treasurer can sanction. Some change is therefore unavoidable, and
the matter was discussed at the Members' Meeting and various suggestions
considered. Among others, there was a proposal to suspend publication
altogether for three months; this was vetoed mainly on account of the
danger of disturbing the rhythm of advertisements. Another suggestion
was to abandon the present form of the Bulletin and issue merely a kind
of news sheet to members; but when it was realised that to sacrifice
eight pages would enable us (with the consequent reduced postage) to
avoid nearly all our loss, it was decided for the remainder of the year
to adopt this plan. The July number has been prepared as quickly as
possible, and the August number will not, we hope, be delayed more than
a day or two beyond its proper date. It will be a Conference number,
and everything that occurred, except for the matter here recorded, will
be mentioned.
For
Among other suggestions in the debate were several upon which the
Editorial Committee would like to have the opinions of members.
instance, would it be possible for any Branches in one large area (e.g., a
county area) to consult once or twice a year and issue, as it were, a yearly
report in addition to their usual monthly ones? This might stimulate
co-operation and fellowship. Again, we have a number of quite young
members in school centres, and others. Are there any special things
which would be attractive to them if incorporated in the Bulletin? Again,
would it be possible for regular reports to deal rather with plans for the
future months than with records of the past? It seems as though such
plans might be more of a stimulus to other Centres and Branches and of
much more than local interest.
Finally, it must not be forgotten for a moment that the Bulletin in its
present form is regarded by us all as no more than a makeshift to keep us
going until the Society reaches the numbers and the power which we
all expect and count on.
When there is a good surplus in hand it will
be our ambition to make our journal really worthy of a society which
shall represent music in our country. Till that day probably we cannot
do better to save a little money for more pressing needs and allow the
Bulletin for the present to become little more than a record of members'
work and intentions.
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130
THE BRITISH MUSIC BULLETIN
CORRESPONDENCE
To the Editorial Committee
DEAR SIRS, I should be much obliged if you would convey to your
Committee of Management the thanks of all ranks now serving at the
Royal Military School of Music, expressed through me, for the practical
interest in and good will towards military music which they have evinced
in organising and financing the Albert Hall Concert.
I am confident that this concert will mark the beginning of a new and
a better epoch for the military band, by the demonstration thereby given
of its musical possibilities. If so, the credit of this must be awarded to the
three societies whose joint enterprise made it possible.
I am, Sirs,
Kneller Hall, Twickenham.
July 3rd, 1922.
Very faithfully yours.
JOHN C. SOMERVILLE, Colonel,
Commandant,
Royal Military School of Music.
[The following extract from a letter received at the time of the
Conference is published as being of interest to members of other
Centres. The signature not given, as the letter was not sent for
publication, and permission to print it cannot be obtained in time
before this issue goes to press. Correspondence on the policy advocated
will be welcomed.-ED., Bulletin.]
To the Editorial Committee
DEAR SIRS, At the Congress, which unfortunately I am not able to
attend, I trust that it will be impressed on Branches that they have special
functions to discharge, and that if they go outside these duties they will only
court disaster, financial and otherwise. For instance, it is not one of the
objects of a Branch to promote concerts; this is a form of speculation
which should be left to others What the Branch should aim at is to
educate its members so as to form the nucleus of an audience which would
demand a better class of music at concerts and would tend to make the
promotion of "musicians' concerts" less hazardous. This object will not
be attained by members constantly hearing at Branch meetings music
which has been in familiar vogue for the last 30 or 40 years. They ought
to be introduced to music that has suffered undeserved neglect and they
ought to be taught to approach the ventures of new composers with
unprejudiced ears. Many people fear the unfamiliar and resent attempts
to force it on them. They have to learn that the cult of the familiar is a
most reprehensible form of mental laziness and that it is destructive of
creative in art, whether the medium be music, painting, letters, or drama.
Another thing that a Branch must do is to encourage local practise.
Thus there are frequently existing local choirs, vocal quartets, violinists, etc.,
who are reduced to performing music absolutely banal in kind, merely
because their better efforts receive no appreciation. These little bodies
ought to be sought out and shown that there are audiences who prefer the
better music. Such encouragement will have a good effect and frequently
it will give the performers hope and an object to aim at. But above all we
have to avoid regarding ourselves as an exclusive circle wherein our ears
can be exquisitely intrigued. We have to go out from our meetings and
enter into all the musical life round us and specially to watch and bring in
the competitors at local musical festivals.
I do hope that someone will stand up for these ideals. I read the
accounts in the Bulletin and I am convinced that many of the Branches
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THE BRITISH MUSIC BULLETIN
131
are not being conducted on sound lines. The British Music Society is an
educational body and if its ideals are forgotten or neglected then it will
fail, and its failure will be deserved.
Please absolve me of any desire to preach, but sometimes it is necessary
to utter a lot of platitudes no matter how obvious they may seem.
Yours faithfully,
A MEMBER OF THE BRITISH MUSIC SOCIETY.
BOOK REVIEW
Saint-Saëns as Essayist *
In this new volume of the "Musician's Bookshelf" a variety of subjects
are treated by Saint-Saëns. Part I consists of articles connected with
music, of which "The Ideas of M. Vincent D'Indy" is the most
interesting. M. D'Indy is criticised at times very severely, especially with
regard to his musical quotations, but the criticism is always just, and on
the whole the article is appreciatory, except that M. D'Indy seems to have
culled his ideas from the other side of the Rhine. "A note on Rameau "
and an account of "Chopin's F major Ballade in the making" are both full
of information. Part II comprises shorter miscellaneous articles, not all
of which are musical. 66
Modern Music," a speech delivered at Fontaine-
bleau on the inauguration of the Ecole des Hautes Etudes Musicales,
June 26th, 1921, should be read by all composers, especially the following
advice :--"Above all, let the young avoid all straining after originality.
Allow your personal contribution to music to express itself naturally.
One can become accustomed to uncleanliness, to vice, even to crime.
Why cannot we understand that in art, as in everything else, there
are some things to which we must not accustom ourselves!" The weakest
article is on America: the writer has not only certain facts wrong, but tries
to judge America by a New York hotel. The translation seems to be able,
but there are rather too many French words retained in italics.
D.D.A.
Outspoken Essays on Music, by Camille Saint-Saëns. Translated by
Fred Rothwell. Kegan Paul, Trench, Trubner & Co.
4s. 6d.
Mounted copies of the photograph taken at the Society's banquet at the
Waldorf Hotel on July 1st may be obtained on application to Press
Publications Limited, 70, Shoe Lane, E.C., enclosing 6s. 6d. per copy
required, inclusive of packing and postage. The photograph is on view
at 3, Berners Street.
On June 23rd Mme. Beatrice Berk, one of our members, gave a very
interesting Song Recital at the Hotel Majestic, Harrogate. A beautiful
soprano voice of great purity and warmth, and clarity of articulation
marked her performance. The programme was international, and included
modern English songs, Brahms' Lieder, and Russian and French songs.
FOREIGN NEWS
MELBOURNE
Melbourne.
The Victorian Branch of the Society, which is not yet ten months old,
gave its first Concert in public on April 29th in the Assembly Hall,
Unfortunately the date clashed with one of a series of
performances at the Town Hall by the famous Sistine Choir, but in spite
of this the attendance was exceedingly encouraging, and though professional
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THE BRITISH MUSIC BULLETIN
These
Madame
artists were engaged no financial loss was suffered. A feature of the
evening was the second appearance in this city of Mr. Harold Browning, an
English baritone, whose rendering of "The Emperor" (Granville Bantock),
The Fairy Lough" (Villiers Stanford), "Oh, that it were so" (Bridge),
When Children Play" (Walford Davies), and "Linden Lea" by Vaughan
He showed a complete
Williams evoked the keenest appreciation.
understanding of the spirit of the songs, and his style was faultless. The
other vocalist was Miss Lilian Stott, who, with Mr. Stanley Adams (violin),
introduced Gustav Holst's four songs from a medieval anthology.
two artists in happy association deeply impressed their hearers by thier
interpretation of this remarkable work, and the hope was generally
expressed that it would be repeated at a subsequent concert.
Nellie Billings having just shown her high qualities as a pianist in
Frank Bridge's "Sea Idyll" and "Fireflies," Ireland's "Holy Bay" and
"Ragamuffin," Percy Grainger's "Irish Tunes from County Derry," and
F. Bennicke-Hart's folk-song fantasie from "Strawberry Fair" (the last
named composer is director of the Albert Street Conservatorium of Music,
with which Dame Nellie Melba is closely associated), she, with Mr. Stanley
Adams, concluded the evening with Elgar's Sonata for violin and piano
in E minor (Op. 82). The sonata has been heard in Melbourne before,
"but," to quote from the annotated programme, "its true significance lies
in its foreshadowing of the immortal quintet which it is hoped to perform
later in the year." Both Madame Billings and Mr. Adams were splendidly
equal to their undertaking. The Branch is making arrangements for
three more concerts this year, including one to be given in collaboration
with the well-known Mewton Choir. It is also extending its activities
in other directions. Upon its suggestion Dr. A. E. Floyd (organist of
St. Paul's Cathedral) will deliver a lecture on "British Music" before the
Victoria League, of Victoria, at which Lady Stradbroke (wife of the State
Governor) will be present. Similar lectures, assisted by the Albert Street
Conservatorium pupils, will be given by Mr. F. Bennicke-Hart in leading
A.L.B.
public schools.
132
66
SYDNEY
Under the auspices of the Sydney Centre of the British Music Society
Mr. Henry Penn (pianist) gave a Concert of British music in the
Conservatorium Hall on May 31st, assisted by Madame Verbrugghen
(soprano), Mr. Florent Hoogstrel (violin), Mr. James Messeas ('cello) and
Mr. Wilfred Arlom (pianist). The interest of the programme chiefly
centred in "Moy Mell," for two pianos, by Arnold Bax, Gustav Holst's
Four Songs for voice and violin, John Ireland's Fantasy Trio for violin,
'cello and piano, all of which, except the songs which have been heard in
Melbourne, were given for the first time in Australia, and a new sonata
by Roy Agnew, which received its first performance. As all except the
last of these works are well known in England it will be sufficient to say
that all received excellent performance and that they made a great
impression. Of Mr. Agnew's new one movement sonata one can convey
the best idea by saying that the composer's methods are essentially modern
and have some kinship with those of Scriabine in his Op. 50's. On a first
hearing the work is doubtless, as one of our Sydney newspapers expressed
it, extraordinary," but to those who, like the writer of these notes, have
had opportunities of hearing it several times it is a composition of real
beauty. Mr. Penn gave a splendid rendering of the new work and also
played pieces by Blow, Field, Bennett, Howells and Alfred Hill, another
Australian composer whose Valse Triste, played on this occasion, is well
known here in its orchestral garb. The concert, one of the most successful
of its kind ever given in Sydney, was prefaced by remarks on the composers
represented, by Mr. W. Arundel Orchard, the Society's President.
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THE BRITISH MUSIC BULLETIN
CENTRES AND BRANCHES
133
BLACKHEATH
On Whit Monday, in the garden of Lindsey House, Lloyd's Place, kindly
lent by Dr. Harold Moore, the Morley College Choir and Orchestra, at
intervals throughout the day, gave choral and orchestral music, conducted by
Mr. Gustav Holst. Arrangements were organised by the Blackheath Branch
of the British Music Society, and in the course of the day a large number of
members and friends listened to the performances. In the morning the choir
and orchestra, numbering about 120, publicly rehearsed the choruses from the
Alkestis of Euripides, recently set to music by Mr. Holst, in preparation for a
reading of the whole play in the evening. At the invitation of the conductor
several members of the British Music Society joined with the choir. After a
delightfully informal "picnic" lunch the performers divided up into groups,
giving madrigals, rounds and extracts from orchestral works in different parts of
the garden. At four o'clock all assembled on the lawn to hear a Lecture by
Professor J. W. Mackail on Greek drama, with special reference to the Alkestis.
Professor Mackail pointed out that the plot was based on what would now be
termed a fairy story, which, in spite of certain tragic situations, could not
be treated throughout as serious tragedy by reason of its fantastic and unreal
character. After tea a large audience assembled to hear the reading of Professor
Gilbert Murray's translation of the play, parts being taken by members of Morley
College and of the British Music Society, the choruses being sung by the choir
with orchestral accompaniment. Mr. Holst's music, with the simple, haunting
motives, purely verbal rhythm and modal character, was very suggestive of the
Hellenic atmosphere, and all the performers were to be congratulated on their
skilful rendering under his direction. After the play the orchestra played the
overture to Figaro, and the choir continued with a number of unaccompanied
hymns, part songs and rounds, several of these being composed by members of
Morley College. Finally, at the request of the conductor, practically everyone
present joined in his spirited "Festal Chime." At the close of the evening
Mr. B. E. C. Davis, the Local Representative of the Society, called for cheers for
Mr. Holst, his choir and orchestra, which were readily given. Mr. Holst, who
arranges a Whitsuntide outing of this kind every year for his music makers,"
was greatly pleased with his reception at Blackheath, and has promised to
come again.
B.E.C.D.
BOURNEMOUTH
The monthly meeting of this Centre was held at St. Peter's Hall on Saturday,
June 3rd, at 3 p.m., when Mr. Douglas Marshall, ably supported by his sister at
the piano, gave an interesting Lecture on "Song." The chair was taken by
Mr. Graham Peel, in the regrettable absence of Mr. T. Beechey Newman, who was
prevented from attending the meeting. Naturally the meeting was made the occasion
of offering hearty congratulations to Mr. Dan Godfrey (now Sir Dan Godfrey) on
the well-merited honour which had been conferred upon him. Sir Dan replied at
some length, and was received with prolonged applause both before and after his
speech. Mr. Douglas Marshall's lecture was greatly appreciated, and at the
conclusion the Chairman accorded him a very hearty vote of thanks for his
interesting talk, and in so doing included his sister for her invaluable assistance
as accompanist.
The correspondent would like to take this opportunity of recording the fact that
the February and March meetings were devoted to lectures by Mr. Eugene
Goossens and Miss Marguerite Warner respectively. Mr. Goossens dealt with
"Musical Appreciation," and Miss Warner "The Future of Music."
unavoidable circumstances the correspondent was unable to obtain notes of these
Owing to
lectures.
S.H.G.
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134
THE BRITISH MUSIC BULLETIN
EASTBOURNE
Mr. Herbert Bedford's well thought out Lecture on modern solo singing of
poems whose musical setting is written without accompaniment of any kind
proved very attractive and interesting, while Miss Labbette's beautiful voice and
her perfect interpretation of nine songs fascinated a very appreciative audience.
Possibly the three numbers one wishes most to hear again are Mr. Bedford's
settings of Longfellow's "Evangeline passes" and the 18th century "Little Boy,
Love, and Carmen Sylva's "The last of the leaves on the bough."
lecture-recital was held on the evening of May 27th at the Saffrons Rooms. The
fixture proposed for the end of June has been postponed till the autumn, when it
is hoped that three concerts may be arranged instead of two.
""
This
L.R.
GLASGOW
This Centre had an extremely interesting and well-attended meeting on
April 29th, when Miss Agnes Millar gave a Lecture-Recital on the Pianoforte
Concerto. She traced the growth and development of this musical form from its
beginning in the 16th century to the time of Brahms, and her lecture was
illustrated by the performance of the E flat Concerto of Liszt, Bach's Italian Concerto
and Beethoven's No. 5 (the "Emperor"), which were finely rendered by three of her
pupils. Miss Millar, besides playing the orchestral accompaniments on a second
piano, briefly explained before each number its structure and principal themes.
On May 19th Dr. F. W. Wadely, organist of Carlisle Cathedral, gave, at a joint
meeting of the British Music Society and the Glasgow Society of Organists, a
Lecture-Recital in College and Kelvingrove U.F. Church. His programme was a
model of what organ recitals in church should be. It ranged from the Bach of the
Organ Trios, through the Rheinberger of the B Minor Sonata to the moderns of
various schools, and was reinforced by helpful notes on the choice and
interpretation of music at organ recitals. Two of Dvorak's Biblical Songs were
given with excellent effect by Miss Edith Brass, and provided the needed variety.
The Glasgow Centre's session was wound up on June 5th by the Annual
Business Meeting, at which a satisfactory account was given of the Centre's
financial position and office bearers were elected for the ensuing season. After
refreshments a more informal discussion of plans and projects for the future took
place. The Hon. Secretary was appointed delegate to the London Conference,
which gathering, it is hoped, may prove to be a source of light and leading to the
local Centres.
Α.Ε.Τ.
LIVERPOOL
The chief event of musical interest during an otherwise quiet period has been
the Festival of Music belonging to the 16th, 17th and 18th centuries, held in the
Rushworth Hall under the direction of Mr. Arnold Dolmetsch, May 8th to 18th.
Four concerts were given during the exhibition by members of the Dolmetsch
family, with the assistance of a number of local ladies and gentlemen. Especial
interest attached to examples of English classical Chamber music, which found a
conspicuous place in the programmes. While this music represented some of the
finest heard, examples of Bach and the French and Italian Schools were also
drawn upon.
The rare opportunity of hearing such music played on the
instruments for which it was originally designed was widely appreciated.
Instruments represented were the spinet, virginal, harpsicord, clavicord, lute,
violin, viola, cithren, viols, violone, viola d'amore, and others.
The question of bands in the public parks has again given rise to correspondence
in the local Press. In the inter sts of music generally it is desirable that the
public should hear as much good music as possible, and in Liverpool, in the
absence of a municipal orchestra, there is little or no public music except that
provided in the public parks by the Police Band. The high cost of running
orchestral concerts puts them almost out of reach of any but the comparatively
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THE BRITISH MUSIC BULLETIN
135
The fact that modern
few enthusiasts who are willing and able to pay, so that the only way for the
general public to hear works for large combinations of instruments is through the
activities of such organisations as the Police Band.
composers are at last realising the possibilities of a military band as a medium
should encourage such bands to enlarge their repertoire and increase their
activities accordingly.
MARYLEBONE
The inaugural meeting of this new Centre was held in the Town Hall on
April 5th, with the Mayor, Councillor E. Sanger, in the Chair, and was well
attended by many well-known musical people of the district. A most eloquent
address on the aims and use of the British Music Society was given by
Dr. C. E. Wheeler from Headquarters, and the Secretary, Mrs. Balkwill, answered
questions on various points from new members. Considering the great wealth of
musical talent that this district contains it is extraordinary that no Centre of the
Society has been established here before, and it is owing to the energy and initiative of
Miss Dorothea Walenn that it is now come about. Miss Walenn gave the meeting
an account of her efforts to make a start and of the help and support she has received
from large numbers of musical people. A strong Executive Committee was formed
with Mr. Frank Broadbent as Chairman, and including the Misses Chaplain, Miss
Olive Byrne, Miss Effie Bolton, Mrs. Woodhouse, Mr. Sterling Mackinlay, Mr.
Arthur Walenn and other prominent musicians. Miss D. Walenn was appointed
Secretary to the Branch and Mr. G. B. Ramsay, Treasurer. The Mayor made a
strong appeal to all present to do their best to put the Marylebone Centre on a good
footing and to make it a credit to the Borough and the Society. New members are
joining daily and every prospect of success seems assured.
66
Our first studio meeting was held on Wednesday, June 7th, at Mr. Herbert
Walenn's studio, 10, Nottingham Place. A most interesting programme was
provided by Miss Amy Evans and Mr. Fraser Gange, vocalists, and the Spencer
Dyke String Quartet. The latter gave us three recent English quartets.
Threnody," by McEwan, two sketches of E. Goossens, and three Novellettes by
Frank Bridge. In the first sketch by Goossens a special mute was used which gave
a most weird atmospheric effect, and the playing of this fine quartet in each item was
greatly enjoyed. Between the instrumental pieces Miss Amy Evans and Mr. Fraser
all
Gange sang most delightfully a selection of British, Italian and French songs,
good, and one, a charming Irish patter song, Kitty, my love, will you marry
me?" by Herbert Hughes, perfectly given, was a real gem. Miss Evans sang
"The lass with
Frank Bridge's "E'en as a lovely flower," "Adrift," by Bantock,
Vissi D'Arte,"
the delicate air," by Arne, an old French song, and Puccini's
from La Tosca. Mr. Gange gave us another of Herbert Hughes',
O men from
the fields," Clay's
"The sands o' Dee," and "When I was a Bachelor," by
Harold Gregory. In the middle of the programme Dr. Wheeler, after thanking
the artists, spoke at some length on the aims of the British Music Society.
66
66
Our first meeting was marked by an atmosphere of sociability and enthusiasm
which we hope will continue in all future gatherings of this branch of the Society.
A special feature was a group of badged associates, girl students, who conducted
the audience to their seats and in other ways contributed to the success of the
evening.
F.W.
PLYMOUTH
Practices have started for the great combined Concert to be held on
September 30th.
The choir is made up of members of the Orpheus Choir
(conductor, Mr. David Parkes), Plymouth Madrigal Society (conductor, Dr. Harold
Lake), Coleridge Taylor Choral Society (conductor, Mr. Douglas Durston), Plymouth
Ladies' Choir (conductor, Mr. Percy Butchers), assisted by Plymouth Orchestral
Society (conductor, Mr. Walter Weekes) and others. There already seems to be
much enthusiasm shown, and the concert should make a red-letter day in the
history of music in Plymouth.
W.P.W.
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THE BRITISH MUSIC BULLETIN
WAKEFIELD
The Wakefield City Branch of the British Music Society has now been formed,
of which Lady Kathleen Pilkington is the President. They have decided to join
with the High School Branch of the British Music Society in giving several
lecture recitals next season, which will be of educational value as well as artistic
and musical interest.
T.P.
YORK
Our last Concert of the summer season" was held on Friday, June 9th, in
St. William's College, and proved extremely successful. A string quartet (Mrs.
G. L. Brown, Mrs. Platts, Miss Jalland and the Rev. J. Young) played Mozart's
Quartet in B flat and a series of seven bagatelles, "Nugae," by J. B. MacEwen.
Mr. Norman Hodgson sang Stanford's "Cushendal" and two songs by Parry.
All the foregoing were greatly appreciated by the audience, but the outstanding
feature of the whole evening was undoubtedly Mrs. G. L. Brown's unaccompanied
rendering of the Bach "Chaconne." Not only was this really difficult composition
played entirely from memory, but the execution was of a standard which it is not
easy to praise too highly. The audience was most enthusiastic at the close of this
item, and had to be quieted with an encore, Schumann's "Tranmere" being
given with Miss M. Coverdale at the piano. The songs were accompanied by
Mr. J. L. Slater. It is pleasant to be able to record that this series of informal
summer concerts has been self-supporting, and consequently we are able to look
forward with confidence to the more serious programme of next winter. I hope to
give particulars of this in an early issue of the Bulletin.
Here
M. Marcel Dupré, of Notre Dame, visited the Minster on May 27th and gave an
Organ Recital.
His programme, apart from a Bach prelude and fugue and
an improvisation on Parry's "Jerusalem," was composed of French music.
also, marvellous to relate, the financial aspect was satisfactory, £85 being realised.
On June 10th Dr. Bairstow gave a Recital, which was also very successful.
The local Directory has provided us with a good joke. We have just discovered
that the particulars supplied by us, which did not appear under the heading
"British Music Society." were inserted under "Yorkshire Association for the
Mentally Defective." Surely we are not quite so bad as this !
C.R.A.
The views expressed by the Editor, or the Contributors, are not
necessarily the official views of the Society; nor does the Editor hold
himself responsible for opinions expressed by Contributors.
The Society does not place its faith on any particular composers and
the articles and reviews are not part of a definite propaganda but are selected
in the endeavour to make the magazine both useful and interesting.
LITERARY COMMUNICATIONS should be addressed to the
"Bulletin " Secretary, 3, Berners Street, London. W. 1. Although every
care will be taken to return rejected MSS. the Editor does not hold
himself responsible for loss.
RATES OF SUBSCRIPTION: One year 8s. post free; single
copies 8d. each post free. Postage 2d. to any part of the world.
New Subscribers are recommended to place their orders for the
Bulletin" at the Bookstalls of
W. H. Smith and Messrs.
Wyman & Co.
15 JUL 22
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37
40
41
THE BRITISH MUSIC
BULLETIN
VOL. IV
OFFICERS OF THE SOCIETY
Patron: THE EARL OF BALFOUR
President: THE LORD HOWARD DE WALDEN
AUGUST, 1922
Sir FREDERIC COWEN
Dr. WALFORD DAVIES
Sir HUGH P. ALLEN
Professor GRANVILLE BANTOCK
Sir THOMAS BEECHAM, Bart.
Major-General Sir W. S. BRANCKER,
K.C.B., A.F.C.
Sir FREDERICK BRIDGE, C.V.O.
ALBERT COATES, Esq.
FREDERICK DELIUS, Esq.
Sir EDWARD ELGAR, O.M.
Vice-Presidents:
W. W. COBBETT, Esq.
EDWARD J. DENT, Esq.
PAUL EDMONDS, Esq.
Dr. A. EAGLEFIELD HULL
CECIL H. BATESON, Esq.
ADRIAN C. BOULT, Esq., Mus. Doc.
Sir DAN GODFREY,
HAMILTON HARTY, ESQ.
Sir HENRY HADOW, C.B.E.
Sir WILLIAM MCCORMICK
Sir S. ERNEST PALMER, Bart.
Sir LANDON RONALD
Dr. ETHEL SMYTH, D.B.E.
Dr. ARTHUR SOMERVELL
The Right Rev. Dr. T. B. STRONG
Professor DONALD TOVEY
Lady MAUD WARRENDER
Sir HENRY WOOD
Committee of Management:
Chairman: Sir HUGH ALLEN, M.A., Mus.Doc.
Mrs. W. LEE MATHEWS
FRANK ROSCOE, Esq., M.A.
W. RUSHWORTH, Esq.
G. BERNARD SHAW, Esq.
FRANCIS TOYE, Esq.
GEOFFREY TOYE, Esq.
Dr. C. E. WHEELER.
No. 8
Hon. Treasurer:
W. LEE MATHEWS, Esq.
Secretary: Mrs. V. I. BALKWILL, M.A.
Offices: 3, BERNERS STREET LONDON, W.1.
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THE BRITISH MUSIC BULLETIN
THE CONFERENCE, 1922
THE Conference this year, held from June 30th to July 3rd, was a
much less pretentious affair than in former times, but at the same
time there were one or two events of outstanding importance, and the
whole was marked by an atmosphere of fellowship and enthusiasm.
The proceedings opened with a Debate on Friday morning, June 30th,
which, with the Members' Meeting on the following day, is noticed in
detail elsewhere.
138
The Military Band Concert at the Albert Hall the same night,
organised in conjunction with the Incorporated Society of Musicians
and the Federation of British Music Industries, was of great musical
significance. Nobody who heard the Three Humoreskes, specially
composed by Mr. O'Donnell for the occasion, the Holst Suite in F,
or the Overture to the Wreckers, which Dame Ethel Smyth conducted
herself, can have doubted that there is a great future for the military
band as an interpreter of music to the people. Copies of the programme,
which are well worth possessing, may be obtained on application to the
Federation of British Music Industries, 117, Great Portland Street.
only blot on the success of the evening was the number of empty seats
in the stalls and boxes, belonging for the most part to proprietors who
found themselves unable either to come or to allow us to dispose of their
seats. This was the harder to bear in view of the fact that all seats at our
disposal had been allotted a week before the performance, and we had
to disappoint hundreds who would have been glad to come. Hearty
congratulations are due to Colonel Somerville, Commandant of Kneller
Hall, and those who co-operated with him in the band's fine programme
and performance.
The
The Society's Banquet was held at the Waldorf Hotel on July 1st,
Lord and Lady Howard de Walden receiving the guests. Mr. J. L. Garvin,
who was to have proposed the toast of the Society, was unfortunately
prevented by ill-health from being present, and the toast was given by
Mrs. Balkwill. Lord Howard de Walden replied. Sir Hugh Allen
proposed the guests, for whom Mr. Roger Fry replied. Among these
were Mr. and Mrs. Gustav Holst, Mr. Herbert Howells, Mr. Aylmer Buesst,
Mr. Alberto Zelman (conductor of the Melbourne Orchestra), Mr. C. H.
Bateson (of the Lancashire Clef Clubs), Mr. and Mrs. Eugene Goossens,
and Mrs. Ella May Smith (President of the Women's Music Clubs of
America). Distinguished Press representatives included Mr. Edwin Evans,
Mr. Alfred Kalisch and Mr. P. A. Scholes. Lady Maud Warrender proposed
the health of the Chairman (Lord Howard de Walden), to which both he
and Lady Howard briefly replied.
Sunday was devoted to special Services of Church music at Southwark
Cathedral, Westminster Cathedral and All Saints', Margaret Street. Owing
to the fact of its being Verdun Sunday, Westminster Abbey was not,
after all, able to arrange a programme of English music. but held a
Commemoration Service of the works of Dr. John Blow on Monday
evening.
On Sunday evening Mrs. Lee Mathews was At Home at 32, Gordon
Square to Representatives of all Centres and Branches in the United
Kingdom. It was felt that this was an opportunity for members of the
various Branches to meet the Committee of Management and one another,
and Headquarters is grateful to her for this rare chance of personally
meeting officers of the Society from distant parts of the country.
A programme of music was given, to which Miss Grace Crawford
contributed a group of songs by Lord Berners, Arthur Bliss, Arnold Bax
and Eugene Goossens, Mr. Bliss himself being at the piano. Miss Harriet
Cohen played the second Bax
and Mr. Vladimir Rosing sang a.
group of Russian songs.
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THE BRITISH MUSIC BULLETIN
On Monday evening, at 8.15, a Concert of the London Contemporary
Music Centre was given under particularly happy auspices in the beautiful
music-room at Seaford House, by kind permission of Lord and Lady
Howard de Walden.
M. Ravel himself was present for the performance of
his new Sonata for 'cello and violin, played by Miss May Mukle and
M. André Mangeot (of which a detailed notice by Mr. Scholes will be
found elsewhere). The second item on the programme was the Butterworth
song cycle "Love Blows as the Wind Blows," finely sung by Mr. Norman
Notley, with string quartet (M. Mangeot, Mr. Kenneth Skeaping, Miss
Rebecca Clarke, Miss May Mukle). The third item was a Folk-song
Sonata for pianoforte and 'cello by R. O. Erlebach, played by Miss May
Mukle and Mr. Maurice Jacobson, a new work by a young composer
which is unanimously agreed to have thoroughly deserved the performance
which the Contemporary Music Centre was able to obtain for it.
139
This concluded the week-end Conference. The value of both concerts
seems beyond dispute. The value of debates is perhaps less certain,
though we hope to give practical form to some of the suggestions which
were brought forward. We are contemplating an all-day debate in the
future on some musical problem of burning interest. Far from showing
any signs of flagging, the debates this year had to be closed before many
people wishing to speak had found an opportunity. Of inestimable value
always is an occasion for meeting one another to discuss questions of
mutual interest, and for this the Conference, whether lasting a week-end
or a week, seems all too short. We look forward already to next year's
Conference, and would remind members that suggestions for the
programme will always receive sympathetic consideration, and cannot be
sent too early.
REPORT OF THE CONFERENCE DISCUSSIONS
First Debate-A MUSICAL PUBLIC AND HOW TO ENCOURAGE IT
THIS debate was held at the Eolian Hall on Friday, June 30th, at
11 o'clock. Sir Ernest Palmer, in the chair, opened the proceedings
by welcoming the large audience with its evidence of real interest in the
subject. He spoke of the hopeful position of opera in this country and
the strength of British music, both as to compositions and performances.
Mr. Adrian Boult regretted the absence of Sir Henry Wood and
Mr. Albert Coates, but thought there were some things that occurred to
all which were worth mention.
At the moment London audiences were not very healthy. There was a
good deal of paper at some concerts and a good many empty seats at others.
As regards London, the problem was almost entirely that of symphony and
recital audiences. Light opera was all right, and grand opera had had a
wonderful season.
It had been suggested that decentralisation of concerts
might increase audiences. His own experience at Mile End had been that
his audiences had been wonderfully quiet and interested, but they did not
increase. He came to the conclusion that he ought to have kept more
to classics. The fifth Beethoven Symphony had drawn his biggest audience.
Another time he would still give them new works when he thought them
important, but he would rely mostly on the classics. After all, we knew
the classics meant something. They had lasted. Harty, after a triumphant
Halle season which had paid its way, told him that he believed it was the
classical work that people needed in their lives.
Two things he believed would help audiences. First, the open rehearsal
the day before a concert, at popular prices, and, secondly, the participation
of as many people as possible in performances. Choir singing and orchestral
playing bred keenness more certainly than anything else.
Mr. Percy Scholes said that he had undergone a great change of heart
in reference to the gramophone. He now believed it to be of the greatest
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140
THE BRITISH MUSIC BULLETIN
value. The necessity for repetition which Mr. Boult would remedy by the
open rehearsal would also be remedied by the possibility of infinite
repetition offered by the gramophone. But still in the making of records
the artist was considered more important than the composer. This was
wrong. There were still too few sonatas of all kinds, too few entire
symphonies. The records were catalogued not under composers but
under performers. The companies were however amenable to suggestions,
and the British Music Society might do several things in this connection.
It might urge the recording of more sonatas, symphonies and fugues, with
something in the nature of analytical notes to be issued with them, and
it could make the public aware of the interesting new works recorded.
Further, it should deal with the papers which still did not review records,
and it might well keep an eye on the possible danger of the gramophone
as a substitute for hard work.
Mr. Vladimir Rosing emphasised the great need for more cheap
concerts and more children's concerts. The thing that struck him most
of all in England was the absence of children from concert halls.
Mr. Eugene Goossens feared the danger of being too heavily educational,
and the ignorance of advertising. The way we managed musical publicity
was infantile. Deadheads were supposed to be one of the diseases of
concert giving, but deadheads were entirely the concert-givers' fault.
He did not agree with Mr. Boult's reversion to the classics entirely.
He believed in a greater variety of music. Apart from advertising, the
remedy he would suggest for the difficulty of getting audiences would be
that people should learn to read music. If any considerable number of
people could take down a new work and make something of it straight off
there would not be this difficulty about learning to familiarise oneself with
new works.
Mr. Harold Bauer said that there was in America the same hesitation in
stressing too much the educative aspect of music. Taste was based not
on education but on intuition. He told a story of a publicist who found
his imagination so much stimulated by hearing a Beethoven symphony
that he came and asked how long it would take him to learn to play all
the sonatas. He seriously considered doing this in order to inspire
himself with ideas for his publicity business. As to commercialism in
music, he thought there was more in Europe than in America.
Mr. Edwin Evans thought that the most important of the points raised
was that of publicity. The whole of musical advertising in this country was
purely casual, and the waste enormous. A dozen or more people every
week paid for separate advertisements to fill a hall the size of the Wigmore
or Eolian, while an advertisement not much bigger than any one of
these was filling Covent Garden. The disproportion was ridiculous.
Concentration was needed above all, and some system whereby a concert-
goer could be certain where to find an advertisement of any concert on
any day of the week, and not merely on Tuesdays and Saturdays in the
Daily Telegraph.
Mr. F. Toye agreed with M. Rosing about children's concerts, and with
Mr. Evans about advertising, He thought there was far too wide a chasm
between music and high-class music. For the first there was a large public.
The proms." had done more to bridge the gap between ordinary and
high-class music than any other institution. We needed more such bridges.
With a permanent orchestra such as Sir Dan Godfrey's a public could be
trained, but it must be done unconsciously.
Mrs. Dan Lawes Smith gave an account of the music clubs of America.
She said there was no difficulty about audiences. Every member had a
section of the hall to fill, and once she had found her quota of ticket
buyers, these provided the public for the concerts season after season.
Dr. Bates, speaking for Norwich, said that the music society there paid
its way year after year without any guarantee fund. Before the date of
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nfinite
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THE BRITISH MUSIC BULLETIN
141
each concert a lecture was arranged bearing on the programme to be
performed. Taking part in the performance was the foundation of success.
The Debate was perforce adjourned at this point, having lasted well
It was evident that there were still many people who
over two hours.
would gladly have contributed to it, and whose views the meeting was
unfortunately not able to hear.
Proceedings closed with a hearty vote of thanks to Sir Ernest Palmer,
for whose able chairmanship the Society was deeply grateful.
Second Debate-THE FUTURE POLICY OF THE SOCIETY
ON Saturday, July 1st, at the Eolian Hall, a Private Meeting of members
was the future of the Howard de
Walden took the chair, and after a few introductory remarks asked
Sir Hugh Allen to speak as chairman of the Committee.
Sir Hugh Allen described the position of the British Music Society as
being one of great promise. It was only by the efforts and co-operation
of members that this promise could be fulfilled, but provided work could
be done and a sense of fellowship fostered the future ought to be secure.
It was the desire of the Council to hear the views of the members and
help them by every means in their power.
Mr. Lee Mathews, as Treasurer, gave details of the present financial
position of the Society, and discussed the ways in which the money had
to be spent. Particularly he emphasised the absolute necessity of the
Headquarters organisation, and detailed some of the kinds of work which
it alone could accomplish, particularly with regard to the relation of
British to Continental music and musicians. and the organisation of new
branches. He then showed that none of the proposals sent in with a view
to lighten the financial burden on Centres were as yet practicable,
although, when the Society reached the size which it should attain, the
problem would be much easier. He then outlined a suggestion of
Headquarters whereby any Branch which increased its membership
sufficiently should obtain a proportionate bonus.
Dr. C. E. Wheeler described the proposals for economising on the
Bulletin publication, and put forward the Council's suggestion on
This was ultimately adopted, and was fully dealt with in
the matter.
last month's Bulletin.
Mr. Frank Roscoe spoke of the evident and growing desire for musical
opportunities in our country and the ideal relation of the British Music
Society to the community. Particularly he spoke of the great advance in
music teaching in schools and the part which could be played by School
Branches. He regarded the Bulletin as the link between Headquarters
and Branches, and deprecated the plan of ever developing it into a
musical journal. His speech was a very clear statement of the case for
the British Music Society, and we hope to print it verbatim in a later
issue if space permits.
Mr. Rushworth (Liverpool) maintained that there was no need to give
any extra rebates of subscriptions to Branches.
Miss Tennant (Glasgow) agreed with Mr. Rushworth, and with regard
to the Bulletin desired to see more attention paid in it to the needs of
young people, who at present are little considered.
Mr. Arnold Jones (Kensington) said he would prefer a definite monthly
record and review of British music published in the month.
Mrs. Richardson (Palmers Green) spoke of the difficulty of relating
Associates to the full members, and the possibility of persuading them to
pay a little more than they do at present in subscriptions.
Mr. Adrian Boult referred to the fact that Musical Societies can affiliate
to the British Music Society as corporate bodies, and outlined a scheme
which the Council has worked out for aiding Choral Societies to obtain
their necessary music.
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THE BRITISH MUSIC BULLETIN
Mr. Cobbett referred to the desirability of some notice of new musical
works in the Bulletin, and related a most interesting instance of the great
value of such publicity.
142
Mr. Leigh (Leeds) spoke of Choral Societies, and also of the need for
bringing pressure on educational authorities on behalf of music.
Mrs. Leigh (Leeds) also stressed the vital importance of considering
the needs of the younger part of the nation.
Colonel Somerville spoke cogently as to the value of the military band
in public musical education, and the work to be done in influencing its
choice of programmes.
Miss V. Edwards (Manchester) described the Manchester method of
obtaining increased publicity by Bulletin boards," and their efforts at
influencing the younger people.
66
Mr. Dawson (Worthing) spoke of the relations of the professional
musician to the British Music Society, and the possibility of increasing
his interest in it and in its value for him.
Mrs. du Sault described the aims and hopes of the Stratford-on-Avon
Branch.
Major Corbett Smith mentioned the need to make individual members
feel a personal satisfaction in the British Music Society, and the possibility
of our undertaking some such legal assistance in case of need as is given by
the Society of Authors.
Lord Howard de Walden briefly summed up the discussion, and the
proceedings then ended.
THE LATEST
RAVEL
A
What is
LOOKING back over a season that has demanded attendance at some
hundreds of concerts, I find that the performance that most vividly
stands out in my memory as an 'event" is that of the new Ravel Sonata
for violin and 'cello. Why? For one thing, the element of curiosity
entered. What could be done with a treble melodic instrument and a bass
melodic instrument, with no intermediate melodic voice and no harmonic
keyboard background? And curiosity was quickly satisfied. A great deal
could be done by the hand of a master; and the surprising thing was that
it was done melodically, for the work has little "double-stopping" or
chord-playing. Technically, then, a feat has been accomplished.
neighbour at the concert remarked that though he had enjoyed the work
he did not see what had been gained by leaving out the viola.
gained? Well, of course we want our string trios, and always shall want
them, but the particular quality this piece has which it could not have
had as a trio is that of entire clarity. All the time you can hear both
parts can follow them comfortably; each is always doing something
vital, and you are fully aware of what it is doing. This is not often the
case in a quartet (where, necessarily, the attention is called now to first
violin, now to second, now to viola, now to 'cello, according as each holds
for the moment the leading theme), and it is also not quite the case in a
trio. You have, indeed, to thin down to two-part counterpoint before such
entire audibility of part-writing comes about. Other composers have
essayed the feat, but rarely interestingly. Probably most of us look upon
the one two-part fugue in the "48" as the least interesting; none of us
know the Beethoven duets for clarinet and bassoon (also published for
violin and 'cello) because they are never played and no copy arranged in
score exists, but a glance at the parts is not very re-assuring.
All this, however, is a technical question. What of the piece as music?
There, I think, a very satisfactory reply can be given. The themes are
alive. Rhythmically they have force and melodically they have shape.
They have individuality, too, and one finds them ringing in one's head
when the performance is over. Had Ravel been writing an orchestral
66
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JUSIC
ed for
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THE BRITISH MUSIC BULLETIN
piece, or even a string quartet, he could, if he had wished to impose
second-rate material upon us, have done so, and (for a few years, perhaps)
the imposition might have remained undiscovered.
But with the meagre
resources of a string duet sonata any weakness in thematic material would
That is where some of the music of the young
at once have been felt.
French School, written also for "
thin" combinations, has broken down.
You may fool the public with a box of colours, but you cannot fool them
with a couple of pencil lines. In a piece like this, if a theme lacks
personality, if it wanders weakly on, if it destroys the force of its climax
note by hanging around it, every discerning hearer is bound to know, and
as for the undiscerning, his attention wanders without his knowing why.
If there is one truth that is forced upon one as the result of hearing music
daily it is that melody, sound melody, and plenty of it, is everywhere
essential, and this Sonata is full of melody.
But I am still clinging, you say, to technique. It is almost impossible
to discuss music without doing so. I could talk vaguely about the
emotions of the piece, but it would not tell you much, for those you must
experience for yourself. In one sense, if a piece breaks down it is always
because there is somewhere in it a failure of technique, and it is good for
us sometimes to get away from poetical talk about music and to discuss it
as craftsmanship. This justifies my adding to what I have said that the
"form" of each movement is masterly (all the old principles are embodied,
as I think they are, in some way or another, in every successful piece of
music). and that, though there are plenty of places where I should not like
you to ask me technically to analyse the harmony, yet I feel that this
always "marches forward" instead of just "fooling around," as some
modern harmony seems to do.
To some ears this piece will not make an immediate appeal, but heard
once or twice I believe it will be loved, and I prophesy that in two or three.
years time nothing about it will any longer be felt to be even strange.
We owe, then, thanks to Miss May Mukle and Mr. André Mangeot, and
to the Contemporary Music Centre of the British Music Society, for the
first opportunity of hearing a little masterpiece. PERCY A. SCHOLES.
143
OXFORD SUMMER COURSE IN MUSIC TEACHING
A summer course in Music Teaching has been arranged at Oxford from
August 15th to August 30th, under the auspices of the British Music Society
and the Federation of British Music Industries. This is intended to
supply the need, felt by many teachers who are not specialists in music,
for help and advice in their ordinary routine work in schools, a need also
shared by those responsible for music training in choirs and clubs. The
opening address will be delivered by Sir Hugh Allen, and the closing
address by Dr. Arthur Somervell, and lectures will be given by Mr. Percy
Scholes, Mr. Frank Roscoe, Dr. Malcolm Sargent, Mr. Edward Mitchell,
Mr. Robert McLeod, Mr. Pennycuick, and Major Bavin. It is proposed to
devote the mornings to lectures and discussions, to leave the afternoons
free, and to arrange lectures and informal concerts in the evening. The
music at the concerts will have a special bearing on the subjects discussed.
The fee for the whole course of lectures will be £1 1s. Men students
can be accommodated at Worcester and Wadham Colleges at an inclusive
fee of £3 3s. and £3 13s. 6d. respectively, and women students at Lady
Margaret Hall at £3 3s. per week.
Major Bavin, the director of the course, asks us to say that any inquiry
addressed to him c/o Mr. C. M. Taphouse, 3, Magdalen Street, Oxford,
from members of the British Music Society will obtain his help and advice.
Application forms and further information can be obtained from the
British Music Society, and from the Federation of British Music Industries,
117, Great Portland Street, W. 1.
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THE BRITISH MUSIC BULLETIN
The programme for the International Chamber Music Festival to be
held at Salzburg from August 7th to 10th, includes the following works
of British composers:
August 7th (evening),
8th (evening),
144
""
10th (afternoon), Songs with Violin
Songs
(evening)
Songs
Miss Dorothy Moulton is among the executive artists.
29
""
Songs
Pianoforte Trio, in one movement
99
Arthur Bliss
.. Arnold Bax
Gustav Holst
...
Eugene Goossens
Lord Berners
The Ménéstrel (Paris) for June 30th, mentions that the following will
be performed at the Gloucester Festival: A new work by Bantock, a
Symphony by Bliss, a Choral work by Goossens, and Sine nomine by
Howells.
THE
ANNUAL MEETING OF THE ASSOCIATED BOARD
HE Thirty-third Annual Meeting of the Associated Board of the Royal
Academy of Music and the Royal College of Music was held on
July 13th, Mr. Ernest Matthews, C.V.O., in the chair. Among those
present were Sir Alexander C. Mackenzie, K.C.V.O., Mus. Doc., LL.D.,
D.C.L., Sir Hugh Allen, M.A., Mus. Doc., Sir Walter Parratt, K.C.V.O.,
M.A., Mus. Doc., Sir Charles Stanford, D.C.L., LL.D., M.A., Mus. Doc.,
Mr. Eaton Faning, Mus. Doc., Mr. H. W. Richards, Mus. Doc., Mr. Frederic
King, Mr. H. Wessely, Mr. Saxton W. A. Noble, Mr. Claude Aveling, and
a distinguished gathering of representatives and examiners from many
parts of the United Kingdom and from Canada.
The minutes of the previous meeting having been read and confirmed,
the Secretary read the report for the year. The number of candidates in
the United Kingdom was 7,243 in the Local Centre Examinations and
44,490 in the School" Examinations. A list was read of the winners of
Exhibitions offered by the Board in the United Kingdom and in the
Dominions and Colonies. Fifteen exhibitions previously gained have
been renewed.
The Chairman, in moving the adoption of the report, said that he
regretted the absence of the Prince of Wales, President of the Board. He
also expressed the great regret felt by the Board at the death of one of its
members, Mr. Oscar Beringer, and of three of its Examiners, Mr. Miles,
Mr. Betjemann and Mr. Croager.
The number of entries received for this year's examinations was 70,000.
The 1923 syllabus would include a new examination in Pianoforte, the
Final Grade, which would fill any gap that might exist between the
Advanced Grade and the examinations for L.R.A.M. and A.R.C.M. A new
examination in Pianoforte Accompaniment would also be added.
The report and balance-sheet were unanimously adopted.
BANGALORE
FOREIGN NEWS
Two meetings have been held, one on May 18th and the other on
June 21st.
The programmes included movements from a Piano Quartet
(Mozart in E flat), Piano Trio (J. Jongen, Op. 30, for piano, violin and
viola), which was played twice, a String Quartet (Haydn, Op. 76, No. 5), and
a Purcell Suite for strings; Piano Solos (Valse and Berceuse by Balakirew,
and Valse Caprice and Intermezzo by Cyril Scott), and a Piano Duet
(Prelude and Dance from the Suite, Op. 52, by York Bowen); Songs by
Handel, Grieg, Cowen, Holst, T. Ford and Basil Harwood. The songs by
Holst were the four songs for voice and violin, performed delightfully by
Mrs. Clinch and Mr. Augustine, and much appreciated for their beauty,
Rev. F. V. Dawkins, who, we regret to say, is leaving Bangalore, gave us
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works
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THE BRITISH MUSIC BULLETIN
"There is a lady sweet and kind" in two versions, Ford's and Harwood's.
He will be much missed both for his work in the choral sectiou (temporarily
in abeyance) and for his own singing.
A library of music is in formation; we have, in addition to our own
purchases, received a generous gift from Headquarters. This library we
hope will stimulate and make easy the study of music new to this place
where it is hard to obtain good music in any variety.
145
We are hoping to purchase a piano for our rooms; a member has made
a generous offer to advance the money, but so far no piano has been
discovered.
J.A.Y.
CENTRES AND BRANCHES
LONDON CONTEMPORARY MUSIC CENTRE
The fifth Concert of this Centre was held on July 3rd at 8.15 p.m. at Seaford
House, by the very kind permission of Lord and Lady Howard de Walden.
Particulars of the programme, and a critique which Mr. P. A. Scholes has kindly
written for us on the Ravel Sonata, appear elsewhere in the Bulletin.
The attention of members is drawn to the fact that two concerts have been
arranged for the autumn, on October 17th and December 5th at 8.15 p.m. in the
Art Workers' Guild Hall, 6, Queen Square, Bloomsbury. Full particulars of these
programmes will be given next month, but members are asked now kindly to
make a note of the dates, and to do what they can to interest their friends in the
work of this Centre.
V.I.B.
BLACKHEATH
A meeting of the Branch was held at the Blackheath Chambers on Friday,
July 14th, when Miss Gertrude Pullen and Mr. P. D. Beadle gave a Vocal Recital,
with Mrs. Pullen as accompanist and Mr. B. E. C. Davis at the piano. Miss Pullen
sang three groups of songs-one Italian, one French, and one English-and her
repertoire alone deserves high praise for its interesting and representative character.
Starting off with "Sento nel core" (Scarlatti), Miss Pullen passed from old
"l'Abbesse "-
masters to Fauré and D'Erlanger-represented by "Soir" and
and so to modern British work, including the inimitable Three Blind Mice" of
Gerrard Williams. Her unaffected sympathy in interpretation did full justice to
these songs, and her voice was admirably modified to suit the size of the room.
Mr. Beadle sang a group of modern British songs-" To Gratiana" (Denis Browne),
"The Palanquin Bearers" (Martin Shaw), and "Winter" (Balfour Gardiner)-
followed by a group of Negro Spirituals," the last group meeting with special
applause which only subsided at the re-appearance of the singer for an encore-
"Mandoline" (Debussy). Mr. Davis played the Golden Sonata" of Purcell and
three Preludes by John Ireland, the last of which ("The Holy Boy ") appeared to
be the most popular. All the performers were full members of the Society.
66
BOURNEMOUTH
The committee arranged an extra meeting for the month of June for the
purposes of giving local members a chance of distinguishing themselves, and of
searching for new talent. Some excellent items were rendered, both vocal and
instrumental, and the artists earned well deserved applause from an enthusiastic
audience. In the absence of the President (Lady Morrison Bell), the chair was
occupied by Mr. S. H. Braithwaite, a local composer of note.
The last concert of the season was given at St. Peter's Hall on Saturday,
July 8th, when Miss Fanny Davies, the celebrated pianist. gave a most interesting
and enjoyable Recital.
The standard of quality of these concerts has been
maintained throughout the season, and the committee have a record of concerts
to look back upon with the highest satisfaction. Miss Fanny Davies delighted her
audience by some admirable solo work, in which she clearly showed that her
technique and power have in no way deteriorated. The programme, a varied one
both as regards period and nationality, providing a series of pieces representative
66
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THE BRITISH MUSIC BULLETIN
of the various schools of thought, was rendered as follows:-(1) "The Lord of
Salisbury His Pavane " (Byrd), "The King's Hunting Jigg" (Dr. John Bull),
Ground, C minor (Purcell). (2) Sonata in F sharp minor (Schumann). (3) "La
Cathedrale Engloutie" (Debussy), Prelude, C sharp minor, Mazurka and Etude
(Chopin), "On the recovery of my son " (Op. 30, No. 5) (Josef Suk), Hledavi
(experiments) (Op. 4, No. 2) (Vomacka), Slovak Dance (Dr. Vitezslav Novak).
(4) Intermezzi, B minor, E minor and C major, and Rhapsody in E flat major
(Brahms).
S.H.G.
BOURNEMOUTH CONSERVATOIRE OF MUSIC
A Concert in connection with the above was held at the Conservatoire on
June 13th. The piano solos rendered were by John Ireland and James Hook
(mid. 18th century). Amongst the songs were "Sea Sorrow" ("Songs of the
Hebrides"), arr. by Marjory Kennedy-Fraser; Little songs for little folks,"
Op. 19, by Coleridge-Taylor; and also songs by Elgar and R. Vaughan Williams.
A Trio for Pianoforte and Strings, No. 3, in A minor, by Purcell, was also given.
A.G.
BRADFORD
In conformity with a resolution passed at the last annual meeting, the Committee
hope to arrange four evenings in the Mechanics' Institute, and four or more
smaller social evenings at the Royal Restaurant, Upper Piccadilly. Arrangements
have already been made for a return visit of the McCullagh String Quartet, with
Miss Louie Mortimer at the piano, Thursday, December 14th. Miss Marion
Keighley Snowden and Mr. John Snowden will give a piano and 'cello recital on
January 25th, 1923. Mr. Edward Mitchell will give a lecture-recital on
"International Modern Piano Music," date to be announced later. Miss Nellie
Judson will give a song recital, with Mr. D. Bentley, 'cello, Wednesday,
November 22nd, 1922. The Edgar Drake String Quartet and Mr. Anthony Beck,
tenor, Friday, February 9th, 1923. Mr. Jacob Kramer will lecture on "Colour in
Relation to Music," and it is hoped to have an evening with the Moor Duplex
Coupler Piano. The season will probably conclude with a social and annual
meeting.
C.L.J.
HAMPSTEAD
The second Annual General Meeting of the Centre was held on Tuesday
evening, July 11th, 1922, at the Hampstead Town Hall, the Chairman of the
Centre, Alderman John I. Fraser, presiding. A number of members of the
Executive Committee were present, as well as a few other members of the Centre.
The reports of Secretary and Treasurer revealed the fact that, even after a
generous remission of fees by headquarters had been granted, the Centre was still
nearly £30 in debt. Outstanding subscriptions are about sufficient to cover
this, but there is doubt as to the possibility of collecting them. The experience
of two years work has shown that Hampstead music-lovers will not attend first-rate
concerts in their own district in sufficient numbers to make them financially
sound, and that the desire for less formal musical evenings, though frequently
expressed, was not felt to the extent of being acted on by more than an average of
twenty people. The resolution given below was passed without a dissentient,
after some discussion. As there is obviously no money to pay for printing or
circularising it, the 80 per cent. of the members who did not attend the meeting
are requested to accept this, the only intimation: That, in view of the results of
the year's work, as reported by the Secretary and Treasurer on behalf of the
Executive Committee, this general meeting of the Hampstead Centre of
Music Society decides that the Centre close down as and from December 31st, 1922,
and instructs the Executive Committee to incur no further liabilities on its
behalf." R.I.P.!
66
British
A.L.B.
MANCHESTER
In response to the request in the last issue of the Bulletin for information
regarding future plans, the following experiments are going to be tried in our
Manchester Centre next season :-
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Lord of
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THE BRITISH MUSIC BULLETIN
(1) Most of our advertising is going to be done by means of the British Music
Society notice boards, which, thanks to the courtesy of various firms, are now up
at Mudie's and six of the leading music shops in the centre of the town.
(2) Most of our six Lecture-Recitals are to be given twice. The second Monday
evening in the month (beginning with October) is to be one regular night, and
whenever possible the same programme will also be given either on the second
Tuesday afternoon or on the Monday for the benefit of suburban members who
cannot attend evening meetings.
147
(6
(3) One Monday evening in the month is to be devoted to "New Works,"
which are to be played and discussed by a group of musicians and music-lovers.
(4) Music in the Home."-An effort is being made to get members who are
amateurs to get up informal evenings and take up and consider the music to be
given at the Hallé Concerts, the opera and any outstanding concerts or recitals.
Offers of the use of drawing rooms with gramophones and pianolas, the loan of
records, the services of amateur musicians are coming in, and promise well for the
success of the experiment.
V.E.
MARYLEBONE
66
He made
The July meeting of this Centre was held on July 3rd at 9, Wigmore Street, by
kind permission of Mr. and Mrs. George Woodhouse, who lent their delightful
music studio for the occasion. We had an address on "The Training of a
Musician," by Mr. Gustav Holst, followed by a discussion. He gave us a saying
of Sebastian Bach's, "The aim of music is the glory of God and pleasant
recreation," which, in his opinion, is the finest thing ever written or said about
music. He insisted on the element of "joy" in our art, and in the teaching of it.
There are some people who are afraid to use the word "joy" lest they be called
sentimentalists, but the teaching of music should aim at fostering this joy, and the
teacher can communicate it only in so far as he himself possesses it. Mr. Holst
gave us some of his early experiences and recalled the great effect made on him by
the B minor mass of Bach, surely one of the finest pieces of music ever written.
He told us that the occasion on which he first heard this formed a turning point in
his musical career.
A preliminary explanation of a work of art is of doubtful value
as the student is thereby robbed of the element of surprise, particularly valuable in
youth, and of the power of discovery for himself. Mr. Holst thinks it not necessary
for the student to study the classics at first, but it is essential that he should
hunger for them. Nor is good taste" liking what your elders like.
out a strong case against "examinations," which he described as a sort of drug or
stimulant which left the student in a state of collapse, and the joy of competition
was often substituted for the joy of music for itself. He quoted his own experience
in learning a piece by Sterndale Bennett which he had entirely forgotten shortly
afterwards. The question of Examinations in Music was debated in the
discussion which followed. Mr. Arthur Bliss was even more emphatic in his
condemnation than Mr. Holst. He also lamented the attitude of the majority of
musical audiences, and described the "bored stiff" expression so often seen,
pointing out that the amateur, the lover of music for itself, should be the backbone
of a musical nation. On the subject of the classics" he ventured to disagree
with Mr. Holst, and would gently enforce them. Mrs. O'Neill also spoke on the
inference drawn by Mr. Bliss from what he termed the bored expression of our
audiences. She attributed this seeming lack of interest to our undemonstrative
character and not to a want of appreciation. The speeches of Miss Jane Joseph,
Mr. Felix White, and others, and Mr. Holst's reply all contributed to make a most
interesting evening. The grateful thanks of the meeting to Mr. Holst were
tendered by our
chairman of committee, Mr. Frank Broadbent, and were
enthusiastically supported by those present. We of the Marylebone Centre feel
very grateful to Mr. Holst for giving us what we consider should be a model
evening for a British Music Society meeting.
The autumn
season will be opened early in October with a Lecture on
"Modern Music," by Mrs. Norman O'Neill, with illustrations. Studio meetings of
chamber music will follow.
F.W.
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THE BRITISH MUSIC BULLETIN
WORTHING
It was decided at a Committee Meeting held in May that the Club should be
closed during the summer months in order to avoid unnecessary expense. The
library, however, remains available for members' use, and in order to keep interest
alive it was decided to hold two " Social Evenings" in June and July. The first
of these took place last month, and was very well attended. A good musical
programme was carried out and several new members enrolled. The Club will
re-open for the winter session towards the end of September. The constantly
increasing number of members and associates at this Branch is very gratifying.
F.C.-A.
YORK
The most interesting event of the month to us has been our first affiliation, that
of the York Musical Society. The Committee of this body decided to affiliate at
their meeting on July 18th, and have appointed our Chairman, Mr. H. A. Bennett,
as their representative on our Committee, whilst we shall be represented on theirs
by Mr. D. Laughton.
In response to the suggestion to deal with the future rather than the past I will
only mention the other events of the last month. The Musical Society have held
a very successful Garden Party in honour of the ex-organist of the Minster,
Mr. T. Tertius Noble, who has given an organ recital in the Minster with a
programme consisting partially of recent American music. Dr. Bairstow has also
given a recital, this time of British music, one item introducing a hidden choir
with great effect.
Our programme for the winter is as follows:-October 7th, Mr. Eugene
Goossens on "Modern Developments in Music"; November 11th, Mr. William
Baines (pianoforte recital); December 2nd, Catterall Quartet; January 27th,
Mrs. Kennedy Fraser and party (Hebridean folk-songs); February 17th, Mr.
Gustav Holst on Purcell; March 17th, Dr. Bairstow and Miss Sybil Eaton
(pianoforte and violin recital). All these dates are Saturdays. We also hope to
have a reception in the autumn, when Sir Hugh Allen is expected. I think
members will agree that this programme is worthy of their support.
C.R.A.
Instrumentation
on up-to-date principles, ensuring
the most effective colouring, with the
utmost economy of means.
SCORING undertaken for all
combinations of instruments.
INCIDENTAL MUSIC to plays,
with special attention to period and
atmosphere.
TRANSCRIPTION, REVISION.
CECIL DUDLEY,
27b, PARADE MANSIONS,
GOLDERS GREEN, N.W.
TEACHERS REGISTRATION
COUNCIL
Applicants for admission to the
OFFICIAL REGISTER OF TEACHERS OR
THE LIST OF ASSOCIATE TEACHERS
Should write to
the Secretary
47 Bedford Square W.C.1
PLAINSONG and its ACCOMPANIMENT
Course ensuring thorough understanding
and practical efficiency.
DR. GEORGE OLDROYD
D. MUS. (LOND.)
17, OUTRAM ROAD, CROYDON.
CHARLES KENNEDY SCOTT (Con-
ductor of the Oriana Madrigal Choir) says
in the "Musical Times," Oct., 1920-
"One feature of our study at Brussels I
have found of the utmost value ever since-
Plainsong ... It was always important,
it was never more so than to-day, when
posers are seeing the beauty of free
rhythm and the old modes."
BRITIS
1 AUG 22
KUSEUM
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Bical
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THE BRITISH MUSIC
BULLETIN
Volume IV No. 9
The Future of the British Music Society
CONTENTS.
Byrd Tercentenary Festival, 1922
The Promenade Concerts
The Village Choral Societies
Music Review
SEPTEMBER, 1922
Book Review
Centres and Branches
PAGE
151
153
155
155
156
- 156
158
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THE BRITISH
BRITISH MUSIC
BULLETIN
VOL. IV
SEPTEMBER, 1922
OFFICERS OF THE SOCIETY
Patron: THE EARL OF BALFOUR
President: THE LORD HOWARD DE WALDEN
Vice-Presidents:
Sir HUGH P. ALLEN
Professor GRANVILLE BANTOCK
Sir THOMAS BEECHAM, Bart.
Major-General Sir W. S. BRANCKER,
K.C.B., A.F.C.
Sir FREDERICK BRIDGE, C.V.O.
ALBERT COATES, Esq.
Sir FREDERIC COWEN
Dr. WALFORD DAVIES
FREDERICK DELIUS, Esq.
Sir EDWARD ELGAR, O.M.
Rev. Dr. E. H. FELLOWES
CECIL H. BATESON, Esq.
ADRIAN C. BOULT, Esq., Mus. Doc.
W. W. COBBETT, Esq.
EDWARD J. DENT, Esq.
PAUL EDMONDS, Esq.
Dr. A. EAGLefield Hull
Sir DAN GODFREY
HAMILTON HARTY, ESQ.
Sir HENRY HADOW, C.B.E.
Sir WILLIAM MCCORMICK
Sir S. ERNEST PALMER, Bart.
Sir LANDON RONALD
Dr. ETHEL SMYTH, D.B.E.
Dr. ARTHUR SOMERVELL
Committee of Management:
Chairman: Sir HUGH ALLEN, M.A., Mus.Doc.
The Right Rev. Dr. T. B. STRONG
Professor DONALD TOVEY
Lady MAUD WARRENDER
Sir HENRY WOOD
Offices: 3, BERNETISH
Mrs. W. LEE MATHEWS
FRANK ROSCOE, Esq., M.A.
W. RUSHWORTH, Esq.
G. BERNARD SHAW, Esq.
FRANCIS TOYE, Esq.
GEOFFREY TOYE, Esq.
Dr. C. E. WHEELER.
Hon. Treasurer:
W. LEE MATHEWS, Esq.
Secretary: Mrs. VI. BALKWILL, M.A.
STREE
No. 9
LONDON, W.1.
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BONG
THE BRITISH MUSIC BULLETIN
151
THE FUTURE OF THE BRITISH MUSIC SOCIETY
SPEECH AT THE CONFERENCE BY MR. FRANK ROSCOE
I am here
rather in the capacity of a listener than that of a speaker. I am one
of the members of the Management Committee who are duly chastised
from time to time by a very ardent Secretary and Treasurer. (Laughter.)
But I confess that I take a great interest in the work of the British Music
Society, and the only, or the main, object I have in speaking to you this
morning is to try and induce you-not to take an interest in the work,
presumably you do that-but to take that sort of interest in the work
which ought to be taken by people who are engaged in the business
of construction.
I suppose that an architect sees in his mind the picture of the cathedral
that is ultimately going to appear? I wonder how many of us see in our
minds any sort of picture of what the British Music Society ought to be?
My experience of musicians is a detached one, because I am not a musician,
but it has certainly led me to a strong conviction that musicians tend to live
in a great state of intellectual isolation. I would put it more strongly
than that they tend to live in a state of acute hostility. I suppose they
study harmony-(Laughter)-and I can only conclude that their studies of
harmony have so surfeited them that they have determined never to
practise it. (Renewed laughter.) However, in any enterprise connected
with music that is the chief difficulty you have to overcome; you have to
get musicians to work together, and, if the Committee of Management
can do that, we shall all deserve statues in the public streets. (Laughter.)
I do not say we want them, but we shall deserve them !
Now, what is the picture that we can form in our minds of the
future of this Society? Observe that it does not exist for any special
commercial or professional purpose. It exists for the advancement of
music. Now, is there room for such a Society in England; is there need
for such a Society in this country? I submit that there is. (Hear, hear.)
I submit that there is not only room and need for it, but that there was
never a time so opportune as the present one for engaging in the task of
strengthening the Society's hands. Everywhere we see a growing interest
in music, and it is for the Society to take the opportunity and to develop
itself in accordance with the demands and needs of the present day.
But this is not a task merely for musicians. We have to enlist the
co-operation of the general public, who are increasingly interested in
music interested, I mean, in the right way, in a perceiving fashion.
Now, the picture that I have in my own mind is something like this.
At the Centre, an active-minded body of men and women who have a
policy; not a narrow and rigid policy, but a broad policy from which they
will not depart. They have also at the Centre the necessary machinery for
helping Branches everywhere in the country. For every part of the
country, in every district, every village, I want to see a branch of the
British Music Society, drawing, not financial sustenance so much as
intellectual and musical stimulus from the central organisation.
I want to see a further extension than that. I want to see every school
in the country made a branch of the British Music Society. Very few of
you, I am sure, have much idea of the great advance that is being made in
the teaching of music in the schools. In a school which I happen to
know very well there was, during last winter, a most admirable course of
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152
THE BRITISH MUSIC BULLETIN
studies in what, for want of a better term, I may call musical appreciation.
The whole school took part; not a few selected pupils whose parents were
paying extra for instruction on the piano or violin, but the whole school
attended those meetings held on Friday, and at the end of the course,
which lasted throughout the winter, a most admirable programme was
arranged, devised by the scholars themselves-they chose the pieces.
That school is obviously a place where we could have a school
branch of the Society, and if you catch them young you have a reasonable
hope that when they go into the world they will want to continue members
of the British Music Society, and in that way-rather slowly, perhaps-we
shall reach a membership, not of 10,000, or 20,000, or 30,000, but of 50,000,
because there are surely 50,000 people in this country who are willing and
anxious to develop musical interest and taste among us. (Hear, hear.)
There are one or two points of difficulty in administration. They
have been referred to, but I will, if I may, ask you to concentrate on them
for one moment.
When you attempt to form branches, the first question you are asked is:
"What are you to give us?"-not necessarily "What money are you to
give us," but "What advantage do we derive from this central body? " And
here we on the Committee of Management are anxious to discover what
sort of things are wanted in the branches. I assume that one essential
thing is a link of communication, because the policy formulated at the
Centre must be modified from time to time by the views held in the
Branches, and whatever policy is formulated in the Centre must be made
known to the Branches; and that is the purpose of the Bulletin.
I personally feel that any attempt on our part at present to run a
musical journal is bound to fail. It is not our function to run a musical
journal. Leave that to the commercial publisher: he will do it, and he
does it at a profit in some cases. Our job is to communicate with the
Branches, let them know what we are doing and what we hope to do;
and the Branches' job is to communicate with us, let us know what they
are doing and what they hope to do. That will be the real value of the
Bulletin, a link between the Centre and the Branches and between the
Branches themselves.
That
Then, it seems to me, we could offer certain other things. We could
offer facilities in the way of obtaining music for practice-purposes.
again is a great advantage to a village branch which is perhaps a little out
of the stream, and by offering music-either on loan or on easy terms-we
enlist their support, and we make them feel that they are getting something.
Further, it is from the Centre that it is possible to organise visits and
lectures for the Branches, and that I think we on the Committee of
Management are anxious to do.
But when everything possible has been done at the Centre, very little
has been done unless we have missionaries everywhere in the country
trying to build up branches of the Society. Everywhere there should be
people who are anxious to bring together folks who are interested in
music, to bri them together with the ultimate object of forming a branch
of the Society.
In my view it is a very unwise, impolitic thing to bring them together
with the avowed object of forming a branch of the British Music Society.
If you came to me and said: "I want you to come to a meeting with the
view of forming a branch of the British Music Society," I should take the
fastest taxi away from you-(Laughter)-but if you said: "Will you come
In this c
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ation
ourse
school
50,000
you to
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THE BRITISH MUSIC BULLETIN
153
to a meeting? A few of us interested in music want to see what we can do
in this district to stimulate an interest in music," I would come; and
later, if you were wise and knew your job, I should discover that I had
been inveigled into being a member of the British Music Society.
(Laughter.) I offer that suggestion to the potential missionaries who are
sitting here to-day. Get people together on the plea of interest in music,
and then ask them to become members of the British Music Society.
Never forget the picture I have asked you to form. The picture of a
whole nation interested in music, a nation which is returning to its former
tradition in this matter, a nation which is realising or rather re-realising-
the fact that music is not only a great source of spiritual and intellectual
satisfaction, but is also a great medium of intellectual and spiritual
communication between people.
That is really the purpose of the British Music Society. Its pioneer
work will be done when we have in this country a vast body of men and
women who can communicate with each other through the medium of
music, to whom music is more than a thing bringing æsthetic satisfaction,
to whom music is a thing that speaks matters of deep moment concerning
their own lives. (Cheers.)
NOTE.--Mr. Roscoe's speech appears to us to deal so well with the
question of the future of the British Music Society that we are glad to
print it in full.-(ED., BULLETIN.)
BYRD TERCENTENARY FESTIVAL, JULY 1923
[William Byrd, b. 1543, d. 1623] .
IN the opinion of many thoughtful people the centenary habit is
becoming somewhat of a nuisance. Not long ago an apprehensive
critic pointed out that if this sort of thing is to be done with any show
of impartiality, we shall be doing it twice a day. There is much to be
said for the process of drawing attention to forgotten merit by a little
judicious blowing-up of the ashes, but if this be done too often even
the most docile public may grow jaded and refuse to attend.
Admitting this danger, it may seem inconsistent to advocate a proposal
to celebrate the Tercentenary of the death of William Byrd. But there
are unusually good grounds for this celebration. For one thing, this is
the first time any attempt has been made to organise a wide hearing for the
works of the most representative musician of our greatest musical epoch.
For another, the time now seems ripe for such an attempt. A period of
three hundred years has had to elapse before fashion and fortune have
allowed the English-speaking peoples to offer more than lip-service to one
of their greatest names.
But at last there appears to be sufficient evidence
of a genuine revival of sympathy for English sixteenth century music to
justify an endeavour to stimulate and direct it. Last, and I think most
important of all, musical appreciation allows for a degree of organisation
which may seem a little otiose and interfering in the matter of the other
Arts. There seems no reason to suppose that a band of enthusiasts, all
pledged to read Shelley's poetry or to consider the Copernican system at a
given moment, would gain more from doing it thus than they would
from doing it whenever they wished to. And a similar band bent upon
inspecting simultaneously a picture by some painter whom they had
agreed to honour would certainly have a less good view of it than if
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THE BRITISH MUSIC BULLETIN
they went to look at it severally. Sculpture might present them with
fewer inconveniences, but even then their respective impressions might
be liable to a charge of one-sidedness, unless, of course, they agreed
But, those
beforehand to walk slowly round it without jostling.
considerations apart, a musical celebration is not open to the serious
objection that organisation is a super-imposed factor upon appreciation.
154
Music is a communal art. It calls for co-operation between its
performers, between the performers and the composer, and between
the performers and the hearers. The ideal musical co-operation is that
of chamber music, where the number of performers is sufficient to create
the feeling of mutual association and subservience to a whole without the
swamping of individualities in a massed compliance. No music is better
fitted for this kind of co-operation than the polyphonic music of the
chamber-music" has now come to bear an
sixteenth century. The term
exclusively instrumental significance. But such forms of vocal music as
the madrigal and the motet have as good a right to be classed as chamber
music as the string quartet, and are to the full as exciting and delightful
in performance. Nor, and this is to be insisted upon, is their repertory
any less various or distinguished. Moreover, an evening of madrigal
singing is in most places as easily arranged as an evening of string playing.
A bass is handier to transport than a double bass. Phenomenally fine
voices are not required for this kind of singing; enthusiasm and confidence
are a better dower for it, and in most cases very little practice in singing
a part is enough to beget these qualities.
If every Branch of the British Music Society would, in this coming
winter, organise (if it has not one already) a madrigal society (if there are a
great many people anxious to join, then better, several madrigal societies),
and if those societies would sing the music of Byrd and his contemporaries,
not only would the success of the Byrd Festival next summer be assured,
but a new element would be added to our life as a musical nation.
And that a national element, which for all the renaissance of English
music, has been too long ignored. For here is a repertory, at long last
made accessible, needing no more for presentation than a small body of
singers, most of it presenting no difficulties but what a little intrepidity
and tact will overcome, absolutely national in idiom and yet various
enough to suit all moods and places, and still freshly gilded with the
light of a golden age. No composer is so representative of that age as
William Byrd, and no composer so deserving of a festival has had to wait
so long for one. The nature of his music should stamp his festival (so its
promoters hope) with a special significance. It should be a festival in
which the appreciators are also as far as possible active participants.
If this happens, if in all sorts and conditions of musical life people will
not only hear about Byrd and listen to Byrd, but sing and play Byrd for
themselves the festival will be a success. Not otherwise. One or two
perfect performances will not be enough. What is wanted is a great many
performances, even if they are imperfect.
The seed must be sown in a
wide field, not in a conservatory, if it is to bear anything like its right
fruit. The Committee of the Byrd Festival are already indebted to the
Committee of the British Music Society for their offer of assistance in
organisation. They would like to be further indebted to as many members
of the British Music Society as possible, and they ask all sympathisers
to take an active part in getting up local performances in the manner
suggested. If advice be wanted as to what to sing, it can be had from
the British Music Society. If guidance be wanted as to how to sing it,
the gramophone records of the English Singers will show them madrigal
singing in perfection.
SYLVIA TOWNSEND WARNER.
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THE BRITISH MUSIC BULLETIN
155
THE PROMENADE CONCERTS
regret that obtain a list of the Promenade
programmes in time to review the season's promise in the August
issue. However, as there is much to note for September and October, we
hope that this comment will not appear too belated.
Of contemporary English composers Gustav Holst is represented by the
ballet music to the "Perfect Fool" and three of "The Planets"; Arnold Bax
by "November Woods" and Symphonic Variations, and Dame Ethel Smyth,
Butterworth, J. B. McEwen, Bantock, Montague Phillips, W. H. Reed,
John Ireland, Eugene Goossens, Eric Coates, Balfour Gardiner, Frederick
Laurence, Alfred Wall, Malcolm Sargent, Ernest Farrar, Arthur Bliss,
Percy Pitt, Norman O'Neill, Gerard Williams, Frank Bridge, Ethel
Scarborough are all represented, and in most cases will conduct their
own works.
Sir Edward Elgar's variations, "Wand of Youth" (No. 2),
Gerontius Prelude, are to be given. Modern Continental composers are well
represented by Strauss ("Zarathustra," "Don Juan," "Till Eulenspiegel "),
Busoni, Stravinsky, Georges Migot, de Greef, Gabriel Pierré, A. Honegger,
Béla Bartok, de Sabata, Turina, Ticciati, Félicien David, Ricci, Granadas,
Of
Enna, Bärresen, Roussel, Bloch, Moreau, Martucci and Leroux.
established classics, we are glad to welcome again the Schubert
Symphony in C. Brahms is fairly well represented, and César Franck;
there is more Mendelssohn than usual. Schumann comes off rather
badly; Mozart, Bach and Beethoven have their usual prominence.
Last year's excellent plan of playing larger excerpts from the Wagner
operas is followed again this year. The list of artists is, as usual, good
A special interest attaches to the appearances of M. Mitja
Nikisch as a pianist (Brahms' Concerto, No. 1) on September 12th and
September 20th (Liszt Concerto, No. 2).
and varied.
VILLAGE CHORAL
SOCIETIES
For the benefit of small choral societies the British Music Society has
devised a scheme by means of which it is hoped to bring a larger repertoire
within their reach.
The Society proposes that such societies shall buy their music through
us at discount prices, and that when they have finished with it we should
buy it back from them at a price which allows for depreciation.
copy of the work will be numbered, so that individual members will
be responsible for the copy they use.
Each
With the money thus received, the choral society may either buy a new
work, or a work returned secondhand to the library by some other society.
Lists of the music in stock will be published monthly in the Bulletin, so that
choral societies may have the opportunity of seeing what music may be
most readily obtained. It will be easily understood that works of musical
value will be bought back at better prices by us, as being those most
suitable for circulation.
We find it will be possible to co-operate in such a way with the
Competition Festivals that the authorities responsible for their
arrangement will set different works for competition in different parts
of the country, and thus prevent the various choirs from all demanding
the same work at the same time.
We hope that the scheme will be largely adopted by village choral
societies, and for this reason are fixing an affiliation fee of £1 1s. for
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THE BRITISH MUSIC BULLETIN
choirs with a membership of 30, £2 2s. for a membership of 30 to 60, and
£3 3s. for from 60 to 90.
156
The office is now ready to deal with applications, which should be sent
in as soon as possible.
MUSIC REVIEW
scores."
"I believe there must be quite a number of English musicians who
could write out by heart the score of, let us say, the Fifth Symphony.
It would be interesting to know how many English musicians have even
glanced inside the score of 'Dioclesian,' or indeed any other of Purcell's
So writes Mr. Geoffrey Shaw in the Foreword to his arrangement
of ten numbers out of Purcell's "Dioclesian" for piano duet (Joseph
Williams, 2s. 6d. net). He has made an excellent selection, which could
only have been improved by an inclusion of the Chaconne-"Two in One
upon a Ground." The arrangements are most suitably made and, of course,
contain no additions to Purcell's music except judicious doubling of parts
in certain places. No doubt Mr. Shaw considered the question of adding
the words of the vocal pieces, but I should have liked to see the words of
"Cupid's Summons" (No. 10), as I feel they explain the echo-effect better
than can be understood when judged instrumentally alone. I suggest that
in certain places where nowadays one would expect an accidental (as the
B flat in bar 2 of the third line on page 5), the flat of the key signature
should be insisted, as people who do not know Purcell would think he
could never have written it and will endeavour to
66 correct" it. The duets
are easy to play, and should be used in every school, as should any others
of the kind that Mr. Shaw will publish.
From the same firm Mozart's F major Sonata (1777) (2s.), edited with
analytical notes by Stewart Macpherson, and phrased and figured by
George Farlane. It is very clearly explained and printed with footnotes
that interpret the grace-notes of the text. (Where, by the way, is the
explanation of (a) on page 11 ?) How many pupils will blur the arpeggio
passages with a perpetual loud pedal? After Purcell and Mozart comes
Charles W. Pearce with two short dance tunes for the piano (2s.), and
Edgar Bainton with a setting for trebles of Francis Thompson's "The
Mating of Viola" (2s.), a poem that will surely be somewhat unintelligible
to the treble singers. In "Jack the Giant Killer" (2s. 6d.) Laurence
Powell has tried to write the old story in the form of a
66 Cantata for
children's voices," It is not very striking, but it is hampered very much
by the words. It is about as good as the average music that is set before
children will a composer one day meet a poet who will collaborate in
turning out something that will be the best musical food for children?
Till then let more Purcell duets be arranged by Mr. Shaw.
D.D.A.
BOOK REVIEW
J. S. Bach's Original Hymn-Tunes for Congregational Use.*
The compiler of the above book needs no introduction to organists and
musicians who have enthusiasm for Bach, for no doubt his work on
Bach's Chorals is well known. Dr. Terry's researches fully qualify him to
*J. S. Bach's Original Hymn-Tunes for Congregational Use, edited by
Charles Sanford Terry, Litt.D. (Cantab), Hon. Mus.D. (Edin.). (Humphrey
Milford. 3s. 6d. net.)
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THE BRITISH MUSIC BULLETIN
edit these 26 tunes, and with Dr. W. G. Whittaker confirming the Bach
figuring, the musical text should be doubly free from error. Of No. 15
(Schemelli No. 938) I have found other two versions in print which differ
in certain places from one another and from this edition. The differences
lie not in the melody or bass, but in the inner parts, suggesting that the
scores have been built from different figurings of the bass.
Dr. Terry
gives the information that the bass of the original is figured, and therefore
one assumes that the present edition is in agreement with it. This is
perhaps a matter of minor importance, but one of interest to the scholar.
157
Many of the tunes have been transposed down from their original key,
occasionally as much as a major third, with the object of bringing them to
a suitable pitch for unison singing by congregations. Even so, many of
the tunes reach F, and certain phrases keep well in the upper part of the
treble staff; such melodies might well be lowered another semitone, to
the ease of congregations. Majestic as sonorous unison singing is, yet it
denies us the joy of the fine vocal counterpoint in which these tunes
abound. In one instance Dr. Terry has suggested that a single verse
(which happens to be the whole poem) should be sung first as a solo, then
in harmony unaccompanied, and finally with accompaniment. We would
go further and suggest that a certain verse, or verses, of every hymn might
be reserved for the choir alone, singing in harmony unaccompanied; the
beauty of the weaving vocal parts would thus be revealed and surely
appreciated by the listening congregation. Unfortunately, however, the
bass parts, at the transposed pitch of this edition, are occasionally
unduly low.
There has been a real obstacle in the matter of finding suitably-metred
verses in English to some of the melodies, and occasionally Dr. Terry has,
by permission, added words to certain lines of the verse in order to fit the
music. Thus "Jesu, too late I Thee have sought" becomes "Jesu, too
late, alas! too late, I Thee have sought." There are those who would
disagree with this procedure, in spite of the editor's sincere intention.
By the way, the word alas!" is wrongly accented musically, the first
syllable falling on the first beat of the bar. No. 1 is admirably suited to
Who is this, so weak and helpless," and No. 22 a fine setting to "Stars
of the morning," but it is doubtful if even a Bach tune (No. 12) can
displace "Hollingside" (to "Jesu, lover of my soul") from the hearts of
English congregations.
Many will be grateful to Dr. Terry for the introduction to the beautiful
things of this book, several of which commend themselves strongly to
treatment as unaccompanied motets. Perhaps such may be issued singly
or in a small volume, and at a price suitable to the all-too-limited
allowance of the average church choir.
GEORGE OLDROYD, D.Mus. (Lond.).
THE ASSOCIATED BOARD, R.A.M. AND R.C.M.
The Exhibitions offered annually by the Associated Board of the
Royal Academy of Music and the Royal College of Music, which entitle
their holders to free tuition at the Royal Academy of Music or the
Royal College of Music for two or three years, have been awarded to the
following candidates :-Dorothy E. Tanton, Hastings (violin); Elizabeth L.
Mawson, Jersey (violin); Julia Wolfe, London (pianoforte), at the Royal
Academy of Music;
and Margaret E. Ledlie, Belfast (singing), and
Wilhelmina P. Arnott, London (pianoforte), at the Royal College of Music.
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THE BRITISH MUSIC BULLETIN
The Society's Hon. Representative in Blackpool, Dr. F. H. Wood, has
arranged to lecture to that Centre during the winter on Byrd, with
illustrations by a church choir. Dr. Wood has very kindly offered to give
the same lecture at other Centres or Branches, and in view of the Byrd
Tercentenary celebrations next year, of which mention is made elsewhere
in the present issue, this offer should be particularly welcome.
BRANCHES
CENTRES AND
DRAKE AND TONSON'S SCHOOL,
KEIGHLEY
On July 7th the above Branch again had the pleasure of having Miss Déprès
and her pupils. She gave a most delightful lecture, and was ably assisted by her
four pupils in illustrating the training of children from quite an early age in music
by eurythmics. In this way Miss Déprès showed how the youngest children can
be made to appreciate time, pitch, etc., by simple exercises. These latter were
followed by exercises for older girls to help them in their music-to give them
musical expression, power of concentration and control. The lecture was
concluded by a few delightful interpretations of well-known compositions by the
pupils of Miss Déprès.
The Shipley Branch of the British Music Society paid a visit to the above
Branch on July 20th, and gave a most entertaining exhibition of folk-dancing.
It was altogether a charming and quaint performance, and it is sincerely hoped
that their visit will be repeated. Programme of Dances :-(1) Helston, (2) Christ
Church Bells, (3) Scotch Cap, (4) Fine Companion, (5) Constant Billy, (6) Old
Woman Tossed, (7) Oranges and Lemons, (8) Picking up Sticks, (9) Molly Oxford,
(10) Lads a-Bunchum, (11) Rodney, (12) Confess,- (13) Nonesuch, (14) Flamboro',
(15) Boatmen, (16) Parson's Farewell, (17) New Figany.
Forthcoming Event.-By the kind permission of the d'Oyley Carte Opera
Company, the Keighley Branch of the British Music Society are giving a full
operatic performance of " Patience " some time during October.
E.S.
PALMERS GREEN AND DISTRICT
In due accord with the editorial hint that Branch reports should deal with
future plans rather than with past records, we note that the new session for the
Palmers Green Branch opens with an Annual Business meeting, to be held at
St. Monica's Hall, Palmers Green, on September 26th, when the election of a new
Committee and officers will take place.
The first event of the autumn session is a Social Evening for members and
friends on October 3rd. A programme of music will be provided by the Enfield
and Winchmore Hill School of Music. It is hoped that this social gathering may
be the means of furthering the efforts of the Branch in their missionary work of
instilling knowledge of, and arousing interest in, the British Music Society.
66
The programme of events for the coming session is more or less on the
familiar lines of the two past successful years. Lectures on Talks," with
musical illustrations, and Chamber Music Evenings, on which we hope to hear
new work, predominate, these being in the hands of known and tried members of
the Branch. But an innovation has been made by the introduction of two
"Members' Open Evenings," to be held on November 21st and February 20th, 1923.
What the actual nature of these will be is at present "wrapped in mystery."
Hope, springing eternal in the music enthusiast's breast, would have us look for
something transcending past efforts. At least curiosity, the parent of interest, has
been aroused.
E.M.R.
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THE BRITISH MUSIC
BULLETIN
VOL. IV
OCTOBER, 1922
A NEW INTERNATIONAL
No. 10
IN retrospect it all
an
seems SO natural, so inevitable, that, as
achievement, its importance may be over-rated.
bear in mind that when, little over a year ago, two famous composers,
It is necessary to
respectively from Central Europe and from France, accidentally met upon
a certain steamer and engaged in converse, the occurrence was regarded as
an "incident" of some importance. At Salzburg, from the beginning of
rehearsals, French, German, Austrian and other musicians not only played
together, but. what is perhaps in the circumstances more important, ate
and drank together, and toasted each other. International relations were
restored in the only way in which they could be effectively restored, that
is to say, tacitly, without diplomatic verbiage, but with that avoidance of
irritating subjects which is, after all, nothing but a precept of the most
ordinary good manners. In such an atmosphere, further improved by
hospitable Austrian conviviality, the decision to ensure that relations thus
restored should be maintained was an obvious one to take.
"indicated," as the French say, and one is tempted to forget that the
occasion was the first, since the war, on which musicians have met on
these terms, and that, before the fait accompli, there were some who
doubted whether it could be more than formal.
It was
Of the International Chamber Concerts themselves this is not the place
to write, for a very good reason. There are seven of them in all, mostly
lasting three hours, and over fifty composers, belonging to sixteen different
countries, were represented by works, most of which were either new or
relatively unfamiliar. To deal adequately with twenty hours of such
music demands more space than is available in these pages, and to deal
inadequately with it would be of no service to such members as might be
tempted to seek closer acquaintance with the works performed. Many of
these were of great interest. One, in particular, a string quartet by Paul
Hindemith, it is my intention to bring to the notice of the Contemporary
Music Centre. But it is not possible to review so many works in detail.
The English contribution was closely associated with Miss Dorothy
Moulton, who had interested herself in the scheme from its inception.
She sang in Arthur Bliss's "Rout" and Dame Ethel Smyth's "Odelette
and at the sixth concert a number of songs by Gustav Holst, Arnold Bax,
Eugene Goossens, Armstrong Gibbs and Gerrard Williams. Apart from
difficulties of rehearsal and the substitution of piano for harp, a mixed
group of French, German and Austrian musicians was not likely to do
justice to the buoyant spirit of "Rout." I remember, in particular, the
stolid gravity of the gentleman who presided over the percussion, and
appeared to feel his responsibilities acutely. In spite of this, Rout was
one of the successes of the series, and Miss Dorothy Moulton, who had
been a little affected by the adverse conditions, had the further consolation
of adding another conspicuous success to the list in Holst's four songs
with violin. But at future gatherings we must somehow arrange to do as
the French did this time-provide a team of performers. Both the
violinist who joined Miss Moulton in the Holst songs and the pianist who
accompanied her in the group which included Bax's "I heard a piper
piping" played with a kind of stiff precision which gave better proof of
conscientiousness than of imagination. Nevertheless we have reason to
66
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THE BRITISH MUSIC BULLETIN
congratulate ourselves on our display. One conclusion that could scarcely
be avoided by anybody present is that, whatever may have been the case
until recent times, to-day the art of song writing stands higher in Western
than in Central Europe, if the many examples offered can be considered
representative.
160
In due course the musicians began to discuss ways and means of
perpetuating the good work thus inaugurated, and the conviction gained
ground that it would be a wasted opportunity if we separated without
placing it on a permanent basis. Eventually an informal meeting took
place at which certain proposals were agreed to in principle. From this
initiative grew a larger gathering which devoted an entire day to the
subject, with an interval for lunch. Mr. Edward J. Dent was invited
to take the chair, and accomplished his task-an unexpectedly delicate
He did
one, as will appear hereafter-with remarkable skill and tact.
not preach internationalism or offer counsels of perfection, but every time
a speaker, under the spell of his own eloquence, showed signs of becoming
irrelevant in a dangerous sense, the chairman gently but firmly shepherded
him back to the subject under discussion.
At the earlier gathering it had been assumed, almost without discussion,
that in recognition of the initiative of a group of Viennese musicians
which had led to these international concerts, and in view of the
probability that, for the present at least, they would continue to take
place at Salzburg, the headquarters of whatever international organisation
was created would remain in Vienna. Meanwhile, however, another
suggestion began to gain ground. This was that the Centre should be
in London, and it is important to remember that it did not emanate in
the first place from any English speaker. The reasons given for the
choice can be grouped under three heads :-First, London is credited,
rightly or wrongly, with being more businesslike than Vienna, and there
was a flattering faith in the general efficiency of a London office. Second,
London is so eclectic that its impartiality as between the rival tendencies
of modern music can be relied upon with more safety than that of any
city closely associated with musical faction fights. Third, whereas in
other centres there is commonly one big publishing firm whose vicinity
might, with the best intentions on both sides, become somewhat over-
whelming, the business interests in London are too well balanced to
deflect the Society from its policy of independence.
It will, however, be readily imagined on the one hand that the Viennese
group required some convincing, and on the other, that everybody was
anxious to show a just appreciation of their claims, as it was due to them
that we were there at all. That is where the task of presiding over the
discussion, or, for that matter. taking part in it, became a difficult one
for an Englishman. However, all went well and when a vote was taken,
there was only one adverse and one silent voice. Except for these, the
choice of London as headquarters was unanimous.
The title of the Society is to be "International Society for New Music."
At least, that is the literal translation from the German, but as some
speakers advocated other wordings in their own language it was decided
that each branch, in whatever country, should render the basic idea to
its own philological taste. Moreover, in some countries there exist already
societies having precisely the same objects, and these do not need to alter
their titles in order to join the International. Thus the Contemporary
Music Centre of the British Music Society not only exists to further the
same objects, but has recently formulated these in a concise statement of
principles. So far as this country is concerned, the national limb of the
international body does not need to be created. And the same may be
said of many other countries. We were told at the meeting, for instance,
aims in Denmark.
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THE BRITISH MUSIC BULLETIN
The object is, in short, to further the knowledge of contemporary
music, irrespective of nationality or tendency. All the national societies
will be required to report to the central office, which, in turn, will
distribute these reports to each of them. There has not been time as yet
to formulate a procedure, but presumably the first step will be to procure a
general survey from each country, for at present most of them appear to
have been inadequately informed of each others' recent achievements.
After that a monthly report of current events, interesting performances,
new works, and so on, should suffice. The central office should also
facilitate the circulation of compositions, whether printed or in
manuscript, of books, pamphlets, programmes, and other informative
material supplied by the affiliated societies. In short, the main object is
to deprive musicians of any excuse they may have hitherto pleaded in
extenuation of their culpable ignorance of contemporary music. Lastly,
although the activities of the Society must inevitably be restricted to
Chamber music for the present, this is not a permanent limitation.
161
But of course that is not all. Each society is left internally inde-
pendent, but it is presumed that each will interest itself in the
performance of new works, either under its own auspices or, if not in a
position to give concerts, by bringing interesting works under the direct
notice of concert-giving institutions. The proposed circulation of works
is, of course, for that purpose, and provides a means of ensuring that
international amenities in this respect shall be a little less one-sided than
they have been hitherto.
Finally, the International Concerts, as given this year at Salzburg, are
to be perpetuated annually. It is not stipulated that they should take
place indefinitely at Salzburg. The meeting place is to be decided from
year to year. But considering that the state of the exchanges makes it
easier for musicians from valuta-strong" countries to travel to Austria
than for Austrians to leave their country, Salzburg seems likely to retain
its practical advantages for some time, if not until normal conditions
return. The technical management of these concerts is obviously best
conducted on the spot, and will therefore be entrusted to the society in
whose area they take place, but the latter will act under the authority of
the International Committee, to which each country will meanwhile have
elected a delegate. Thus the scheme of next year's concerts will be
worked out by the International body as a whole, through its committee,
and it will be carried into effect by the local Austrian society.
It is proposed that the headquarters in London be domiciled with the
British Music Society, and the latter has been asked to lend the clerical
assistance necessary during the early stages. Eventually each local society
is to be requested to contribute, according to its means, to the central
expenses, but in the present state of the various currencies a more definite
assignment of obligations presents considerable difficulty.
Before separating, those present drew up a list of delegates who are
to take the preliminary steps, in their respective countries, towards linking
up the societies where they exist, or creating them where they do not.
Such powers as they possess are, of course, provisional, and subject to
confirmation by election. It was onsidered necessary to have, at once,
a reliable correspondent in each country. The countries thus represented
are, at present, in alphabetical order: Austria, Czecho-Slovakia, Denmark,
Finland. France, Germany, Great Britain, Holland, Hungary, Italy,
Poland, Spain, Sweden, Switzerland, United States and Yugoslavia. A
musician who was proceeding this autumn to Soviet Russia promised to
investigate the position there and, if feasible, establish correspondence,
but meanwhile the interests of those Russian composers who are in the
position of émigrés are entrusted to the societies in whose areas they have
settled. Since the meetings an application to join has come from Latvia.
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THE BRITISH MUSIC BULLETIN
Suggestions are being formulated regarding Belgium, Norway and Portugal.
It is proposed to invite the following prominent composers to form an
Honorary Committee: Busoni, Ravel, Schönberg, Sibelius, Strauss and
Stravinsky.
EDWIN EVANS.
Members of the British Music Society will be sorry to hear of the
serious illness of Mr. William Baines, who will be personally known at
some of the Centres which he has visited. This gifted young composer,
who is only now in his 23rd year, has written several suites of pianoforte
pieces, of which Seven Preludes and Paradise Gardens are the best
known. These have gained high praise from such critics as Mr.
Dunton Green and Dr. Eaglefield Hull, whose article in the Bulletin
"Hats off! Gentlemen, a Genius" will be remembered by our readers.
Mr. Frederick Dawson. an able and sympathetic exponent of his work,
declares that No. 4 of the Seven Preludes is the most astounding piece of
music for the piano ever written by an Englishman." May we venture to
remind members that those of them who share this admiration for his
work could not choose a better time for helping to make it known to
others? Messrs. Elkin & Co., Limited, 8, Beak Street, Regent Street,
are the publishers of most of the pianoforte work, and have brought out a
brochure on the subject. Was it not Samuel Butler, who remarked
concerning a famous monument, He asked for bread, and they gave
him a stone" ?
66
V.I.B.
CORRESPONDENCE
To the Editorial Committee
DEAR SIRS,-The announcement in last month's Bulletin of the death
of the Hampstead Centre and the approach of the winter season combine
in suggesting to me that perhaps a few words on the working of a British
Music Society Branch may be of some use. I am aware, of course, that
different conditions exist in almost every Centre or Branch.
therefore, confine myself to the conditions in York and the methods
which we have adopted and found most successful.
I will,
York has a population of about 80,000; a good hall for lectures or
concerts, ating about 500 (cost £5 per night); not a great many first-
class concerts in the season; and, before the advent of the British Music
Society, no common meeting ground for the average musical person.
The York Centre has, roughly, 50 Full members and 50 Associates.
It has been our aim from the first to give good lectures and concerts
and to make them pay. We were not intimidated by pessimists who said
that this was impossible. What they really meant was that they, by their
methods, could not make them pay. We, therefore, tried to profit by the
mistakes of others. For example, another organisation the previous
season had given chamber concerts which, though a success artistically,
were not so financially. We saw that the mistakes here were too much
money spent on-
(1) Advertising and general expenses; and
(2) Artists' fees.
Bearing these pitfalls in mind, we were able, under the direction of
our excellent Treasurer, to give first-class lectures and chamber concerts
which paid their way.
With reference to advertising, we have found that the expensive practice
of printing and posting on hoardings of bills is not necessary. Our only
advertisements last season were short announcements in the Press and
three hand-painted bills on boards in prominent places in the town.
We find that the best advertisement is the individual work of members in
selling tickets.
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THE BRITISH MUSIC BULLETIN
163
The first chamber concert last year was by the Catterall Quartet, who
brought with them a pianist to play in the Elgar quintet. As at all our
concerts, every seat was the same price (3s: 6d. for this concert only, all
other events were 2s. 4d.), the hall was full and expenses covered.
The last concert was by the Sheffield String Quartet with Mr. Raymond
Hartley and Dr. Bairstow in Vaughan Williams' "Wenlock Edge" cycle.
Result, hall again full, seats 2s. 4d., and expenses covered.
Season tickets were Issued for the six events, two lectures and four
chamber concerts. at 13s. 6d., which included 1s. 6d. tax, reduced to 8s. 6d.
for members and 10s. 6d. for scholars, tax in these cases the same as before.
We obtained exemption from tax for the lectures.
For the informal meetings of members we are fortunate in having
a "H.M.V." School model gramophone lent to us free of charge by
Messrs. John Gray & Sons. This is most useful for hearing unfamiliar
works before their performance at a concert.
Recently we have compiled a "List of People in York who are interested
in Music," which contains about 500 names and has proved most useful in
the following way :-During the summer we arranged a series of chamber
concerts by amateurs, in two cases with a short lecture on a composer by
Mr. H. A. Bennett. Inexpensive programmes were printed and sent to the
people on our list, irrespective, of course, of their being British Music
Society members. Admission was free and a collection was taken, The
result exceeded the expectations of the most optimistic. On hot summer
evenings the charming old hall in St. William's College was filled with an
audience of about 200. All expenses were covered.
Our list will again come in useful when we send out our winter
prospectus; and again in issuing invitations to a Reception which is being
arranged at the end of September when we expect Sir Hugh Allen.
We welcome the affiliation of an old established society to the British
Music Society, the York Musical Society. This should do much for the
furtherance of music in the city.
Yours faithfully,
D. LAUGHTON,
Hon. Secretary, York Centre, British Music Society.
FOREIGN NEWS
BANGALORE
This Branch is now the possessor of a Broadwood baby grand piano, the
money for which has been kindly advanced by one of the members. It
continues to hold musical evenings and is attracting more members and
associates by the programmes it attempts. These mean frequent practices,
and there is now quite a group of members and associates for work at
chamber music. So far, however, partly from want of a conductor, it has
not been possible to revive the choral practices; but we hope soon to do so.
The monthly concerts may be considered educative; the performance of
string quartets has introduced to many a form of composition hitherto
unheard by them. It has given also to some members of the Branch, by
bringing them together, an opportunity they did not possess. There is a
hope that from among them the nucleus of a regular professional organisa-
tion for chamber music may be formed.
Meetings were held on July 20th and 27th. The first was an ordinary
monthly meeting, at which part of the Schumann Quintet, Bridge's "Irish
Melody" and
Sally in our Alley," for string quartet, Bridge's Miniatures
8 and 9, Piano Solos by Sibelius ("Idyll" and "Romance "), Rosenbloom's
Etude Appassionata," and Strauss'
"6
"Intermezzo were performed.
Cradle
The songs were Parry's "When we two parted," and Brahms'
Song of the Virgin," for contralto, piano and viola.
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THE BRITISH MUSIC BULLETIN
The
On the 27th, a Recital under the auspices of the Society was given by
Mr. F. L. Augustine, assisted by several members and associates.
weather prevented a good many from coming, but those that came were
enthusiastic. The programme included a string quartet (Beethoven, Op. 18,
No. 4), the slow movement of John Ireland's Sonata in A minor (Mr.
Augustine and Mrs. Kann), and the Grieg Sonata in F major (Mr. Augustine
and Mrs. Barton). Mrs. Clinch sang again, with Mr. Augustine playing
the violin, Holst's four songs delightfully; also Vaughan Williams.
"Linden Lea," and Cyril Scott's Blackbird's Song." We hope for other
such special concerts, more patronised, but no less artistically successful
Two meetings were held in August. The first was an ordinary monthly
meeting, marked by the first use of the fine new piano The programme
included parts of two quartets (Haydn, Op. 76, No. 2, and Beethoven, Op. 18,
No. 5), which showed that the quartet party are getting surer of themselves;
piano solos by Mr. Dickson (Scriabine, Op. 9, No. 1), and Miss Peris
(Ireland, Decorations Nos. 1 and 2); two movements of the Mozart Trio,
Op. 14, No. 2, in which Mrs. Barton was the pianist and Mr. Augustine the
violinist; and Roger Quilter's Three Pastoral Songs, for voice, violin,
cello and piano, an attractive novelty in which Mrs. Hodgins sang the
voice part.
164
The second meeting was a special one; Dr. A. Mistowski, examiner for
Trinity College, was present and delighted us with his piano and violin
playing, including in his programme some of his own charming composi-
tions. There were present over 200 members and associates and others.
Dr. Mistowski took part either as soloist or leader or accompanist. His
solos included his own "Joie de vivre," "Harlequin and Valsette,"
Chopin's Ballads in F minor, and Scarlatti's "Hunting Tune."
the piano part in his Aria" for piano and strings, his "Paraphrase" for
piano and violin of Beethoven's Sonatina, and in his own beautiful quintet.
He played first violin in the slow movement of the Bach Concerto for two
violins, and also played the violin part of a Mozart duet for violin and viola,
in both cases with mastery. We look forward to a further visit and more
such music from Dr. Mistowski.
He took
((
J.A.Y.
SYDNEY
An Invitation Lecture Concert was given by the Sydney Centre of the
British Music Society in the Conservatorium Hall on July 13th, the chief
guests being the members of the Musical Association of New South Wales
and the subscribers of the Madrigal Society. The Lecturer, Mr. W.
Arundel Orchard, who is conductor of the Madrigal Society, traced the
growth of the English madrigal from its earliest origins to its climax in
the fine works of the great Elizabethan composers, incidentally paying
special tribute to the valuable researches of Dr. Fellowes. The lecture was
illustrated by the choir of the Madrigal Society, who in their usual
finished manner sang several delightful madrigals and ballets by
Gibbons, Weelkes, Wilbye and Morley.
An Informal Recital of British music was given before the members of
this Branch of the British Music Society in the small hall of the
Conservatorium of Music on August 2nd, when the following interesting
programme was submitted :-Ground in C minor (Wm. Croft), and Toccata
in E (H. Purcell), "The Moon Cradle" and "The Terrible Robber Man".
(Herbert Hughes), song cycle Over the Rim of the Moon (Michael Head),
Romance in G flat (York Bowen), and Merry Thought" (E. Austen)
66
A Celtic Lullaby" (Bax), Tema con Variazioni, for violin and piano
(Mackenzie), "The Mountain Mood" (Bax), and Humoresque (Martin Shaw),
Night Song," Nocturne" and "The Watchman" (Cyril Scott). Allegro
non troppo from Sonata in D minor for violin and piano (T. F. Dunhill.)
The artists were Mrs. Viceroy-Goosens and Mrs. Bennett North, and
66
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THE BRITISH MUSIC BULLETIN
165
Mr. Arthur Appleby, Mr. Vernon Sellars, Mr. Florent Hoogstoel, Mr.
Henry Penn, Mr. Lindley Evans and Mr. Wilfred Arlom.
Several new works have recently been added to the library, including
Overture to "The Wreckers" (Ethel Smyth). score and parts; Trio in
B minor, for pianoforte, violin and 'cello (Parry); sketches for violin and
piano, two books (Stanford); Sonata in D minor, No. 2, for violin and
piano (Walford Davies); "The Water Mirror," suite for piano (James Lyon);
Ballet of the Trees" (Harry Farjeon).
W.A.
CENTRES AND BRANCHES
LONDON CONTEMPORARY MUSIC CENTRE
The next two concerts of this Centre will be held in the hall of the Art
Workers' Guild, 6, Queen's Square, Bloomsbury. At this hall it will be possible
to make the meetings of a more social character than heretofore, since light
refreshments will be obtainable after the concert, and members will have an
opportunity for mutual discussion.
The next concert has been arranged for Tuesday, October 17th, at 8.15 p.m.
The programme includes the Piano Quartet of Alfred Wall (Carnegie publication),
Piano Quintets (Cobbett awards) by Cecil Hazlehurst and Cliffe Forrester, and
a String Quartet, not before performed in this country, by Ernst Krenek. The
artists will be The M'Cullagh String Quartet, and we are exceedingly fortunate
in having no less a person than Mr. Joseph Holbrooke at the piano.
The second concert of the season will be on Tuesday, December 5th, at 8.15 p.m.
The programme will be announced later.
V.I.B.
BATH
The Bath syllabus contains some very interesting programmes for the
evenings of its forthcoming season, among which the following may be specially
mentioned :-
October 23rd, Lecture on Schubert's Songs by Mr. A. H. Fox-Strangways (Editor
of Music and Letters), with illustrations by Mr. Steuart Wilson.
November 24th, Lecture on Mozart's Clarinet Quintet, by Mr. T. H. Dunhill,
with illustrations by the Pump Room musicians.
December 11th, Music for the Young-songs, country dances, singing games
and instrumental pieces-in conjunction with the English Folk Dance Society.
February 16th, Recital of works of Arnold Bax, by Miss Harriet Cohen and
Miss Anne Thursfield. (The composer himself will take part.)
March 5th, Recital of works of Herbert Howells. (The composer will take part.)
BRADFORD
The arrangements for the forthcoming season are now more or less complete.
The season will open on Monday evening, October 2nd, with a Social and
Members' Evening, when an interesting programme of vocal and instrumental
music will be sustained by members of the Centre.
On Wednesday, October 25th, Mr. Jacob Kramer will give a Lecture on
"Colour in relation to Music," with pictorial and musical illustrations. Pianist,
Miss Kathleen Frise Smith.
Wednesday, November 22nd, Miss Nellie Judson (soprano), Mr. Douglas
Bentley ('cello); at the piano, Miss Nancy Wood and Miss May Hudson.
Thursday, December 14th, the M'Cullagh String Quartet; at the piano, Miss
Louie Chappell. The programme will include the Schumann Quintet.
Thursday, January 25th, 1923, Piano and 'Cello Recital, Miss Marion Keighley
Snowden and Mr. John Snowden. Programme will include 'Cello and Piano
Sonata (Frank Bridge).
Friday, February 9th, the Edgar Drake String Quartet; vocalist, Mr. Anthony
Beck: at the piano, Mr. S. Midgley. Programme will include Vaughan Williams'
song cycle,"On Wenlock Edge."
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THE BRITISH MUSIC BULLETIN
Thursday, February 22nd, Mr. Edward Mitchell will give a Lecture-Recital on
"International Modern Piano Music." Programme will include Greig's "Ballade".
and Scriabine's Poem, "Vers la Flamme," Op. 72.
166
Thursday, March 22nd, Miss Margaret Collins, Pianoforte Recital. Programme
will include B. J. Dale's Sonata in D minor.
With the continued support of members the Committee is looking forward to
another successful season.
C.L.J.
BURNLEY
The programme for the fourth session of the Burnley Clef Club has now been
arranged, under the guidance of Mr. W. Butterworth, the hon. musical director
for the Club. Among the fixtures are the following items :-
October 6th, Songs by the Halifax Glee Madrigal Society (full choir of 120
voices), selected from the early, middle, and contemporary period of English music.
The Clef Club String Quartet will play movements from quartets by Beethoven
and Schubert.
November 3rd, Concert performance of "Cosi fan tutti," under the direction of
Dr. Haworth.
November 17th, Violin and Piano Recital (Miss Lucy Pierce and Mr. A.
Catterall).
December 1st, Bach Concert.
December 15th, Bach's Christmas Oratorio (first three parts).
January 25th, The English Singers (special evening arranged by the British
Music Society).
February 23rd, Elgar's Oratorio, "The Light of Life."
March 9th, Chamber Concert by the Catterall Sextet (Tschaikowsky's Sextet
for strings, Brahms' B flat Quintet, and Mozart's C major Quintet).
March 23rd, Orchestral programme of works by Haydn, Beethoven, Brahms,
Tschaikowsky and Elgar, under the direction of Mr. C. H. Bateson.
The success of the fourth session is assured. Members are urged to procure
their tickets as early as possible to avoid disappointment, as the twelve hundred
tickets will be soon disposed of, and the numbers will be strictly limited. J.A.H.
GLASGOW
On September 21st our season opened with a fine performance by Miss Spence
and Miss Cullen, two of our professional members, of new and interesting works
for violin and piano, which they presented in exactly the right order for
effectiveness. They opened with Hinton's Sonata in B flat, a highly attractive
work, melodious, straightforward and enjoyed by all. We thought particularly
lovely the opening of the second movement, with its suggestion of broken
melodies. The next was the group of little tone-poems by J. R. Heath called
"Three Macedonian Sketches." Perhaps, except to the composer, any other
name would do as well, but they are charming things, slight and dainty and
suggestive. Both the Hinton and Heath works had on this occasion their first
performance in Scotland, and are valuable additions to the repertoire. Then came
the Elgar Sonata, which had of course been played here, but still was new to some
of us, among others to the writer of these notes. Here, surely, is real inspiration-
the sense of meaning deep things that only music can express. The first two
movements are sheer beauty. The beginning of the third lags somewhat, and one
feels the composer is trying to get his feet on to solid ground after the rapture of
the preceding movement. Half way through inspiration seizes him again, and the
work ends, as it began, on the heights. These works were interspersed with
groups of songs by Somerville and Julius Harrison, expressively rendered by
Mr. Robert Watson, another of our professional members. The performance
throughout the evening was at a very high level indeed, and the thanks of the
Branch are due to the ladies and gentleman who freely gave their valuable time
and services. During the interval Miss Tennant gave, as delegate, an account less
of the Conference than of the discussions, public and private, in which she had
taken part. The results of some of these and a succinct account of the position of
Society
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THE BRITISH MUSIC BULLETIN
167
the Society she laid before the members in an interesting and lively manner, which
was much appreciated.
The next meeting will take place on October 17th, when Canon Fellowes, of
Windsor, will give a fully illustrated Lecture on "Tudor Music," on which subject
he is the great authority.
E.D.C.
LIVERPOOL
The Liverpool Centre has arranged a programme of unusual interest for the
forthcoming season, including the following fixtures :-
October 11th, Marjory and Patuffa Kennedy Fraser.
November 6th, Manchester Wind Quintet (works by Holbrooke, Pierné, Sobeck,
Bach, Brahms, Saint Säens).
January 18th, The English Singers (first visit to Liverpool), Madrigals,
Canzonets, Ballads, etc., by Byrd, Morley, Weelkes and other Elizabethan
composers.
February 22nd, Lecture-Recital, Ideals and Technique of Song Writing,"
C. Armstrong Gibbs, with illustrations from his own compositions sung by local
.6
members.
April 13th, Viola Recital by Mr. Lionel Tertis, accompanied by Miss Dorothy
Howell; Sonatas by Rachmaninoff and McEwen; works by Fauré, B. J. Dale, etc.
Two interesting Members' Evenings are arranged for October 27th and
November 15th. The programme on the first occasion will consist of music for
violin, 'cello and piano by the Sidebottom Trio; songs to be contributed by
Lady Bates.
On November 15th Dr. J. D. Hayward and Mr. W. L. Irvine will
lead a discussion on "Ways and Means of Raising the Tone of existing Music in
Liverpool," to be followed by a short programme of original compositions by
Mrs. A. D. Mackenzie (pianoforte), assisted by Mr. A. D. Mackenzie (baritone).
In place of the weekly Thursday afternoon Gramophone Recitals, performances
of new and rarely heard works will be given in the Clubroom as opportunity offers.
Notice of these will be sent to members.
MANCHESTER
We are pleased to announce the appointment, by Headquarters, of Councillor
Will Melland as our Hon. Representative.
Special Open Meeting, under the joint auspices of the University Musical
Society and the British Music Society, the second Monday in October (9th),
at 7.30 at the Whitworth Hall.
Chamber Music Concert. Violin Sonata (MS.), piano quartet and songs (MS.),
by Alfred M. Wall. Artists: Mr. Arthur Catterall (violin), Mrs. Rawdon Briggs
(viola), Mr. Harold Warburton ('cello), Miss Lucy Pierce (piano), Mr. J. Dale Smith
(vocalist). The composer will be with us and has consented to give an informal
talk on his work.
General Annual Meeting, Tuesday, October 17th, at 7 p.m., Councillor Will
Melland in the chair. The names of the President and Vice-Presidents will be
announced, and the Consultative and Executive Committees elected. This and all
subsequent meetings to be held at the Association Hall, 56, Peter Street.
Lecture. Second Monday in November (13th) at 4.30 and again at 7.30,
"The Gramophone in School and Home," by Major J. T. Bavin (with illustrations).
Lecture. Second Monday in December (11th) at 4.30 and again at 7.30.
"Early English Harpsichord Music," by Mr. John E. Russell, assisted by Miss
Dorothy Dean at the harpsichord.
The January Meeting will be held on Friday, the 19th, at 7.30, when
Mr. Robert McLeod will lecture on " Music and Song through Poetry." Further
details of lectures taking place on the second Mondays in February and March will
appear in the Season's Syllabus to be issued after the General Annual Meeting.
Second Monday in April (9th) at 7.30 p.m., British Music Society "At Home."
The New Works group has arranged to meet on the first Monday in every
month at 7.30 p.m., beginning with November (6th), at 339, Oxford Road (by
kind permission of Dr. Catherine Chisholm).
Composers wishing to submit
works
may send the same to Mr. Frank Merrick, 12, Parsonage Road, Withington..
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THE BRITISH MUSIC BULLETIN
We would like to acknowledge with thanks an interesting and suggestive
letter received from a " Manchester Member," and to extend to him a cordial
invitation to attend the General Meeting, where his suggestions, many of them
already under consideration, can be fully dealt with. Such enthusiasm, especially
when combined with practical help, is what we chiefly need.
V.E.
NELSON
A most interesting programme has been arranged by the Nelson Clef Club for
its third season. Some of the principal fixtures are given below:-
October 5th, Symphony music (Mozart, Beethoven, Wagner, Schubert, Strauss,
Brahms and Tschaikowsky) by the Colne Orchestral Society, under the bâtons of
Mr. T. L. Wildman, J.P., and Mr. C. H. Bateson.
October 17th, Lecture (Mr. Baritz) on The Operas of Richard Wagner," with
gramophone illustrations.
October 31st, "Cosi fan tutti" (Mozart), under the direction of Dr. Haworth.
November 28th, Pianoforte Recital (Miss Lucy Pierce).
December 19th, Bach's Christmas Oratorio.
January 23rd, 1923, The English Singers (special evening arranged by the
British Music Society.
February 6th, Choral evening by the Nelson Glee and Madrigal Society.
March 6th, The M'Cullagh String Quartet (Beethoven, Hugo Wolf, Pizzetti).
PAISLEY HIGH STREET SCHOOL BRANCH
The last monthly meeting of the session was held on June 3rd, when, as a little
variety, the programme took the form of two competitions. The first was a sight
reading competition, while for the second a collection of composers' photographs
had been made, and the task was to recognise the different composers!
On June 10th the junior members met, and again a competition programme
marked the end of the session. Each competitor played a March of his own
learning, the National Anthem by heart, and some first sight reading. The prizes
at both meetings consisted of books and music.
I.N.D.
YORK
There are one or two alterations to chronicle in our winter programme.
Mr. Baines is to change dates with Dr. Bairstow and Miss Eaton, the last-named
coming to us in November and Mr. Baines in March. Mr. Holst's subject will be
"The Tercentenary of Byrd and Weelkes" instead of "Purcell." The prices of
season tickets for the six lectures and concerts have been fixed as follows:-
General public, 13s. 6d.; scholars (through their schools), 10s. 6d.; full members,
5s. 6d.; Bulletin Associates and Associates, 8s. 6d.
-
In addition to the programme already announced, we hope to run two concerts
by members for members, and two gramophone recitals for members. The concerts
are to take place on November 25th and March 3rd, and the gramophone meetings
on October 21st and December 16th. At the first of these two gramophone
meetings we expect to have a Gervase Elwes song-recital, whilst at the second the
chief item will be Dr. Walford Davies' lecture records on Melody making."
Altogether, we look like having a fairly full winter.
We have compiled a list of people interested in music in the district (nearly
500 names), which may be of use to others. Also we are issuing a fixture card
of musical events, partly so that people may know exactly what is to happen in
the musical life of the city, and partly in the hope of preventing clashing.
We are hoping shortly to start a library, of which Miss Topliss has consented
to take charge. Further particulars will be notified later.
66
Mr. Barkworth, who was our treasurer almost from the foundation of the
Centre until this spring, has recently been married and has left the district. The
satisfactory condition of the financial affairs of the Centre is very largely due to
Mr. Barkworth, and I am happy to be able to make this public recognition of the
debt we owe to him.
C.R.A.
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THE BRITISH MUSIC
BULLETIN
VOL. IV
NOVEMBER, 1922
No. 11
THE LEEDS MUSICAL FESTIVAL
EIGHT years have elapsed since the last Leeds Festival was held, and
whilst its revival, which took place during the first week in October,
did not make any severe break with any of its traditions, there were none
the less such modifications in its programmes as would have caused many
an old Festival stalwart furiously to grumble. Never surely has the chorus
at the Leeds Festival had so little to do as it had this year. Never surely
has the Leeds Festival been so much an affair of the orchestra-and,
again, never have we had a Leeds Festival with so little Handel.
The only Handel we had during the whole week was a quarter of an
hour or so of "Israel in Egypt," and that on the Saturday night on the
only occasion upon which we heard the chorus at all. This in itself-
in the West Riding where in many homes Handel is better known than
the Bible, and where Christmas is unthinkable without a double over-
indulgence in pudding and "The Messiah "-represents a great modification
of outlook, but the chorus without their Handel, which they can sing, were
given nothing in consolation. The morning which was devoted to
Parry-largely as an act of affection-in which, it was to be assumed, the
chorus would get their chance, limped and halted badly. Sir Hugh Allen
never was able to get out of them what a Yorkshire critic would recognise
as the full value of a West Yorkshire choir's tone, and for the
unaccompanied motets the chorus seemed unwieldy. A smaller choir
would have been more successful here.
The Bach morning (on the Friday) might have been expected to provide
the choir with the consolation for the lack of Handel, but whilst Sir
Hugh Allen then lived nearer the reputation he had built up during
rehearsals than he had done with the Parry works, and whilst he secured
a smooth, sonorous body of tone and conducted with a suave distinction,
the Bach singing was lacking in the sense of spiritual beauty. Bach is
music for the whole man, but Leeds got little further with him than
the physical zest of accurate and forceful singing of superbly planned
music.
Miss Dorothy Silk almost alone realised the full beauty of Bach. She
is a singer with a rare instinct for the perfect modelling of a phrase, and
her singing in the too infrequently heard cantata "Since Christ is all
my Being" was one of the most exquisite things of the Festival. Notable,
too, was the Brandenburg Concerto, No. 2, in which Mr. H. Barr took the
solo trumpet and succeeded in keeping the tone down with such perfect
balance with the other three solo instruments as to suggest that a solution
of the "problem" of the Bach trumpet was at hand.
There were few novelties. Holst's "Ode to Death" was given its first
performance, and the composer, who was present, was given an
enthusiastic reception which made him quite one of the heroes of the
Festival. The work presents nothing terrifying in the way of strangeness
of idiom-although the choir were rather frightened of it at the
preliminary rehearsals. The chorus flows smoothly, and whilst at the
first hearing one feels the absence of a development towards a convincing
enough climax, there is about the work a reticence and austere dignity
which compels a warm admiration. "The Planets" had its first
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THE BRITISH MUSIC BULLETIN
performance in the North of England on the first day, and whilst Scriabin,
who is little known in the West Riding-which is, generally speaking, a
full generation behind the times in the matter of orchestral music was
received by a good many people with something akin to hostility.
"The Planets" was acclaimed with unanimity. Holst has established
himself securely in the Conservative North.
a
was
The dislike shown towards Scriabin-one Yorkshire critic,
representative one at that, doubted whether the "Poem of Ecstacy
healthy music-may be explained partly by the position which his
work occupied in the programmes. Scriabin is "strong meat" for concert
goers who are not well acquainted even with Strauss, so that to put
on "Prometheus" at ten o'clock on Friday night after the audience had
had already more than enough, which is as good as a feast, was to put a
serious barrier between the audience and the appreciation of the work.
After Holst's "Ode to Death," Elgar Violin Concerto (the solo part in
which was brilliantly played by Mr. Albert Sammons), Dr. Ethel Smyth's
"Hey Nonny No," and a long stretch of Wagner's Parsifal" music,
more than one hardened critic confessed himself too tired to set himself
about to listen to Scriabin.
66
170
A Yorkshire composer was represented in Delius's 'Appalachia"
variations for orchestra and chorus. This proved, however, disappointing.
It is, I understand, a student's work, and, although "cut" at the
performance, the variations were too long and had the air of being
much ado about very little. Dr. Ethel Smyth conducted her own
composition "Hey Nonny No"-the first woman conductor at the Leeds
Festival and her genial work served to put both chorus and audience in a
good humour.
66
The most discussed thing of the Festival was the work of Mr. Albert
Coates. The Festival escaped the fate of becoming attached to the
reputation of any particular soloists, but it scarcely escaped becoming
"Coates's Festival." Mr. Coates's strong personality drives the horses
where he wants them to go, and he pulled off so many personal triumphs
with the London Symphony Orchestra that one is tempted to think of the
Festival in terms of orchestral performances. Mr. Coates can conduct
Scriabin, and those who objected to the music were moved by the
performance. Mr. Coates came into his kingdom once again with his
conducting of the Brahms First Symphony. He seemed not so much to
conduct the music as to lay it out grandly. The finale seemed to phrase
itself, to grow out of itself. But Mr. Coates is a conductor of vagaries.
His Beethoven was at times inconceivably heavy. The Ninth Symphony
occupied a seventy-eight minutes performance, and the portions were
taken at an unaccountably deliberate pace. It was, however, in the
choral symphony that the chorus achieved their most brilliant work.
Here they gave us their complete value of tone; and this was probably the
only occasion when their work was at all superior to the average
performance of a West Riding Choral Society.
The other novelties-novelties, that is, for West Yorkshire-were-
Respighi's "Fountains of Rome," Mr. Reed's "The Lincoln Imp,"
Arnold Bax's "Tintagel," and John Ireland's "Rhapsody." The last
named was received comparatively coolly-the audience found the idiom
strange. Mr. Coates took each of them with a brilliant easy stride, but
his vagaries were again noticeable in the two Strauss works, "Till
Eulenspiegel" and "Don Juan," and once again in Verdi's "Requiem "-
that good old warhorse of the Festivals-where his handling of the
orchestra accentuated the theatrical character of the music to the point of
making it sound cheap.
▬▬▬▬▬▬▬S.
T. WHITTINGHAM & Co., Limited, Printers, 10-12, Little Trinity Lane, London, E.C.4
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THE BRITISH MUSIC BULLETIN
On two occasions the Festival programmes were occupied with long
stretches of opera with the Parsifal music and excerpts from the
"Meistersinger." In this the Festival was following the general trend of
things. Choral Societies in the North are turning now more frequently
to opera, and whilst there is, on the one hand, loss in transferring opera
music from the theatre to the concert platform, there may, on the other
hand, be a positive gain, for the stage action of opera is, oftener than not,
a shabby affair.
The convential stage setting of opera defeats every
flight of the imagination, and the abolition of opera scenery for a number
of years would certainly leave one's imagination free and might even help
opera itself.
S.H.C.
Queen's Hall
(Royal Philhar-
monic Society)
Queen's Hall
Town Hall,
Kensington
Queen's Hall
Wigmore Hall
Queen's Hall
Queen's Hall
(Royal Philhar-
monic Society)
Queen's Hall
Wigmore Hall
SOME NOVEMBER CONCERTS
Thurs., Nov. 2, 1st Symphony, Brahms
at 8
4th Pf. Concerto, Beethoven
Works by Mackenzie, Ireland,
Stravinsky
Mon., Nov. 6, Introd. and Allegro, Elgar
at 8
Pf. Concerto in D minor,
Brahms
Iberia Suite, Debussy
Zarathrustra, Strauss
Wed., Nov. 8, Quartets by Mozart and Elgar
at 8.15
Duet for Pf. and Vn.,
Handel-Halvorsen
Sat., Nov. 11, Symphony Concert
at 3
Thurs., Nov. 23,
at 8
Sat., Nov. 11, Lieder Recital, Schubert,
at 8
Schumann, Brahms, Wolf,
Sinding, etc.
Mon., Nov. 20, Scenes from Tristan
at 8
Parsifal, Götterdämmerung
Symphony No. 4, Bruckner
Le Bourgeois Gentilhomme,
Strauss
Tintagel, Bax
'Cello Concerto and Solo
Sat., Nov. 25, Symphony Concert
at 3
Sat., Nov. 25, Schubert Programme, String
at 8
Quartet, Songs, Pf. Quintet
171
Albert Coates
Harold Bauer
Albert Coates
Harold Bauer
L.S.O.
The Snow String
Quartet
Megan Foster
Sir Henry Wood
N.Q.H.O.
Myra Hess
The Guild of
Singers and
Players
Albert Coates
Florence Austral
L.S.O.
Albert Coates
Casals
Sir Henry Wood
N.Q.H.O.
Casals
The Guild of
Singers and
Players
MEMBERS' RECITALS FOR THE MONTH
Mr. Alberto Zelman, conductor of the Melbourne Philharmonic Society
and the Melbourne Symphony Orchestra, will conduct two concerts at the
Queen's Hall with the London Symphony Orchestra during November.
A mixed programme will be given on Thursday, November 16th, at
eight o'clock, and a Wagner programme on Monday, 27th, at eight o'clock.
Madame Zelman will be the vocalist. Mr. Zelman is a member of the
British Music Society's Branch in Melbourne, Australia.
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Miss Clarisse Speed is giving a lecture-concert at the Steinway Hall on
November 25th at 3 p.m. With special reference to the centenary of
César Franck, the programme will include his Quintet for Pianoforte and
Strings. Works by Cyril Scott and J. B. McEwen are also included in
the programme.
172
Mrs. Le Marchant is giving a Fauré recital, which should prove of great
interest, on December 5th, at the Institut Français, 1-7, Cromwell Gardens
at 8-45 p.m. She will be assisted by André Margeot and Algernon Ashton.
"Chamber
A series of articles by Dr. Hayward, one of our members, on
Music for Amateurs " is appearing in the Strad, beginning this month.
CORRESPONDENCE
To the Editorial Committee
DEAR SIRS,-Mr. Frank Roscoe's speech at the Conference, which you
printed in your last number, will have been read with the greatest interest
by all who care for the future of the Society. It raises some very
important questions, and as these will now be in the minds of all our
members I hope you will allow me to say a word or two about them.
Mr. Roscoe hopes to see at the centre of the Society an active-minded
body of men and women with a policy and the necessary machinery for
helping Branches by the supply of intellectual and musical stimulus; he
points out that the Bulletin is the natural link of communication between
Centre and Branches, suggests one or two means by which Branches may
be linked to the Centre by practical ties, and paints an attractive picture of
a constantly increasing membership.
an
Better even than this, he bravely faces the fundamental question :
"What has the Society to give us what advantage do we, a possible
Branch, derive from association with the British Music Society?" The
future of the Society largely hangs, of course, on its answers to questions
of this kind; for the enrolment of large numbers of Branches implies as
its condition an exchange of genuine values.
Yet I would venture to suggest that the affiliation of Branches, though
it is of the first importance in stimulating the performance of music, must
be acknowledged to be of secondary importance to the being and life of
the Society, and that your first appeal must be to individuals, if only
because you can have no Branches without them. What, then, has the
Society to offer to its individual members? These individuals are to be
the missionaries of whom Mr. Roscoe speaks, building up Branches of the
British Music Society throughout the country. What is to be the basis of
their enthusiasm? They can only be enthusiastic on the basis of what the
Society is to them. What is it to be to them?
Must it not be their standard of taste and accomplishment, the highest
realisation they know of their musical ideals? We join in a Society in
order that the representatives of what is best in English taste in music
may communicate their standards to us all. But how is this communication
to be made? A performance of music affects a small audience only; if the
Society is to be a shining light in the musical world, a witness and
evidence of what true music is, it must summon to its aid some means of
expression and communication which is independent of time and place.
One such means exists, and one only literature, the printed word. If the
British Music Society is to be a living standard of excellence it must call
upon those of its members who are the best judges of music to express
their judgments for the enlightenment of the rest, and to express them
not in technical but in living language. They must be asked to treat of
:
▬▬▬▬▬▬▬
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THE BRITISH MUSIC BULLETIN
the ends of music as a fine art, and of its means to those ends only so far as
they are inseparable from them, addressing their appeal to lovers of music
universally, as the criticism of poetry is addressed to all who care for
poetry, though few can write and fewer still can scan a verse.
In other words, the proceedings of the Central Body of the Society
should include, I suggest, a regular series of authoritative deliverances,
which would take the form of essays in musical criticism, read, in the first
place, before members of the Society wherever an adequate audience could
be assured, and afterwards circulated to members everywhere and these
deliverances should be regarded as being, above everything else, the
expression of the Society's function as a creative will. Of course, to call
them authoritative is not to suggest that the Society would or could be in
any way bound by the opinions expressed in them. They would be
authoritative in this sense only, that the honour of the Society would
be involved in them, the Society making itself responsible for their
soundness of knowledge and security of musical and literary taste.
If at the present time a stranger asks me "What is the British Music
Society? What does membership mean, personally, to you?" I can speak
of my feelings and hopes, but for evidence in support of them I have only
the Bulletin to show, and the Bulletin does not pretend to be more than
an accompaniment to certain communal activities. As such, it has the
weakness of all mere accompaniments, and to the unimaginative does not
suggest that those activities are serious at all. Few have the gift of
deducing a melody from its accompaniment, and the Bulletin is in its
present form, I
elieve, injurious to the Society, because, being in print,
it has the permanence of print and, having the forms of literature, is
judged according to those forms. Yet the literary judgment is unavoidable;
and if our Society is to take the place which belongs to it in the national
life we must go out to meet it. Literature is necessary to our corporate
existence; we cannot unite effectively without a literary bond; and means
must quickly be found to make this bond substantial and honourable and
worthy of our country.
Kingham.
Faithfully yours,
BASIL DE SELINCOURT.
173
To the Editorial Committee
DEAR SIRS, Few musical people, I imagine, are unacquainted with the
noted dictum of that boisterous Anglo-Austral-American musician, Percy
Grainger-"loud and lots." Plenty of "kick" in the phrase, I grant, and,
to an English speaking interpreter of the work, just the right impression
of the composer's conception is conveyed. But suppose some poor
mono-linguistic Italian conductor were to approach this composer's music,
or a Frenchman, or even some master from the further East, such as
Siloti, with his magnificent orchestra? The chances are at least even that
these would be completely puzzled by the ultra-idiomatic and would-be
witty directions that are scattered over such well known works as
"Mock Morris," "Shepherds' Hey," "Londonderry Air," "Handel in the
Strand," etc.
Take another instance. Josef Holbrooke wrote, some time ago, a set
of piano pieces entitled "Four Futurist Dances" (Op. 66). The pieces
themselves are well, "futurist," but the directions as to tempo, etc.!
The labels that head these four specimens of modern musical thought are:
(No. 1) "With brittle emphasis and fast pace"; (No. 2) "Moving exorably
grim, and prodded"; (No. 3) "With irritable emphasis and spiteful";
(No. 4) "With playful activity and much spite." These, in their context,
are not much better than jargon to an Englishman, but what gibberish
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THE BRITISH MUSIC BULLETIN
66
66
99
they must seem to a foreigner! Going in quite another direction we find
John Ireland, in Summer Evening," writing "In flexible time," but
everything else in Italian; and in "The Forgotten Rite" (to give but one
Lontano possibile,
other example), "Poco lento e mistico" yet "Broad,"
yet "soft, and distinctly marked." And, of course, the British composers
Think of Debussy, Ravel,
are not the only, nor yet the greatest offenders.
Georges Hue, and so on, who have written scarcely a word of direction but
in French. Think of Wagner, Schumann, Reger, and the other great
Teutonic writers.
174
Now I beg to submit a most hearty vote of protest against this habit,
which is rapidly developing into a custom, and will soon, it is to be feared,
be the established rule, if composers and publishers will not try to pay
more observance to the dictates of common sense.
Music is an international cypher. The signs for various tone and time
values, the accidentals, the clefs, are all in accordance with a universal
code, which, I think I may justly state, varies very little in whatever part
of the western world it may be used. Moreover, the commoner Italian
words of expression, such as forte (f), mezzo forte (mf), piano (p),
crescendo, rallentando, etc., etc., are still most freely used by those very
composers who in perhaps the same line of music will go out of
their way to write directions in their own mother tongue. Where
there is such inconsistency there cannot be much logical good judgment.
I admit that, from an entirely contemporary standpoint there is no
reason on earth why Italian should be used as the medium of expression
more than almost any other European language. But, since there exists
no such universal code as Esperanto to take its place, it is surely more
satisfactory that the one language that has by custom been familiarised to.
all musicians should be kept to, rather than that each nation should use
its own.
This growing tendency not only is, I hold, contrary to common
sense, and to the universal character of music, but it acts as a quite
considerable brake" on the progress of the art through all countries and
all ages.
I am not alone in this tenure. It was whilst reading a few words by, I
think, Sir Charles Stanford, some years ago, that the full force of the
question was brought home to me.
67, Northbrook Road,
Ilford, Essex.
Yours faithfully,
R. W. WOOD.
To the Editorial Committee
DEAR SIRS, Referring to Mr. Laughton's letter, in which he outlines
musical activities in the York Centre of the British Music Society, may I
ask what he means exactly by the first sentence of his first paragraph?
May I also say that I had no personal interest whatever in the
Hampstead Branch of the British Music Society? But I feel it is, to say
the least, an untactful opening to a letter that will be read by those
members whose efforts under most trying conditions were not rewarded as
would have been expected.
Mr. Laughton admits that "different conditions exist in almost every
Centre or Branch," but has he "come up against the difficulties of
decentralisation as presented to us Londoners? Has he ever devoted a
week of evenings to comparatively unsuccessful ticket selling, as the
writer has done frequently? And how lucky we should think ourselves
could we hire a good hall for £5!
I am very glad to read of the success of the York Centre, and I hope
their Hon. Secretary will forgive me for reminding him once again
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THE BRITISH MUSIC BULLETIN
that conditions are even more different between London and the Provinces
than between one Provincial Centre and another.
Yours, etc.,
(Leeds Branch).
RUPERT O. ERLEBACH.
To the Editorial Committee
DEAR SIRS,-May I make the following suggestion, which will, I
think, be a surer method than by statistics of showing whether the British
Music Society is a success?
In the next issue of the Bulletin members should be asked what they
have done for British music, and should be invited to send their answers
to the Secretary of their particular branch.
I should suggest that the most encouraging letters might be printed in
a future Bulletin, so that members who have only paid their subscription
will see that any help, however small, is appreciated by the Society.
Hoping this may be of use.
I remain,
175
Yours faithfully,
R. D. KEIGHLEY.
FOREIGN
NEWS
BERLIN
It has been stated that there are at present no organisations which
we know as Pianoforte Quartets-that is, pianoforte, violin, viola and
'cello-existing in Germany. England is therefore to teach that country
something of the matter by sending over the Meredyll Quartet to Berlin.
Miss Meredyll is very enthusiastic about this new effort, and now she has
recovered from her recent illness is throwing herself heartily into the
work again. The Spring tour will also include Holland and the Rhine.
Another novelty for the Germans will be that of seeing two ladies
(Miss Meredyll and Miss Rawlins) as leaders in a quartet with the
gentlemen (Mr. Jeremy and Mr. Doehaerd) as followers. It is a state of
things almost unknown on the Continent.
SYDNEY
Gerontius." Of
An Orchestral Concert was given by the Sydney Centre of the British
Music Society in the Conservatorium Hall on August 24th, when
Mr. W. Arundel Orchard conducted the State Orchestra in a programme
The
of British music, mainly by composers of the older generation
concert opened with Elgar's impressive Prelude to
Parry's "English" Symphony in C, which was given its first performance
in Australia, the first movement made pleasant hearing, the slow
movement was much less satisfactory, and the scherzo and finale, although
characteristic of Parry's hearty and exhilarating manner, suffered from the
monotony due to the almost total absence of colour in either the harmonic
structure or the orchestra. More enjoyable was Mackenzie's "Scottish "
Concerto for pianoforte and orchestra, also a first performance here, which
brought forward as soloist Mr. Lindley Evans, who is shortly leaving for
England as Dame Nellie Melba's accompanist. It is surprising that this
work is not heard more frequently. Coleridge Taylor's fine Ballade in
A minor, which closed the concert, created the greatest impression by its
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THE BRITISH MUSIC BULLETIN
characteristic energy and romantic colouring. Australian music was
represented by a charming "Woodland Phantasy" by Mr. Orchard, based
on lines from Shelley's "Spirit of Solitude." and an excerpt from Mr.
Alfred Hill's new opera Auster," conducted by the composer, the solo
parts being taken by Madame Goosens-Viceroy and Mr. R. G. Morphew.
Mr. Hill's skilful orchestration showed to special advantage after Parry's
Symphony which preceded it, and the excerpt whetted the appetite to
hear the whole work.
W.A,
66
SOME INTERESTING PUBLICATIONS
The Second Book of the Great Musicians (Oxford University Press,
4s.) is just out. In this Mr. Percy Scholes continues his admirable
"Course in Appreciation for Young Readers." Schubert, Field,
Mendelssohn, Wagner, Verdi, Debussy and Sullivan are introduced to the
young musician, and there are chapters on Oratorios, Operas, Organs, and
Military music. Every page is written in the most fascinating way, full of
little anecdotes that will easily be remembered, and every difficult name or
word is carefully explained, and where necessary the pronunciation is
given. If only the young readers are half as enthralled by this book as I
have been they will soon understand the elements of music and
musical history.
Eugene Goossens' setting of de la Mare's "Silence" has arrived from
Chester's (1s. 6d.). It is practically impossible for one who did not hear
the work at Gloucester to say more about it than that there must be some
beautiful moments, and there are certainly some passages that are hard for
a chorus to sing.
Curwen's have sent a number of part-songs. These include six
arrangements by Sir Charles Stanford of Moore's Irish Melodies, "Up in
the morning early," arranged by George Dyson, and "Ca' the yowes,"
arranged by Vaughan Williams. Of the rest by Cyril Jenkins, Gerard
Williams, Armstrong Gibbs, Felix White and Eric Fogg, Gibbs' Cradle
Song is the most attractive (his other settings of Dowland and Fletcher are
somewhat too academically sixteenth century, though they are very
charming). The remainder are all interesting and worth trying over,
with the exception of Eric Fogg's "A faded violet," which is distinctly
not up to the standard of the others.
"Outward Bound," five little sea sketches for piano by Alec Rowley,
will be enjoyed by pupils who have hitherto had very indifferent "pieces
to learn (the realism of the printed phrase "Yo-ho" will be sure to appeal
to them) and Roger Quilter's "Song of the Stream," which is also
published by Winthrop Rogers, will be admired by those who do not want
anything more of this composer than the ease and charm which are
employed in exactly the same way in all his songs.
D.D.A.
CENTRES AND BRANCHES
LONDON CONTEMPORARY MUSIC CENTRE
This Centre gave a successful Concert on Tuesday, October 17th, at the
Art Workers' Guild Hall in Queen Square. In a programme devoted to
experimental compositions, the most interesting feature was, perhaps, the
Krenek Quartet, a difficult work most ably played by the M'Cullagh Quartet,
whom we shall hope to hear again. The hall was crowded, and this was
encouraging in view of the fact that the concert was the first to be given by the
Centre in its new character of British National Section of the International
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THE BRITISH MUSIC BULLETIN
Society for Contemporary Music. The Chairman of the Centre, Mr. Edwin
Evans, holds the responsible position of British National Delegate.
The next Concert will be held at 6, Queen Square, on Tuesday. December 5th.
Full particulars of the programme will be given in the December issue.
V.I.B.
BATH
Room.
Our year opened on the evening of October 9th with a Concert in the Old Pump
A string quartet (Miss M. Jacobi, Miss Peacock, Miss Tollemache and
Miss Button) played some Purcell, some Beethoven and some Howells; and
Miss Karck's songs included some Purcell and some Holst-her rendering of
Holst's "mediæval anthology" songs was particularly delightful. The pianoforte
had no part at all in the programme; all voice accompaniments being either violin
or string quartet. The performers, who live in Bath or in Bristol, all gave the
audience very great pleasure, and interested it considerably in the Howells'
"Allegretto," concerning the piper in the meadows.
The next event, to be on October 23rd, is Mr. Fox-Strangway's Lecture on
Schubert's Songs," illustrated by Mr. Steuart-Wilson.
The Centre is anxious to have some sort of library, and, having no headquarters,
has adopted the expedient of circulating a folio among those members who send
in their names for the purpose. Each recipient of the folio, when despatching it to
the next, inserts a copy of whatever musical composition he chooses, and he
retrieves it when the folio comes round to him again, and replaces it by another.
In this way members are enabled to come across constant fresh music.
F.B.
BRADFORD
The opening evening, at the Royal Restaurant on Monday. October 2nd, took
the form of a Social Evening, with music by members of the Centre, the President
(Lieut.-Colonel A. Gadie) being in the chair. Mme. Beatrice Berk, of Harrogate, sang
"Psyche" (E. Paladihle) and "The Rose enslaves the Nightingale (Rimsky-
Korsakov), and later, "A Ballynuse Ballad" (arranged by H. Hughes) and Songs
my Mother taught me" (Dvorak). Mr. Eric Child (tenor) gave Mendelssohn's
On Wings of Song" and "Onaway, awake" (Coleridge-Taylor). Miss Speight
(contralto) sang three modern songs-Cyril Scott's Invocation," Ireland's
The Rat" and Bantock's Red Lotus". and Miss A. Towler gave songs by
6.
66
177
Quilter (Dream Valley"), Ivor Atkins ("The Virgin's Lullaby") and Sinding
("Sylvelin "). The programme was opened by Miss R. E. Neilson and
Miss M. Henry in a piano duet "Ruler of Spirits" (Weber), and later Mrs. Chappell
and Mr. S. Midgley co-operated in Delius' Orchestral poem "Song before Sunrise,"
transcribed for piano duet by Philip Heseltine. Miss Dorothy Jackson (piano solo)
played two of " Three Miniatures on Poems by P. B. Shelley," entitled
and
"Dawn"
The Isle" (J. Gerrard-Williams) and Brahms' " Capriccio" in D minor.
Mrs. Tuke Priestman and Miss Mary Hudson, in 'cello and piano duets, contributed
Five Short Pieces" by F. Purcell-Warren and T. F. Dunhill's Variations on
an Original Theme." Mr. W Garner accompanied the vocalists.
Forthcoming Events.- Wednesday, November 22nd, Royal Restaurant, Vocal
Recital by Miss Nellie Judson; accompanist, Miss Nancy Wood. 'Cello and Piano
Duets, Mr. Douglas Bentley and Miss Mary Hudson.
Thursday, December 14th, Mechanics' Institute, the M'Cullagh String Quartet;
piano, Louie Chappell. Programme will include the Schumann Quintet.
C.L.J.
6.
66
..
BURNLEY
On Friday, October 6th, the Halifax Madrigal Society (conductor, Mr. H.
We felt in Burnley
Shepley) gave us a most delightful evening on Choral Music.
this performance to be the finest choral singing for a choir of 120 voices
that we had yet heard. The balance and blend, the attack, the beauty of the
interpretations, combined with the eloquent inspiration of the conductor, revealed
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178
THE BRITISH MUSIC BULLETIN
qualities in choral music that many thought were impossible of attainment.
The conductor added to the value of the evening's enjoyment by his remarks,
which were both racy and well chosen. Among the items rendered were the
following: (Early Period) Madrigals, "Down in a Flowery Vale" (Constantias Festa),
"In going to my lonely bed" (Richard Edwards) and "Arise, Awake" (Thomas
Morley); Glees (Middle Period), "Blow, blow, thou winter wind" (R. J. S. Stevens),
"Awake, Eolian Lyre" (J. Danby), Motet for double choir, "Sing ye to the Lord"
(J. S. Bach); (Present day composers) Rhapsody. "Sea Drift" (S. Coleridge-Taylor),
Medieval Carols,Lullaby, my liking" and Of one that is so fair and bright"
(Gustav Holst), etc. The Clef Club String Quartet, comprising Mr. Luther
Greenwood, Mr. Arthur Catlow, Mr. W. Butterworth and Mr. A. Winterbottom,
played, amongst other items, (a) Adagio and Allegro from Quartet No. 6, Op. 465,
(b) Allegro Assai from No. 3, Op. 458 (Mozart), and "Allegro Assai" No. 4, Op. 18
(Beethoven). We have heard them play on many occasions, but, by common
consent, it was by far the best performance they have yet achieved.
Butterworth also spoke on the subject matter, etc., relating to the quartets and
their composers.
The hall was crowded, many people having to stand, more than
1,400 being present.
Mr.
J.A.H.
EASTBOURNE
Dr. Markham Lee gave a most enlightening Lecture on "Tendencies of Modern
Music" on Monday, October 16th. The place and hour of meeting were, as usual,
the Saffrons Rooms at five o'clock. The listeners were keenly appreciative, and
all, at whatever stage of musical culture they might be, found something to
interest and help them in Dr. Lee's lucid explanations, and to charm and satisfy
them in his beautiful rendering at the piano of the examples he chose as
illustrations. His own piece-"For a lost Idyll "-(published by Jos. Williams)
got right home.
In November Mr. Dear and his choir will give a Recital of Church music
after the Restoration." Those who were present last year at a somewhat similar
recital will remember both the beauty of the music and the interesting remarks
about it by Mr. Dear.
In December it is hoped to arrange a programme to be given by members
of the Centre only.
The
The winter season of Municipal Concerts, under the new management of
Capt. Amers, who conducts the orchestra, has made a quite wonderful start.
concerts include a weekly Symphony afternoon and a Wednesday evening
Prom.," with admission of eightpence anywhere.
L.R.
66
GLASGOW
On October 17th our Branch was fortunate in having a visit from Canon
Fellowes, en route for Belfast. As he said at the end of his lecture, he is doing
what he can to interest the musical public in the fine old madrigals and lute-songs
which he is in course of rescuing from the dust of three centuries and more. He
sketched the history of music in England, pointing by the way to one or two
facts to the credit of the English-as, for instance, that a monk of Reading in
1226 composed works such as were undreamed of for years by Continental
musicians, and that Henry VIII was a composer of merit. He then described the
poems and the peculiarities of rhythm and phrasing which have made these lovely
songs during the last 200 years the prey of ignorant editors. These explanations
he illustrated plentifully by means of beautiful English Singer" gramophone
records and solos sympathetically sung by himself to his own accompaniment on
the lute. Canon Fellowes is greatly enthusiastic, and infected many of his
audience with desire to hear more of this charming music and themselves
to sing it.
E.D.C.
66
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THE BRITISH MUSIC BULLETIN
179
KENSINGTON
In response to the earnest appeal of the authorities of "The Venture,"
Portobello Road, this Centre has arranged to give a further ten Suncay Evening
Concerts for the people of Notting Hill. The first of these took place on
October 15th and drew a full house.
Mrs. Edwards (singer), Miss Arnold
('cellist), Mr. Hickey (singer), Mr. Elkin (pianist), and Mr. Dunhill (pianist)
provided the musical programme which was greatly appreciated.
The Centre has also arranged to hold a Social Evening for members on
Sunday evening, November 19th, to which the artists who have assisted at the
concerts will be invited, as will also a number of British composers resident
in London.
Artists willing to help the cause of "The Venture" are earnestly
invited to communicate with the Hon. Secretary for the Centre, Mr.
Arnold F. Jones, 22, Edwardes Square, W. 8.
A.F.J.
LIVERPOOL
The opening meeting of the season was held in the Rushworth Hall on
Wednesday, October 11th, when a large number of members attended to hear the
Recital by Mrs. Kennedy Fraser, with her daughter and sister, of " Songs of the
Hebrides." Mrs. Kennedy Fraser is a wonderful exponent of the songs, and
Miss Patuffa Kennedy Fraser is also a charming and understanding artist, joining
voice and harp in delightful harmony. Miss Margaret Kennedy's singing ranges
over many moods, and she gave great pleasure. Than these three ladies the cause
of Gaelic Song could have no more persuasive missionaries.
In addition to the events reported last month's Bulletin in connection with
the winter syllabus, particular interest attaches to the following evenings, when
members of the Centre will be the artistes :-
Friday, December 15th, Recital of Vocal, Violin and Pianoforte Music;
Miss Gladys Divas (m. soprano), Miss Kathleen Daly (violin), Miss Gladys
Scollick (pianoforte), The programme will include songs by Purcell, Bantock and
Gustav Holst, the latter for voice and violin, and the first performance in the
Centre of the Arnold Bax Sonata for Violin and Pianoforte.
Thursday, November 30th, Recital of Modern British Organ Music in
St. George's Hall; Dr. A. W. Pollitt, F.R.C.O. Mr. Douglas Miller will assist in
a pianoforte concerto.
MANCHESTER
Our season opened with a Concert of Chamber Music, under the joint auspices
of the University Musical Society and ourselves, and proved to be a most
successful beginning. Sir Henry Miers, Vice-Chancellor of the University, was in
the chair, and there was a large and enthusiastic audience. Our programme of
instrumental and vocal works by Alfred M. Wall was given by the generosity of
some of our members-such artists as Mr. Arthur Catterall, Mrs. Rawdon Briggs,
Miss Lucy Pierce, and Miss Mary M'Cullagh, of Liverpool, who graciously came to
our rescue as Mr. Warburton was unable to appear. Mr. J. Dale-Smith, with
Madame Dora Gilson at the piano, contributed four songs, and we had the pleasure
of having with us Mr. Wall, who gave us analytical notes on his works.
Councillor Will Melland, J.P., our newly appointed Hon. Representative, was
in the chair at our General Meeting on the 17th, at which several announcements
were made that promise well for the future of our Centre. Mr. Hamilton Harty
kindly consented to become our President, Mme. Agnes Nicholls and Mme.
Kirkby Lunn, a Mancunian, Vice-Presidents. The temporary Committee had
great pleasure in announcing a leader to appear in the Guardian on the following
morning called "A Timely Offer." Mr. Vivian Grant, director of the firm of
Messrs. Sir Herbert Marshall & Sons, Limited, Tudor Galleries, Deansgate, has
offered our British Music Society in Manchester a headquarters on the firm's
premises, and every possible assistance towards making the Centre a success.
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THE BRITISH MUSIC BULLETIN
Manchester has for many years felt the need of a club room in the city where
musician and music lover could meet, and this generous offer makes it possible to
hope that, if not immediately, then in the near future, this long-felt need in
Manchester will be supplied. Towards the end of our meeting Dr. Walford Davies
came on from another engagement and gave us a most interesting and inspiring
address. Very much to our regret, Mr. Hamilton Harty, our President, who had
expressed a wish to be present and to introduce Dr. Davies, was prevented through
indisposition from attending. The formation of Committees was deferred to a
special meeting, and it is earnestly hoped, now that we have the promise of such
valuable and practical support, that offers to serve on a Committee of Management
will be forthcoming. We are fortunate in having a number of enthusiasts who will
gladly undertake the arrangements at our monthly meetings, which will lighten
the burden of the Society's officers.
180
Pending the election of Committees, etc., Mr. Arthur Moon, 53, Brown Street,
has kindly consented to act as Hon. Treasurer pro tem, and Miss Vivian Edwards,
Elmhurst, Victoria Park, as Hon. Secretary pro tem. Unfortunately both
Miss Edwards and Mr. Moon can only offer their services temporarily.
PALMERS GREEN BRANCH
All
The Annual General Meeting of the Branch was held on September 26th, at
St. Monica's Church Hall, Palmers Green. A large gathering of members and
associates were present, and two representatives from headquarters, Miss Wadham
(Assistant Secretary) and Mr. Vernon Dean (member of Treasurer's Committee).
The Musical Director (Miss Anderson Lounds) submitted a full report dealing with
the musical activities of the Branch in the session January to April, 1922.
these have been fully reported in the monthly Bulletin. An outline of events
planned for the coming session was given for members' approval. The Treasurer
(Mr. W. H Dance) presented a cash statement showing a satisfactory balance in
hand. Details of membership were: Total number of Members and Associates,
149; comprising Full Members, 25; Bulletin Associates, 22; and Local
Associates, 102. The Secretary (Mr. A. F. Paddon) read the Committee's report
on the business of the session, and recounted his own settlement of the question of
entertainment tax, which has been a source of trouble in the past. The
satisfactory condition of the finances of this small Branch and the equitable
adjustment of the entertainment tax are entirely due to the valued services of the
Hon. Treasurer and Hon. Secretary, to whom the thanks of the whole Branch are
due. The Secretary urged that more Associates should take up the Full
Membership of the Society, failing the adoption of the Branch's resolution sent to
the British Music Society's Conference regarding a flat rate of subscription. The
great discrepancy in numbers between Full Members and Local Associates in the
Branch is to be regretted in the interests of the Society. Once again it is to be
urged that consideration be given by Headquarters to the necessity of a flat rate of
subscription for Members and Associates.
On October 3rd the new session opened with a Social Evening, well attended by
members and friends, at Holy Trinity Church Hall, Winchmore Hill, N. 22, who
were entertained by a programme of music provided by the Winchmore Hill
School of Music.
The opening musical event of the session is a Chamber Music Evening,
November 7th, to be held at St. Monica's Church Hall, Palmers Green, when a
String Quartet (leader, Miss Ethel Izard, A.T.C.L.) will give a programme of
Chamber music. Hon. members are cordially invited.
E.M.R.
PLYMOUTH
The Massed Concerts held at the Plymouth Guildhall on September 30th were
a great success in every way. The choirs represented were the Plymouth Orpheus
Choir, the Plymouth Madrigal Society, the Plymouth Ladies' Choir, and the
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THE BRITISH MUSIC BULLETIN
account.
Coleridge Taylor Choral Society. The orchestra was the Plymouth Orchestral
Society. with the help of many members of the Royal Marine Band and the
Musicians' Union. The five conductors were Mr. Percy Butcher, Mr. Douglas
Durston, Dr. Harold Lake, Mr. David Parkes, and the humble writer of this
If the concerts have done nothing else, they have brought together the
five musicians mentioned into a closer friendship, and a spirit of willingness to
help each other seemed the keynote of their relations. Great thanks are due
to Mr. G. Sawdy for his untiring work in organising and advertising the concert.
He is the most indefatigable Concert Secretary that this world has ever seen. It
would be invidious to criticise each number on the programme, but to the writer
the most perfect and pure music, at least as regards the orchestration, was shown
in the Air de Lia from Debussy's "l'Enfant Prodigue," sung by Miss Olga Haley,
whose services were secured by the Headquarters of the British Music Society. It
is to be hoped that these concerts are only the beginning of a series of annual
events (if Mr. Sawdy can again help us), and Plymouth is very grateful to
the British Music Society for giving it the chance to hold these concerts, and if
again the beautiful singing of Miss Olga Haley is a great attraction on the
programmes their renewal will be successful.
W.P.W.
181
SOUTH PORT
The programme of events for the coming session is as follows:-
October 9th, Mr. Frederic Brandon, the eminent pianist (Queen's Hall and
Melba tour), and Chas. W. Budden, M.D., in a Lecture Recital Studies from
Chopin "a musical autobiography.
November 8th, Miss Jean Stirling Mackinlay (daughter of Antoinette Stirling),
"Old English Songs and Ballads" (in costume).
December 8th, Some Future British Musicians.
January 12th, 1923, Mrs. Irvin, L.R.A.M., Miss Rosa d'A. Blumberg, Recital
of Duets for two pianos. Miss Jean Fyans, English and French Songs.
February 16th, the Tobin Pianoforte Trio (Mr. J. E. Matthews (conductor of
Southport Orchestral Society), Mr Walter Hatton ('cello). Mr. John Tobin (piano)).
March 16th, Dr. Adolph Brodsky, the great violinist, Principal of the Manchester
College of Music (late leader of the Hallé Orchestra).
All the meetings will be held in the Southport Art Gallery, entrance by the
Free Library door, at 8 p.m. Admission by membership card. Tickets may be
obtained from Mr. Aldridge's Music Warehouse, Hoghton Street, or from the
Secretary, who will be glad to see any members who sing or play any instrument,
for informal club evenings at her house, Deepdene, 14, Weld Road, Birkdale,
Saturdays, from 8.15 to 10 p.m.
It is gratifying to record that Miss Phyllis Eley, one of our junior members,
has won the Charles Haywood scholarship at the Manchester College of Music,
tenable for one, two or three years, according to the progress of the student.
All who heard her play at the children's evening, given in December, prophesied
a brilliant future for her, and we offer our heartiest congratulations both to her
R.L.C.
and to her teacher, Miss Heap.
TUNSTALL CLEF CLUB
We have now formulated our programme for the season 1922-23, and judging
from its variety and comprehensiveness it should please all music lovers who are
interested in the work of the Club. On October 30th we welcome for the first time
to the Potteries the M'Cullagh Quartet, who will play works by Beethoven, Wolf,
Holbrooke, etc. On November 23rd two local artists, Mr. Fred Morris (violin)
and Mr. W. T. Bonner (piano) will give a Recital including the beautiful A major
Violin Sonata of César Franck. Both are very fine performers, and the evening
should be extremely interesting and educative. Other evenings fixed are-
December 15th (the Winifred Taylor Piano Trio in works of Beethoven, Ravel,
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THE BRITISH MUSIC BULLETIN
Elgar, Bantock, etc.). December 22nd (Folk Songs, Folk Dances and Country
Dances by members of the North Staffs Folk Dance Society). January 12th, 1923
(Gramophone music by Mr. W. Walker, of Tunstall). February 15th, 1923
(the North Staffs Symphony Orchestra in Symphonies of Mozart, Beethoven and
Schubert). March 9th, 1923 (a Piano Recital by Mr. W. T. Bonner, assisted by
Mr. Jas. Frost, another local artist who will sing three groups of songs). Much
credit is due to our musical director, Mr. Geo. Baskeyfield, F.R.C.O., for the
work he has done in making possible such an admirable programme, and it is
hoped that the people of the Potteries (who are generally considered musical) will
give the club the response it deserves.
G.A.C.
182
WORTHING
The opening meeting of the winter session was held on Wednesday, October 4th,
and there was a large attendance of members. Everyone was delighted to welcome
Mrs. Balkwill (General Secretary of the British Music Society), who made a special
effort to be present and whose very interesting address was much appreciated.
Business was first transacted, then came tea, followed by a Conversazione,
including an excellent musical programme. We intend to be very energetic here
this season, and several very good meetings have been arranged. On November 3rd
we are to have "An Evening with Bach," when Mr. A. Brent Smith, of Lancing
College, will be the lecturer and pianist, and on December 6th Major Bavin is
going to deal with "Music for Every Man." In the interim there will be informal
choral practice every Friday evening in the Club Room, which is now open to
members three days a week, where instrumentalists and others can also hold any
other practices they may wish and make use of the Music Library. We are making a
very special effort here to popularise good music, and as a means towards this end
Saturday Popular Concerts are being inaugurated. The first of these is to be held
on November 4th.. Prices are limited to 6d. and 1s., while performers of real
talent have been secured to carry out most carefully selected programmes. F.C.-A.
YORK
Our season opened on Saturday, September 30th, when the Lord Mayor and
Lady Mayoress held a reception of members and their friends in honour of
Sir Hugh Allen, who was good enough to pay us a visit on his way to the Leeds
Festival. The Lord Mayor opened with a lively speech on the musical
shortcomings of the City Council. He was followed by Sir Hugh in a most
interesting address on the state of music in this country, with special reference to
the work of the British Music Society in its improvement. The evening was
concluded by songs given by Mr. W. N. Hampson and Miss M. Krons, and by two
'cello solos from Miss Joyce Bell. Much credit is due to the ladies' committee
which superintended the provision of refreshments.
On October 7th the public meetings began with a causerie by Mr. Eugene
Goossens on Contemporary Developments in Music." Mr. Goossens emphasised
the extreme rapidity of musical development in the last twenty years, and explained
that further advance under the older diatonic system of harmony seemed unlikely
(though he was careful to add that the works of the great masters of that system
were imperishable). In speaking of modern British composers he pleased the
audience by praising Mr. William Baines, whom he described as having very great
promise. He laid stress on the necessity for keeping oneself up to date, and
pointed out the uses of the pianola and gramophone in this direction. Afterwards
he illustrated his remarks by playing several modern works (chiefly British)
on the piano.
May I appeal to those Members and Associates who have not yet purchased
their season tickets to do so as early as possible?
..
The next public meeting is on N RIBTS th, when we hope to have a violin
and piano recital by Miss Sybil Eator and Dr.arstow.
C.R.A.
1 NOV 22
MUSEUM
T. WHITTINGHAM & Co., Limited, Printers, 10-12, Little Trinity Lane, London, E.C. 4
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S
S
The English School of Lutenist
Song Writers
Transcribed, Scored and Edited from the original editions by
EDMUND H. FELLOWES, M.A., Mus. Doc.
The following songs are now issued in separate form :-
John Dowland
FROM SILENT NIGHT
(With accompaniment for violin, violoncello, and piano.)
I SAW MY LADY WEEP
Thomas Ford
WHAT THEN IS LOVE?
1s. 6d. net each song.
Other songs from the series will also be issued separately.
WINTHROP ROGERS, Ltd., 18. BERNERS STREET
LONDON,
REDUCTION IN PRICE.
A Choral Drama for Choral and Dramatic Societies.
BETHLEHEM
(Curwen Edition 3624)
By RUTLAND BOUGHTON
The book is adapted from the old
Coventry Nativity Play, and the
music, though mainly original, is
based on the traditional Christ-
mas carols, and is original, not
in the sense of being new, but
of going back to the origins of
English play and song.
The work was written for stage
performance by the Glastonbury
Festival Players, and is therefore
suitable for dramatic societies.
At the same time the many choral
sections make it eminently suit-
able for concert performance,
and a special edition arranged
for choral societies is issued.
Full Vocal Score, 10s. Chorus Edition, 4s. Book of Words, 1s.
London: J. CURWEN & SONS, Ltd., 24, Berners St., W.1
======E
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THE BRITISH MUSIC
BULLETIN
Volume IV No. 12
The Bax Concert
Music Review
In Memoriam-William Baines
Book Review
bo se
CONTENTS.
britains
view HT
Correspondence -
Some December Concerts
Foreign News
DECEMBER, 1922
Centres and Branches
PAGE
- 186
- 187
- 188
188
189
- 191
- 192
192
Genera
COATE
D
Dr. E.
C. E
W. Com
Bomom
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22
THE BRITISH MUSIC
BULLETIN
VOL. IV
DECEMBER, 1922
OFFICERS OF THE SOCIETY
Patron: THE EARL OF BALFOUR
President: THE LORD HOWARD DE WALDEN
Vice-Presidents:
Sir HUGH P. ALLEN
Professor GRANVILLE BANTOCK
Sir THOMAS BEECHAM, Bart.
Major-General Sir W. S. BRANCKER,
K.C.B., A.F.C.
Sir FREDERICK BRIDGE, C.V.O.
ALBERT COATES, Esq.
Sir FREDERIC COWEN
Dr. WALFORD DAVIES
FREDERICK DELIUS, Esq.
Sir EDWARD ELGAR, O.M.
Rev. Dr. E. H. FELLOWES
W. W. COBBETT, Esq.
EDWARD J. DENT, Esq.
PAUL EDMONDS, Esq.
Dr. A. EAGLEFIELD HULL
CECIL H. BATESON, Esq.
ADRIAN C. BOULT, Esq., Mus. Doc.
Sir DAN GODFREY
HAMILTON HARTY, ESQ.
Sir HENRY HADOW, C.B.E.
Sir WILLIAM MCCORMICK
Sir S. ERNEST PALMER, Bart.
Sir LANDON RONALD
Dr. ETHEL SMYTH, D.B.E.
Dr. ARTHUR SOMERVELL
Committee of Management:
Chairman: Sir HUGH ALLEN, M.A., Mus. Doc.
The Right Rev. Dr. T. B. STRONG
Professor DONALD TOVEY
Lady MAUD WARRENDER
Sir HENRY WOOD
No. 12
Mrs. W. LEE MATHEWS
FRANK ROSCOE, Esq., M.A.
W. RUSHWORTH, Esq.
G. BERNARD SHAW, Esq.
FRANCIS TOYE, Esq.
GEOFFREY TOYE, Esq.
Dr. C. E. WHEELER.
Hon. Treasurer:
W. LEE MATHEWS, Esq.
Secretary: Mrs. V. I. BALKWILL, M.A.
Offices: 3, BERNERS STREET LONDON, W.1.
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186
THE BRITISH MUSIC BULLETIN
THE BAX CONCERT
Bax is still on the
THIS was a great occasion in English music, for there has been nothing
like it since the Elgar Festival at Covent Garden.
right side of 40, and with most composers this would be a dangerous age
at which to give an entire programme of his music, but in the last few
years he has spread his activity over a diversity of musical fields so that
there was sufficient material to ensure variety. In consequence of this the
concert escaped the objections generally urged against one-man shows,
and, in spite of its inordinate length, maintained its interest to the end.
I do not think it was altogether wise to include a piano sonata, because the
proximity of orchestral and choral music creates a standard of dimensions
to which it cannot conform. It necessarily sounded less rich in volume
than either, and this made one more conscious of its length than one would
have been in its right surroundings, which are those of a chamber-concert.
As for the
In other respects the selection of works was admirable.
Never has "The Garden
performances, they could not have been better.
of Fand" sounded so alluring as when performed by the Goossens
orchestra under its founder. It is a beautiful score, and the brightness of
sonority which this orchestra alone among those who cater for us can
produce gave it its full value. Then, again, the technical assurance with
which Charles Kennedy Scott has, by means reputed to be drastic, endowed
"Mater Ora
the Oriana Madrigal Society, proved its completeness in
Filium" for unaccompanied double choir, which is one of the outstanding
achievements of modern vocal polyphony. These two works provided the
most thrilling moments of the evening. With them must be ranked
Lionel Tertis's wonderful tone and virtuosity in the "Phantasy" (formerly
concerto) for viola and orchestra, another work of convincing beauty.
Even on closer acquaintance it is still difficult to detect where the skill of
the composer in balancing the middle voice of the viola against his
orchestral forces ends and Tertis's skill in bringing the tone forward
begins. One thing is certain: Bax will not find many such collaborators.
It is no disparagement of the other works to say that they afforded a
welcome respite from these more impressive moments. The two smaller
carols, "Of a Rose I Sing" and "Now is the time of Christmas," are as
attractive in their way as the more important one, but their way is more
modest. Miss Harriet Cohen has proved, not once but many times, her
keen comprehension of the requirements of Bax's music, but to play the
Sonata in G in so large a building, and between works in an ampler
medium, would demand titanic strength, which she does not possess, and
her efforts to give full sonority to extended chords sometimes involved the
loss of just that fraction of time which is sufficient to weaken the rhythmic
effect; but the meaning of the music was given nevertheless, and she
excelled in the group of smaller pieces. On Mr. John Coates's powers of
interpretation it is scarcely necessary nowadays to dilate. He gave us two
groups of songs, one including the fascinating Piper" and the other
consisting of settings of traditional French songs.
66
THE
BRITISH
hom
le lived
is of coms
compos
in the pl
Prelude
Silver-
works
new
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books
musicia
they com
Borm
MUSEUM
The concert concluded with an orchestral version of the piano piece
"Mediterranean," but the hour was late, the orchestra had long been
absent from the platform, and it seemed as if they could not recover the
spirit of the opening of the concert. That is doubtless the reason why the
scoring sounded less brilliant than one expected, for Bax has proved
on other occasions that the transferring of a piano piece to the orchestra,
a stumbling block to many, has no difficulties for him. EDWIN EVANS.
and el
pneum
after a
mostl
Mr. F
Centre
one
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othing
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EVANS
THE BRITISH MUSIC BULLETIN
187
IN MEMORIAM-WILLIAM BAINES
THE death of Mr. William Baines on November 6th, at the
home of his parents in York, removes from us one who, had
he lived, was destined to make a great mark on music. Already,
at the age of 23, his contribution to pianoforte and other music
is of considerable importance and very great value. His published
compositions include a long piece entitled Paradise Gardens (written
in the pleasure grounds of this name at York), a set of remarkable
"Preludes," four Poems," a bundle of "Coloured Leaves," some
"Silver-Points," three pieces entitled "Milestones" and a couple of
pieces called "Tides." Although he wrote chamber-music, songs,
cello pieces and symphonies, I have had few opportunities of judging
his genius in these directions, but of his extraordinary pianoforte
feeling I have never had any doubt. I make bold to place his skill
in this direction in the direct line of John Field, Chopin and Scriabin.
There is no disgrace in poverty, and I feel sure that his parents
will not mind my saying that he was never in sufficiently easy
circumstances to allow of much money being spent on his education.
Although he had a few lessons in playing at various times, he was in
every respect "a self-taught composer." His playing of his own
works, although somewhat unfinished from a concert-player's point
of view, was always very characteristic and masterly in its own
way that of genuine expression.
Baines had a sweet, lovable disposition without the slightest
touch of vanity. He had an astonishing confidence in his own
musical opinions and aesthetic views. Although no scholar in the
ordinary sense, he had a highly individual culture of his own in
books, poetry, painting and natural scenery.
I am proud to have been one of the group of three professional
musicians who first recognised his uncommon genius and did what
hey could to secure him a footing with the publishers and make
his work known. Both Mr. Dunton Green, the eminent London and
Paris critic, and Mr. Frederick Dawson, the great pianist, fearlessly
championed the cause of Baines and overcame the many difficulties
which beset his situation.
Born at Horbury in Yorkshire in 1899, his health was always of a
delicate nature. Under a system of medical examination, which at
that particular time made no difference between fit and unfit, his
enrolment into the army in 1918 resulted in one week's service
and eight months in hospital to recover from a severe attack of
pneumonia; but his health always seems to have been affected, and
after a long illness he passed away, keeping to the last that cheerful
sweetness which never failed him throughout his short life, lived
mostly amongst the shadows. Of late years, he attracted to himself
many artistic friends, chief amongst whom must be mentioned
Mr. Frederick Dawson, Mr. Laughton, Hon. Secretary of our York
Centre, and Mr. Kennedy, of our Leeds Branch. These gentlemen,
besides befriending the young composer in many ways, did much to
improve Baines' business arrangements with regard to his MSS. They
hope shortly to bring about the publication of his Piano Sonata, as
one of the most fitting tributes to his memory.
Α.Ε.Η.
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188
THE BRITISH MUSIC BULLETIN
MUSIC REVIEW
Carnegie Collection and William Byrd
""
tastes.
Prince
The four new Carnegie publications (Stainer & Bell) show four very
different styles, and the judges of the music that is sent in for the honour
of being included in the Carnegie Collection must be very catholic in their
Nicholas Gatty's one act "Musical Extravaganza
Ferelon is very straightforward. The pleasant tunes and the slight
touches of humour very pleasantly accompany the tale of the Princess who
Ferelon (baritone) has
was wooed by one Prince in the guise of three.
great opportunities of showing his musical versatility, and the ejaculations
A note says that
by the King (bass) would appeal to any character actor.
the extravaganza must be performed in the style of grand opera, and acted
by intelligent singers it must be effective. It was performed at the
Old Vic. in May, 1921. R. O. Morris' Fantasy for String Quartet is
written in the modern simple folk-song style: it does not present very
great technical difficulties. Cyril Rootham's setting of Thomas Moult's
"Brown Earth" should prove to be very beautiful in performance it is
set for chorus, orchestra and a semi-chorus of female voices. The mood is
much the same as that of the same composer's For the Fallen "-with
66 Brown Earth" is
the same reminiscence of plainsong-but as a whole
much more delicate than the longer work. Felix White's "The Nymph's
Complaint for the Death of her Fawn," poem for oboe (or violin), viola
and piano, after Andrew Marvell, too discordant (in the literal, not
the disparaging, sense of the word) to be judged by a quick glance at the
score. It is certainly interesting, but cannot be appreciated without very
close examination until it is performed.
Dr. Fellowes' edition of Byrd continues, and is always excellent. The
Cradle Song has been arranged from the original string parts for the
piano, and the three Masses for three, four or five voices are printed
without indicating bar lines and in keys that suit the usual S.A.T.B.
voices. At times the transposed part descends too low for the contralto,
and it is suggested that the tenor takes that line. The excellence of this
edition lies not only in the accuracy, but in the discrimination with
which the music is printe : archæology is not slavishly followed, and a
few expression marks are inserted for indication. If only one might hope
that some day all the old and excellent British music that exists in
museums in manuscript and early editions could be published under the
direction of someone as able as Dr. Fellowes !
D.D.A.
BOOK REVIEW
Spirit and Music*
The author of this book is a psychologist as well as a musician, and
both of his activities are concerned in the work. It is mainly for
beginners, for those who like music, but are puzzled by technicalities,
and its aim is to show that love of music is an essential part of healthy
life and not merely an ornament for its decoration. Music as an
expression of the Spirit of Life, and the musician as interpreter of it are,
in fact, the central theses, and they are explained and illustrated with
considerable ingenuity. It should be of value to many who feel that their
love of music is a vital joy to them, and are yet at times hard put to it to
justify their joy to the Philistine. The quotations are a little indiscriminate
and vary much in their appeal and authority, but the writer has plenty to
say for himself and really needs less of this backing than he seems to fear.
Spirit and Music," by H. Ernest Hunt. Kegan Paul & Co. Price 3s. 6d.
* ""
FIRST LO
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Ocr'd Text:
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FIRST LONDON PRODUCTION OF RUTLAND BOUGHTON'S
"BETHLEHEM,"
SOUTH LONDON CHRISTMAS FESTIVAL.
One of the features of this season's music is the production of
Rutland Boughton's "The Immortal Hour" at the Regent Theatre. This
fine work is steadily gaining the recognition and appreciation from the
public that it has always received from the musical critics. This gives
added interest to the forthcoming production of Rutland Boughton's
nativity play "Bethlehem at the Battersea Town Hall on December, 28th,
29th and 30th. This work has not been heard in London yet. It was first
produced at the Glastonbury Christmas Festival in December, 1915, and
has since been performed regularly in the West of England.
It is owing to the initiative of Mr. Frederick Woodhouse, who has been
associated with the Glastonbury Festivals, that London is to have the
opportunity of hearing "Bethlehem." For this production Mr. Woodhouse
has enlisted the enthusiastic support of the Streatham Philharmonic
Society, and various artists who have taken part in Mr. Boughton's
Glastonbury performances. Miss Dorothy Silk will sing the part of the
Virgin Mary, and Miss Gladys Van der Beeck, Dr. Tom Goodey and
Frederick Woodhouse are also in the cast. The Streatham Philharmonic
Society will sing the fine unaccompanied choral interludes between the
episodes of the play, the conductor will be Mr. Frederick C. Haggis, and
the leader of the orchestra Mr. Charles Woodhouse.
Queen's Hall
Chelsea
Town Hall
THE BRITISH MUSIC BULLETIN
The production will be in the simple and effective style which
characterises the Glastonbury performances, aptly described by the
Daily Telegraph critic as "at once so splendid and so simple."
The South London Musical Festival should have the support of all
enthusiasts for British music, particularly on account of this first London
performance of "Bethlehem," but also because it is hoped to establish the
Festival as an annual event. The Battersea performances will be followed
by two performances at Streatham Town Hall on January 5th and 6th.
It might be mentioned that the Battersea Town Hall is easily accessible
from all parts of London by trams and buses, it can be reached in a
few minutes by train from Victoria to Clapham Junction. Tickets for
these performances may be booked at all the usual London ticket offices.
Queen's Hall
(Royal Philhar-
monic Society)
Wigmore Hall
""
SOME DECEMBER CONCERTS
Mon., Dec. 4, New Symphony, Bax
at 8
Tues., Dec. 5
4th Symphony, Brahms
Characteristic Pieces,
Sinigaglia, Pf. Concerto in
B flat min., Tschaikowsky
Bach Programme
Thurs., Dec. 7, Song of Destiny, Brahms
at 8
Song of the High Hills, Delius
Sat., Dec. 9,
at 8
189
Credo, Otello, Verdi
5th Symphony, Scriabin
Music Old and New, Flute
Trios and Songs
Albert Coates
L.S.O.
Katherine
Goodson
The Guild of
Singers and
Players
Albert Coates
Kennedy Scott
Phil. Choir
Mostyn Thomas
Anderson Tyrer
The Guild of
Singers and
Players
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190
THE BRITISH MUSIC BULLETIN
MEMORIAL TO WILLIAM BAINES
It is hoped that a memorial to the memory of the late William Baines
may be placed somewhere in York. If it can possibly be arranged, it might
take the form of a brass in York Minster. Donations for this purpose will
be gratefully received by Mr. D. Laughton, The Elms, Heworth Green, York.
CARNEGIE TRUST
Composers are reminded that works to be submitted under the regulations
of the above named scheme for 1923 must be received by the Secretary of the
Trust not later than December 21st, 1922. Copies of the regulations can
be had on application to the Secretary, Carnegie United Kingdom Trust,
East Port, Dunfermline.
Miss Astra Desmond announces a Song Recital at the Eolian Hall, at
8 p,m., on Thursday, December 7th. Her programme includes a new set
of Spanish popular songs by de Falla, and other songs of contemporary
composers, both British and foreign.
The University of London Musical Society will hold choral and orchestral
rehearsals, under the direction of Mr. J. H. Foulds, during the season
A certain number of persons, other than the members and
students of the University, will be eligible for membership. Particulars may
be obtained from the Hon. Secretary of the Society, King's College, Strand.
1922-23.
A request comes from a member for good music, no matter how
dilapidated, for piano, violin or 'cello solo, and for piano trios and quartets.
If any member has old copies of such music to spare, or to sell at a low
price, these would be gladly received at the office.
We should be most grateful for the following early numbers of the
Bulletin, if any of our members can spare them :-January and May, 1919;
February, 1920.
Mrs. Le Marchant, at her Fauré recital of songs and works for violin
and piano, on December 5th, at 8.45 p.m., at the Institut Francais,
1-7, Cromwell Gardens, will be assisted by M. André Mangeot and
Mr. Leopold Ashton. The tickets, at 5s. each, include refreshments
after the concert.
A series of Musical Appreciation Concerts of chamber music, with a
short lecture, are being given by Miss Monique Poole on Saturday
afternoons. On February 24th and March 17th the concerts will be at
St. Alban's Hall, Golders Green, and on February 10th at the Athenæum,
Muswell Hill.
CATALOGUE
The 1922 Catalogue of the works of Contemporary British Composers
will be ready in a few weeks. It will be sent post free to full members
on application to the Secretary.
CONFER
Needs
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boisterou
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DEAR
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marks
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potatic
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Baines
might
se will
York.
lations
of the
ns can
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, 1919;
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THE BRITISH MUSIC BULLETIN
CONFERENCE OF EDUCATIONAL ASSOCIATIONS
The two Lectures to be given by the British Music Society at the
approaching Conference of Educational Associations at University College,
Gower Street, are as follows:-
--
191
Tuesday, January 2nd, at 5 p.m., in the Chemistry Theatre, "The Child's
Needs in Music," Mrs. Murray MacBain, with a demonstration class.
Wednesday, January 3rd, at 5 p.m., in the Chemistry Theatre, "Music for
Music's Sake," Dr. R. Vaughan Williams.
Members are reminded that in view of the Society's affiliation to the
Conference, they have the right of admission not only to the lectures
detailed above, but to the open lectures of other affiliated societies. The
full Conference programme may be had on application to Headquarters.
RESIGNATIONS
Members are reminded that, in accordance with the Society's Articles of
Association, resignations must be notified one month prior to the date for
renewing of subscriptions. As this warning is printed on the membership
cards for 1922, the Secretary earnestly hopes that members will observe
the regulations. The punctual payment of 1923 subscriptions will also be
much appreciated.
CORRESPONDENCE
To the Editorial Committee
DEAR SIRS,-On page 173 of your British Music Bulletin I find a
statement in a letter signed "R. W. Wood" to the effect that that
"boisterous Anglo-Australian American, Percy Grainger," used the dictum
"loud and lots." May I point out that if this unintelligible phrase was
used it was used in Grainger's music after I had retired from the musical
"louden
editorship of Messrs. Forsyth's publication." The phrase was
lots" which "has a meaning all its own." In spite of it I am, however,
proud that it was my privilege-in my capacity aforesaid-to print, I
think, all the earliest compositions by Roger Quilter, Balfour Gardiner,
Cyril Scott, Percy Grainger, when he first used his curious phraseology,
and others. This was a quarter of a century ago when these "young
British composers" were-well, a good deal younger than now! I still cling
fondly to much of Cyril Scott's earlier piano music.
Yours, etc.,
ROBIN H. LEGGE.
To the Editorial Committee
DEAR SIRS,-Adverting to my letter in the November Bulletin
concerning the question of language employed in music (for expression
marks, etc.), may I now solicit the use of your columns in order to assure
your readers that the substitution of loud and lots" for the correct
quotation "louden lots," was an error on the part of the printer and not of
Yours faithfully,
R. M. WOOD.
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192
THE BRITISH MUSIC BULLETIN
FOREIGN NEWS
SYDNEY
A highly successful Concert of an informal character was given in the
Conservatorium Small Hall by the Sydney Centre of the British Music
Society on Wednesday, September 27th. The chief items of the programme,
which was confined to British and Australian composers, were Elgar's
Sonata for violin and piano, played by Mr. Cyril Monk and Miss Winifred
Burston, and the First Sonata for piano of Arnold Bax, played by
Mr. Wilfred Arlom. The latter work, which had not been heard here
before, naturally created much diversity of opinion. Miss Myrtle Meggy
played a group of delightful pieces by Balfour Gardiner, "Noel," Gavotte,
"London Bridge" and "The Fair" (the latter being the first of this
composer's "Five Pieces"). Australian music was worthily represented
by two groups of songs by Miss Dulcie Cohen, sung by Madame Goossens-
Viceroy and Miss Gwendolen Spanswick, of which the best was, perhaps,
"La Princesse Endormie," and Mr. Norbert Wentzel's attractive Humoresque
for 'cello and piano, played by Mr. Gladstone Bell, with the composer at
the piano, and also two charming little movements for piano-an Air and
Gigue by Mr. E. J. Robinson, who was his own interpreter. Four of
Frank Bridge's Miniatures" for violin, 'cello and piano, played by
Mr. Cyril Monk, Mr. Gladstone Bell and Miss Winifred Burston, concluded
the programme.
66
W.A.
CENTRES AND BRANCHES
LONDON CONTEMPORARY MUSIC CENTRE
The next Concert of the Centre will be held at 6, Queen Square, Bloomsbury,
at 8.15 p.m. on Tuesday, December 5th. It has been found necessary considerably
to alter the programme, and it now stands as follows:-Sonata for piano and
violin, by Confalonieri, played by the composer and Miss Désirée Ames; two
groups of songs by members, sung by Miss Gretta Don and Mr. Hugh Campbell;
Suite for 'cello and piano by Maurice Drake-Brockman, played by Miss Doris
Carter and Mr. Adrian Holland; and Rutland Boughton's violin sonata,
played by Miss Ames and Miss Eileen Parker. Refreshments will be obtainable
after the concert.
In view of the scanty attendance at the Annual Meeting of the Centre it is
hoped to bribe members into coming by making the next meeting something
of a social function, to be held early in February. Concerts are also being
arranged for March 7th and April 18th, and members are asked to keep these
dates free.
V.I.B.
BATH
It
One of the best enjoyed evenings on this Centre's record was that of
October 23rd, when, in the Old Pump Room, Mr. Fox Strangways gave a Lecture
on Schubert's songs and Mr. Steuart Wilson sang some of them. Their choice.
was made from among the lesser known, and enchanting it was. The English
translations used were those which have appeared in Music and Letters.'
was interesting to hear Mr. Fox Strangways talk of, among other things, the slow
evolution of song-accompaniment from mere drumming, and to learn that
Schubert's output could amount to the creation of fifteen songs in one day.
Mr. Steuart Wilson also spoke for a little. With reference to song-music and
words he mentioned that there were two classes of song-the class in which the
settings of
Sebum
informal C
This was
Vostical Ch
atribution
BELFAS
The Am
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to much
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BLACH
The
proficiem
Grand
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in the
ramme
Elgar's
Tinifred
yed by
d here
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THE BRITISH MUSIC BULLETIN
193
song is built up on the words and that in which the music is more or less
independent of them-an extreme example of this sort being Bach's sublime
settings of theological arguments.
Schumann was the composer who figured most on the programme of the
informal Concert held in the Cooling Room on the evening of November 13th.
This was for members only. Miss M. Jacobi and Mrs. Nield, of the Ladies'
Musical Club, Bristol, played the violin and pianoforte Sonata in A minor. Other
contributors were Mrs. Evatt, Miss Masters, Miss N. Hodges and Mr. J. Tyler. F.B.
BELFAST
The Annual Meeting was held on October 18th, in the Y.W.C.A. Hall. The
following officers were elected :-President, Mr. Richmond Noble; Treasurer,
Mr. Alan Parker; Secretary, Miss Irene McAlery (Moyallan, Annadale, Belfast);
Committee, Miss McKisack, Mrs. Warnock, Mrs. D. R. Taylor, Dr. Lawrence
Walker, Dr. Mulholland, Dr. Geo. FitzSimons and Dr. Norman Hay, Captain
Brennan, F.R.C.O., Major Mayes, Mr. Geo. Smith, Mr. H. Morrow, Mr. S. A.
Bulloch, Mr. Jenkins, Mr. Maguire, Mr. S. G. Crymble and Mr. John Vine,
F.R.C.O. The following fixtures were made :-November 10th, December 8th,
January 26th, February 23rd and March 30th, the place of meeting in each case to
be the Central Hall, Rosemary Street.
On the same evening Dr. E. H. Fellowes addressed an overflowing meeting of
the members and the public on Elizabethan Music, the chairman being the
Recorder of Belfast (His Honour Judge Thompson). Dr. Fellowes illustrated his
address by gramophone records of madrigals rendered by the English Singers.
He sang a number of the lute songs of Dowland, Ford, Jones and Campion, and he
especially pleased the members by rendering Byrd's Cradle Song." To one of
Ford's songs the lecturer accompanied himself on the lute. In the other songs he
was ably accompanied by Mr. George Smith at the piano. On the motion of the
President, seconded by Dr. Walker, an enthusiastic vote of thanks was accorded
Dr. Fellowes, Mr. Smith and the chairman. It was the unanimous opinion of the
members that the evening was the most enjoyable the Branch had ever
experienced. Dr. Fellowes charmed his audience, and without doubt his visit will
do much to stimulate in Belfast an interest iu the music of the period. To back
the matter up the Branch has presented to the Belfast Musical Competitions a cup
for madrigal singing.
66
On November 10th there was a large attendance of the members to hear
Mr. Alan Parker's Lecture on Scriabin. The members of the Branch are to be
congratulated on possessing in their Hon. Treasurer a musician who has devoted
very specialised study to the famous Russian composer. Mr. Parker brilliantly
acquitted himself as an exponent of his theme. He illustrated his subject by 25
selections from the composer's pianoforte works, and as the opus numbers ranged
from 2 to 69 some idea can be gathered of the completeness of Mr. Parker's
There was no doubt as to the genuineness of the members' appreciation.
Madame Hunter enhanced the enjoyableness of the evening by singing songs by
Elgar, Mallinson, Frank Bridge, César Franck and Graham Peel.
survey.
A hint to other Branches! At all meetings of the Branch tea is provided. It
stimulates a social interest, affords a pleasant break, and promotes general
good humour.
BLACKPOOL
The first gathering of the second season of this Centre took place at the
Metropole on November 3rd. A Recital of British music was given by four
proficient local members, Miss Evelyn Howarth (soprano), Miss Adair Blackwell
(violinist), Mr. Ernest Jones (baritone), and Mr. Vivian Jackson (accompanist).
There was a good attendance, and the concert was much enjoyed. Sir Cuthbert
Grundy (President) occupied the chair.
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THE BRITISH MUSIC BULLETIN
On November 17th Miss E. Allen, of Manchester, gave a delightful address on
"Musical Appreciation in Elementary Schools." A number of girls and boys from
Claremont Council School were given a typical lesson on contrast and repetition, as
applied to elementary form. An interested audience of members and school
teachers followed the lesson, and Dr. Ikin, the Director of Education, introduced
the lecturer, who is one of Dr. Carroll's assistants in scholastic work in Manchester.
A brief discussion followed in which Mr. L. H. Franceys, Miss J. Small page, and
others took part.
194
Will local members kindly note that Dr. Wood's lecture on "William Byrd,"
announced for December 15th, has been postponed in order not to clash with the
altered date of the visit of the London String Quartet at the Blackpool Chamber
Concerts.
F.H.W.
BLACKHEATH
The winter season opened on Wednesday, October 11th, when a Violin and
Pianoforté Recital was given by Miss Peggy Cochrane and Mr. John Pauer at the
Blackheath Chambers. The recital opened with Mozart's Violin and Pianoforte
Sonata in G, which was played with great spirit and at once gained the sympathy
of the audience. Mr. Pauer subsequently played a selection from Chopin's
Studies, the Intermezzo in B flat and the Rhapsody in E flat of Brahms. His
interpretation of these familiar works showed, at times, distinct originality, and
the strong character of his playing appeared to special advantage in the selections
from Brahms.. Miss Peggy Cochrane played the ballet music from
(Schubert-Kreisler), Nocturne in E minor (Chopin-Auer), Siciliano and Rigaudon
(Francoeur-Kreisler) and Violin Sonata (Eccles) with great refinement of tone and a
simplicity well adapted to the interpretation of old masters. Altogether this was
one of the most successful meetings in the history of the Branch, and the room
was literally packed to the doors. Arrangements for the winter season are now in
hand and the membership is considerably increasing. It is hoped to form an
outdoor "Carol party for singing Christmas music during December.
Rosamunde"
On Friday, October 6th, the Local Representative, Mr. Bernard Davis,
lecturing on Music and the Amateur to the South London Philharmonic
Society at Deptford Town Hall, referred to the objects of the British Music Society
and, in particular, to the work of the Blackheath Branch.
BOURNEMOUTH
Early
The winter season opened with a Lecture by Mr. Herbert Bedford entitled
Unaccompanied Songs." At the outset the lecturer divided his lecture into
three parts (1) Plan of lecture, introducing unaccompanied songs and type of
songs sung; (2) Functions of accompaniment; and (3) Modern unaccompanied
song. In the first section mention was made of the early singers such as
mendicant singers, bands, etc., and folk songs, the accompaniments to many of
them having been added after a period of 400 years. The chief functions of
accompaniments were to create an atmosphere and train the voice, and as an
example of this the Gregorian chant of the 6th century was mentioned.
instruments were dealt with, including those in use in India, China, Japan and
Central Africa. Mono-music was an old idea-so old that it had almost become
new. In order that this type of unaccompanied song could be made perfect it was
absolutely necessary to express it without the aid of external harmonic
explanation, the one difficulty to this lying in the fact that many people could not
apply these accompanying harmonies mentally, neither could they hear anything
of things they had heard too often. The lecture was suitably illustrated by
unaccompanied songs sung by Miss Esther Coleman as follow" Ships that pass
in the night" (H. Bedford), Prayer to the Wind," "Lamentation" (Cyril
Scott), "Aedh wishes for the Cloths of Heaven," "Meditation among the trees,"
66
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THE BRITISH MUSIC BULLETIN
The last leaves on the bough" (Bedford),
Indian Cradle Song."
195
"The Song of Soldiers" (Austin),
S.H.G.
BOURNEMOUTH CONSERVATOIRE OF MUSIC
A Concert in connection with the above was held at the Conservatoire on
October 31st. Two new renderings of "It was a lover and his lass" and "Take,
O take those lips away," both by Roger Quilter, were sung. Amongst the other
songs sung were those by such well-known composers as Parry, Goring Thomas,
Frank Bridge, Edward Elgar, and one arranged by Herbert Hughes. Several
pianoforte solos were given, the best known composer of thesebeing C. V. Stanford.
A.G.
BRADFORD
66
On Wednesday, October 25th, Mr. Jacob Kramer, the artist, of Leeds, gave an
interesting Lecture on "Colour in relation to Music," with the assistance of
Miss Kathleen Frise Smith at the piano. Mr. A. T. Gledhill, who presided, paid
a high tribute to Mr. Kramer's work. Mr. Kramer disclaimed any connection
with those who would demonstrate the relations of sound and colour in a rigid,
mechanical manner, although the connection between two might certainly be
proved scientifically. Beginning with painting, he differentiated between
shape," which is external and casual, and "form," which is the inner essence of
an object determining all its external aspects. A similar distinction could be
drawn between "colouring "and colour. In applying his definitions to sound,
Mr. Kramer described painting and music as one and the same thing on a
different plane. Sound was the equivalent of colour, only sensed by a different
organ. Each musical melody could be transformed into a picture and each
picture into a musical melody. Reviewing the subject in greater detail the
lecturer pointed out the irritation caused by certain colours, and after grouping
the primary colours he showed a number of diagrams illustrating a simple scale
denoted by one colour, depth of tint representing loudness of tone, and a complex
colour scheme designed to picture Scriabin's "Prelude in B minor," played by
Miss Frise Smith. Also, in illustration, Miss Smith played themes from the
works of Debussy and Teherepnin and two Chopin Nocturnes, given in the dark,
one before the lecture and the other at the conclusion.
Forthcoming Event.-Thursday, December 14th, Mechanics' Institute, The
M'Cullagh String Quartet; piano, Louie Chappell.
C.L.J.
BURNLEY
On Friday, October 20th, Mr. Moses Baritz, of Manchester, gave an enjoyable
Lecture on "The Operas of Wagner," with musical illustrations on the gramophone.
Mr. Baritz has a wonderful knowledge of his subject. His remarks, illustrations,
and unique style, captivated a large and appreciative audience. Part one included
items as follows: Overture, "The Flying Dutchman,' Lohengrin's Narration,
"Lohengrin," Prize Song, "The Mastersingers"; and part two, Entrance of the
Gods, "The Rhinegold," Wotan's Farewell, The Valkyrie," Funeral March,
Götterdämmerung." and Prelude, "Parsifal," etc.
66
The third meeting of the session was held on Friday, November 3rd,
Dr. Haworth, of Nelson, in charge of the proceedings. Cosi Fan Tutte "
(the School for Lovers) (Mozart), with illustrations by six well known local artists,
was the subject matter for a most exquisite evening's enjoyment, the singers
entering into the spirit of the song, the accompanist in perfect sympathy. Miss
Edith Widdup (Isidora) (soprano) has a bright and clear tone. Miss Jeannie Grey
(Dorabella) sang with spirit, and excellent understanding. Miss Dorothy Atkinson
(Despina) disclosed gifts of artistry and expression, the outcome of a matured and
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THE BRITISH MUSIC BULLETIN
intelligent rendition. Mr. Irvine Haworth (Ferrando) (tenor), though suffering
from a slight cold, sang throughout with fervour and enthusiasm.
He displayed
splendid control, giving a refined interpretation. Mr. George Burrows (Gratiano)
(bass), sang admirably. Mr. Harry Bolton (Don Alfonso) also sustained his part with
Dr. Haworth
dignity, maintaining a powerful tone, and singing with an easy grace.
played his own accompaniments, in addition to his performance as lecturer. He is
so well known to the Burnley Clef Club audience, that to make any remarks on his
evening's work is quite unnecessary. The audience, which numbered about
1,300 people, were charmed by a performance of outstanding merit.
J.A.H.
196
DRAKE AND TONSON'S SCHOOL, KEIGHLEY
The fourth Annual General Meeting of the Branch was held on September 18th,
with Miss Atkinson, the President, in the chair. The balance-sheet was read and
adopted, and the Committee elected for 1922-3. Arrangements for the coming
season were made, including performances of "Patience" at Keighley and at
Shipley, and a lecture by Mr. Holst, sent by Headquarters, in December. An
evening Branch is being formed at Keighley, to which members of the School
Branch will have the right of admission.
L.E.L., M.H.H.
EAST GRINSTEAD
An Inaugural Meeting of this Branch was held on Saturday, November 18th,
at 3 p.m., Mrs. Godwin King in the chair. Dr. Vaughan Williams spoke of the
great spiritual need for music, and outlined a scheme for a Competition Festival
which he hoped to see started in this district. Mr. Feilden said he hoped it would
be possible to inaugurate a Branch of the British Music Society on this occasion,
and that the work of the Competition Festival might be co-ordinated with it.
Mrs. Balkwill spoke of the aims and general purpose of the Society, and after some
debate a provisional Committee was elected and members enrolled.
enthusiasm was displayed at the meeting, which was crowded, and the Branch,
which owes its inception mainly to the initiative of Mr. Feilden and Mr. H. S.
Lawson, should have a fine future; it has already over 40 members and is
therefore a full-fledged Centre.
Great
KENSINGTON
This Centre has given five more Sunday Evening Concerts at the Venture,
Portobello Road.
On October 22nd the programme was undertaken by Mr. G. Bruce. The
concert opened with a Mozart Quartet, played by the Hill Rivington Quartet,
which also played a quartet composed by Mme. Hill Rivington herself. Mr. Philip
Wilson sang some old Lutenist songs and Miss Anne Kraft played some modern
piano solos.
On October 29th Mr. T. F. Dunhill gave a Lecture on the " Enjoyment of
Music," with illustrations ranging from Bach to Goossens, and the lecturer (as
pianist) was assisted by Miss Hildegarde Arnold ('cello) and Miss Blair Smith
(vocalist).
On November 5th Mr. Lloyd Powell gave a Piano Recital, assisted by Mr.
Arnold F. Jones, who sang some songs.
On November 12th Mr. Dunhill again arranged the programme, which
included the " Biscay Quartet," by J. B. McEwen, played by Miss Stewart, Miss
Macpherson, Miss Hart and Miss Murphy (a quartet from the Royal Academy of
Music), and two movements of Schuman's Trio in D minor was played by
Miss Bainbridge-Bell, Miss Macpherson and Miss Murphy. The vocalist was
Miss Blair Smith, who sang some French and English songs.
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THE BRITISH MUSIC BULLETIN
The programme for November 19th
was undertaken by Miss Hildegarde
Arnold, and began with Dvorak's Piano Quintet, played by Miss F. Lockwood,
Miss W. Stocker, Miss D. Bawine, Miss H. Arnold and Mr. Alan Busk.
A quartet
for four 'cellos by Kousnetzoff was also played, the artists being Mr. Douglas
Cameron, Miss Y. Morris, Miss H. Arnold and Miss L. Phillips. The vocalist was
Miss Russell, who sang two
groups of songs.
197
The same night a Social Evening for members of the Centre was held at the
Hon. Secretary's house in Edwardes Square. A number of representative British
composers were invited and also those artists who had assisted at the Venture
concerts. Our members and helpers found it both interesting and gratifying to
have the opportunity of meeting Mr. Herbert Bedford, Mr. York Bowen, Mr. L.
Collingwood, Mr. Thomas Dunhill, Mr. Nicholas Gatty, Mr. Armstrong Gibbs,
Dr. Markham Lee, Mr. C. à Becket Williams and Mr. Gerrard Williams, who were
present. Miss Teda Hilma sang some old French songs and Miss Dorothea Webb
some examples of unaccompanied songs by Mr. Herbert Bedford and others.
Mr. Philip Wilson gave a selection of old Lutenist songs, and Mr. Lloyd Powell
and Mr. York Bowen played some piano solos.
A.F.J.
LIVERPOOL
What is understood to be the first performance in England of Mr. Cyril Scott's
new pianoforte trio was given at the meeting in the Club Room, Islington, on
October 27th, when the performers were the Sidebottom Trio (Mr. T. B. Sidebottom,
Mr. E. A. Wright and Miss Emily Giles). It is peculiarly appropriate that first
performances should be given under the auspices of the Society, pledged as it is to
give every possible assistance to all branches of the art. The remainder of the
programme was taken up by a pleasant Andante from a trio by William Fenney,
and a Violin Sonata by Purcell.
The Manchester Wind Quintet on Monday, November 6th, in the Rushworth
Hall, demonstrated to our members what a delightful thing is this combination of
instruments; how little inferior to a string quartet as an expressive medium, and
what charming music has been written for the combination. The ensemble items
which showed keen understanding between the players were drawn from a variety
of sources extending from Lully and Purcell to Gabriel Pierné and Joseph Holbrooke.
In addition, the programme included a Flute Sonata by Bach, and a Clarinet
Sonata by Brahms; also bassoon solos which, as a local writer puts it, were an
object lesson in the production of a remarkably suave legato and a no less
brilliant bravura.
Madrigal Section. The appeal in the September Bulletin for the formation of
madrigal clubs in connection with the Byrd Tercentenary, has borne fruit in our
branch, where a section has been formed, with its own sub-committee, to study this
special branch of music. It has long been felt here that some opportunity should
be given for the study of concerted vocal music, and this move should provide the
means of interesting a great number of our members.
Composers' Circle. -Our composer members are also anxious to meet under for
auspices of the Centre, to discuss matters of special interest to themselves, and the
performances of their works, and a section is to be formed to provide this
opportunity.
J.B.
MANCHESTER
The first meeting of our New Works Group was held on Monday, Novem-
ber 6th. The programme, given by members, included a trio by G. F. Chapman.
songs by Helen Fothergill and J. T. Halliday, and piano selections by G. F,
Tomlinson. A Selection Committee was chosen from among members present
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THE BRITISH MUSIC BULLETIN
with power to co-opt. It was decided that although a first hearing would be given
to MSS. sent in by composers of the district, that works of both non-local and
non-British would not be excluded. It is hoped, therefore, that composers
interested will send works to Mr. Frank Merrick, 12, Parsonage Road, Withington,
Manchester. At the moment orchestral works cannot be considered. The next
meeting will be held on December 4th. Any members interested may, of course,
join this group.
198
Major J. T. Bavin, Director of the Education Department of the Federation of
British Music Industries. gave us an interesting and helpful Lecture on "The
Gramophone in School and Home" on November 13th. The experiment of
having our monthly lectures given in the afternoon as well as in the evening is
proving of value to suburban and junior members who cannot attend in the
evening.
Our next Lecture, December 11th, on "Early English Harpsichord Music," by
Mr. John Russell, Librarian of the Henry Watson Library, will also be given
twice. Miss Dean will give illustrations on the harpsichord, and the meeting will
be open to members only.
At a special meeting on November 6th our Committee for the season was
elected. We are fortunate in having secured Mr. W. R. Rains, Lloyds Bank
Limited, King Street, as Hon. Secretary, and Mr. A. R. Moon, 53, Brown Street,
has consented to act as Hon. Treasurer.
The Centre now looks forward with pleasure to its activities in its new home.
The Club Room, kindly put at our disposal by Messrs. Sir Herbert Marshall and
Sons, Ltd., is being re-decorated and furnished for us, and will be available for the
use of members very shortly.
V.E.
MARYLEBONE
66
The October meeting was again held by kind permission of Mr. and Mrs. George
Woodhouse at their Music Studio, 9, Wigmore Street, on the 28th.
The venue
and character of the meeting illustrate our desire to keep the music of this Centre
as far away as possible from the West End concert or recital. A programme of
music was given by the Harmonic Trio (Miss Olive Byrne (piano), Miss Edith
Vance ('cello) and Miss Dorothea Walenn (violin)), with intervals of song by
Mr. Stirling Mackinlay. The Harmonic Trio opened with "Five impressions
of a holiday," by Eugene Goossens, picturesque and imaginative music of a
modern character, not easy to grasp by the average musical mind but highly
stimulating and entertaining. They illustrate familiar objects and scenes from the
country side, such as "In the Hills," "The Water Wheel" and At the Fair,"
and are written on the whole tone scale. The second item played by the Harmonic
Trio consisted of two numbers from "Music Pictures," by J. H. Foulds,
"In Provence" and "Eolian Harps." These have the same aim as the
Goossens suite, they are ostensibly "Picture Music," only they go farther, in that
they endeavour to give the impression made on the composer by actual paintings,
"In Provence" being inspired by the work of La Thangue, and "Eolian Harps'
by a picture of Rossi. Whether this aim is a sound one or not is open to question,
personally I feel it is out of the province of music to seek inspiration from another
It seems like a translation at best. But taken as music these numbers are
interesting, and some novel and ingenious effects are introduced which give colour
and character to the scenes illustrated. The Harmonic Trio had a complete
understanding and ensemble, which could not have been bettered. Some Spanish
folk-songs, highly national in character and full of rich colouration, were well sung
by Mr. Stirling Mackinlay, who accompanied himself. The Spanish language, as
given by him, seems as musical as the Italian, and he further sang Norwegian
and other songs.
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BRITISH MUSIC BULLETIN
The last item on the programme was the "Miniature Trio," by Mr. F. D.
Walenn. It has a restful charm of its own, and the simplicity of design is a
change after the intricate harmonics of many modern writers. The trio contains
three movements, the andante con moto, in which the plaintive A minor theme is
treated by the strings contrapuntally; the piano accompanies noticeably throughout
In the adagio non troppo in E major we have the violin and piano
with the same theme almost through the entire movement; it struck me here
that the harmonic pattern on the piano is a little too thick and rather upsets the
balance of the three instruments. The last allegro movement is noticeable for the
There is a good deal of brilliant passage work
The trio lasts about
E.A.K.
the work.
dotted rhythm and triplet figures.
for all three, and a marked reference to the first movement.
twelve minutes, and creates an atmosphere of peace throughout.
199
Our next meeting will be held at Mr. Stirling Mackinlay's Studio, 70, Baker
Street, W. 1, on Saturday, December 2nd, at 8.15. We are promised a Lecture on
"French Modern Pianoforte Music," by Mrs. Norman O'Neill, who will illustrate
her lecture. Members of other Branches of the British Music Society will be
warmly welcomed.
NELSON
The Nelson Clef Club has begun its third season with every prospect of
continued success. The membership is between 500 and 600, and an admirable
programme has been arranged for the series of twelve meetings.
The first of these was held on October 5th. and non-members were invited to
attend, with the result that the audience numbered over 700. The Colne
Orchestral Society, under the inspired baton of Mr. C. H. Bateson, performed the
first movement of Mozart's Symphony in G minor, the second movement of
Beethoven's eighth Symphony, the second movement of Tschaikowsky's fifth
Symphony, and the last movement of Brahm's first Symphony. Mr. J. L. Wildman,
the esteemed conductor of this amateur orchestra for many years, had a great
reception when he appeared and took his position at the desk to lead the
performance of the second movement of Schubert's Unfinished Symphony. The
orchestra are to be congratulated upon their all round excellence. Their
interpretation of the Brahm's movement was particularly impressive. Miss Rossall
contributed songs by R. Strauss and Cecil Sharp, given with fine expression
and intelligence. Mr. F. Sagar sang Rienzi's Prayer and two Schubert songs.
The second meeting took place on October 17th. Mr. M. Baritz, of Manchester,
was the lecturer, his subject being "The Operas of Richard Wagner." Our
visitor proved himself to be a veritable encyclopædia on Wagner and his works.
He is an eloquent speaker, and possesses a wonderful enthusiasm for his subject.
An excellent programme of musical items from the various operas was arranged,
and all were reproduced on the gramophone. The employment of this instrument
was not entirely successful, but the lecture was very much appreciated by a large
H.D.H.
audience.
There was a packed audience at the Clef Club meeting of October 31st, when
Dr. Haworth, assisted by six local singers, gave a unique representation of
Mozart's much neglected opera "Cosi Fan Tutte." This is the third opera which
Dr. Haworth has presented at the Clef Club. On each occasion he has been
remarkably successful. Dr. Haworth's method has the rare quality of effective
originality. On this evening he opened with a brief account of Mozart's career.
He pointed out the characteristics of his genius and his influence on opera.
-but set with a
Then followed the story of the plot-"too stupid for criticism "-
natural ease to delicious music. The items from the opera, consisting fo solos,
duets, trios, a quintet and two sextets, were very creditably sung by Miss
Edith Widdup (Isidora), Miss Jennie Grey (Dorabella), Miss Dorothy Atkinson
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THE BRITISH MUSIC BULLETIN
(Despina), Mr. Irvine Haworth (Ferrando), Mr. George Burrows (Gratiano), and
Mr. Harry Bolton (Don Alfonso). Dr. Haworth accompanied at the piano. His
remarks before the items gave a coherency to the work, and added to the pleasure
of an enthusiastic audience.
H.F.
NEWCASTLE-ON-TYNE
The Newcastle Bach Choir gave a brilliant performance of Holst's "Ode to
Death" on November 11th, under the direction of the composer. As this choir
numbers only 40 voices the score had to be arranged for a small orchestra. The
unearthly rapture of the work was thoroughly realised, and made a profound
impression on the audience, several listeners requesting a second performance,
which was given at the end of the programme, practically the whole of the packed
hall remaining to hear it. After the concert Mr. Holst was entertained to tea by
the members of the local Branch of the British Music Society.
J.B.C.
PAISLEY HIGH STREET SCHOOL BRANCH
The senior division of the above school held their opening meeting on
October 7th. A programme of British composers, including Dr. Arne, Ed. German,
Coleridge-Taylor and others was very much enjoyed. As usual the meeting
closed with a few gramophone records of orchestral works of some of the composers
in hand. It has been decided that a different nationality of composers be studied
at each meeting this session.
J.N.D.
The juniors met on October 14th. The attendance was small but appreciative.
There will be a combined meeting on December 4th, when an address from
Dr. Adrian Boult is very much looked forward to.
K.R.
PALMERS GREEN
The first musical evening of this session was held on November 7th, when a
crowded audience of members and friends listened to a Recital of Chamber Music.
The quartet, consisting of Miss Ethel Izard (1st violin), Miss Evelyn Moore
(2nd violin), Mr. Herbert Collier (viola) and Mr. Reginald Neale ('cello), gave
remarkable renderings of Borodin's Quartet in D, and H. Waldo Warner's
one-movement "Phantasy," both works being performed locally for the first time.
Much appreciation was shown by the audience, particularly of the Waldo Warner
work. Miss Izard joined Miss Anderson Lounds (piano) in an extremely beautiful
and sensitive rendering of the Elgar violin sonata; this exquisite work never fails
in its appeal. Had time allowed, a repetition of the second movement would have
been enjoyed. Songs by Bemberg, Dunhill and Peel were contributed pleasingly
by Miss Amy Knightley.
An "Open Evening," with an informal programme and a brief discussion, its
subject "Music in the Home," will be held on November 21st, and a Musical
Evening, when Dr. Harold Watts will lecture on "Arne and his Music," on
December 5th.
E.M.R.
SALTBURN BRANCH
On October 10th, or more fittingly once upon a time," three gracious ladies
visited this town, and for a space wove spells of wonderful white magic, so that
the people sat entranced. They called the spells "Songs of the Hebrides," though
some were the music of words alone. The ladies were known to the world as
Marjory and Patuffa Kennedy-Fraser and Margaret Kennedy; with simple melody,
led by subtle and elusive vocal suggestion, imagination flew high till we knew the
66
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Hebrideans and their mysteries as we could not hope to know our fellow listeners.
Mental whisperings of "pentatonic scale," "skilful setting," we hushed, treasuring
glamour, refusing analysis. But what a life-work! And how lovely to feel
seven years old again!
M.E.C.
201
SHIPLEY AND SALTAIRE
Under the auspices of this Branch the Keighley British Music Society's Amateurs
gave a most successful dramatic performance of the opera "Patience" on
October 31st in the Victoria Hall, Saltaire. The opera had been specially arranged
for female voices by Miss Maud V. Stell, L.R.A.M., who also conducted the
performance. The parts had been very carefully chosen, Miss M. Wilson and
Miss E. Baldwin being particularly successful as Bunthorne and Lady Jane.
A special feature of the performance was the delightful singing of Miss Alice Stell,
as Patience, and Miss Nellie Anderson as Colonel Calverley, and Miss Jenny
Langdale's sweet voice was heard to advantage in the part of the Idyllic Poet.
All the principals, in fact, carried out their parts most successfully, and the chorus
was always sweet and well balanced. The orchestral parts were very ably played
by the Keighley Orchestral Society under the direction of Miss Stell, and the
H.C.
performance was enjoyed by a large and appreciative audience.
STRATFORD-ON-AVON
The first concert of this season was held on Friday evening, November 3rd, at
the Shakespeare Galleries. There was a very good attendance to hear the
delightful playing of Mr. Ernest Whitfield and Mr. Wilfred Ridgeway. Mrs.
Geoffrey Palmer was to have been the pianist, but she was taken ill at the last
moment, and Mr. Ridgeway deputised at very short notice, practically meeting
Mr. Whitfield for the first time at the actual performance. All the more credit is
due to both artists. The works included the Elgar Concerto, the Wolstenholme
Sonata, some varied works by Newall, etc., for violin and piano, and the Tannhauser
Overture for piano alone. At the close a very hearty vote of thanks was passed to
Mr. Whitfield and Mr. Ridgeway, also to Mrs. du Sault for the delightful opening
she had arranged for the new season.
G.B.
TUNSTALL CLEF CLUB
The first public meeting of the season took place on Monday, October 30th, in
the Town Hall, Tunstall, and if an opening night can be safely regarded as
indicative of the prospects for the remainder of the season we shall certainly excel
our previous efforts both as regards membership of the Club and attendance of the
general music-loving public. The McCullagh Quartet paid their first visit to the
Potteries, and were heard in a work of Haydn, a recently published quartet by
Pizzetti, and two pieces by Joseph Holbrooke. Miss Fanny Capper, a local artist
and member of the Club, rendered admirably several songs, including Schubert's
"Hark! Hark! The Lark" and "Margaret at the Spinning Wheel."
On Friday, November 10th, the first Members' Meeting was held in the Mecca
Café, Tunstall. These meetings, intended to be of a more social character, have
only been inaugurated this season. A short talk by the Secretary on the future
programme of the Club was followed by a talk on "Schubert," introduced by the
writer, following which there was a discussion and illustrations.
The next meeting will be sustained by local musicians, when the chief item will
be César Franck's A major Sonata by Mr. Fred Morris (violin) and Mr. W. T.
Bonner (piano).
Mr. Tom Cameron will sing songs of Wolf, Brahms and
G.A.C.
modern British composers.
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Cate
202
THE BRITISH MUSIC BULLETIN
WAKEFIELD
A Reception was held on October 19th by the City Branch of the British Music
Society in the High School for members and their friends. Lady Kathleen
Pilkington, the President of the Wakefield Branch, acted as hostess. Mr. John
Green, of Horbury, took the place of chairman and made a short speech, which
was followed by a short musical programme contributed by Miss Isobel Purdon
(violinist), Miss E. Thomson (soprano), Miss Maude Lee (pianist). Mr. Holdsworth
gave a sketch of the aims and objects of the British Music Society. He was of the
opinion that if we had more good music it might help to settle the problems of
industrial strife by making a more contented population. Everyone knew that
good music was a necessity of life. Lady Kathleen Pilkington endorsed
Mr. Holdsworth's opinion.
The first Concert of the Society will be given next month, when the Elgar String
and Piano Quintet, the Hurlstone Piano Trio and songs by British composers
will be given.
The next meeting, on December 2nd, will be a Lecture by Mr. Gustav Holst, who
is being sent by Headquarters. His subject is to be "The Education of a Composer."
YORK
On October 21st we held a Gramophone Concert in St. William's College, the
programme consisting chiefly of songs by Gervase Elwes, whose wonderful voice
recorded very well on the gramophone. We also heard the Ravel String Quartet
in F, which is to be played by the Catterall Quartet this month, and Kreutzer
Sonata of Beethoven.
The public Concert of the month took place on November 11th, when
Dr. Bairstow and Miss Sybil Eaton gave a Violin and Piano Recital. The two
main items were the Kreutzer Sonata and John Ireland's Sonata No. 1 in D minor.
The latter needs hearing again to be fully appreciated, but it made a very good
first impression, if the applause was any criterion. Besides these a group of
shorter pieces was played, including an impromptu by Dr. Bairstow on the Irish
folk-tune, "The Snowy-Breasted Pearl," which was received with more than
sufficient applause to warrant an encore, but did not get one. The concert was
greatly appreciated by the audience, which realised the high degree of artistic skill
reached by Miss Eaton and Dr. Bairstow, both individually and in co-ordination.
The Catterall Quartet visit us on December 2nd, and on the 16th we have a
Members' Evening in St. William's College.
I cannot close these notes without referring to the death of Mr. William Baines.
Members of the Society do not need to be reminded of the loss which music has
suffered, but this Centre, which was in such close touch with him, naturally feels
the immediate shock more than others. We tender our deepest sympathy to his
relatives.
C.R.A.
TEACHERS REGISTRATION
COUNCIL
Applicants for admission to the
OFFICIAL REGISTER OF TEACHERS OR
THE LIST OF ASSOCIATE TEACHERS
Should write to
the Secretary
47 Bedford Square W
PLAINSONG and its ACCOMPANIMENT
Course ensuring thorough understanding
and practical efficiency.
DR. GEORGE OLDROYD
D. MUS. (LOND.)
OUTRAM ROAD, CROYDON.
CRITTS
1 DEC 22
SE
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C.R.A.
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EVERY MEMBER
of the
British Music Society
should certainly be
a subscriber to
Music & Letters
If this quarterly is not known
to you, apply to the Secretary
of the B.M.S., who can supply
on specially favourable terms.
66
Copah
'The Music Teacher" for Nov. 1922 says:
Scarce have we one number of Music and
Letters read and digested, before another shows its
welcome buff jacket. We say 'digested' not to
imply that its contents are tough, but that they are
satisfying. A centenary article on Franck, Goossens
on the modern string quartet, Adam Carse on the
orchestral brass, a flautist on his instrument, the
masque, Commonwealth music, and half a dozen
other meaty articles make up the last number of this
healthy youngster's third year.
With your
next order for The Music Teacher add one for Music
and Letter if you don't already subscribe. We are
in for some good things in Volume IV, for we are
certain Mr. Fox-Strangeways means to make his
quarterly ever better and better. It is the only
general musical review in the country
and
deserves support from all keen musicians."
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Ocr'd Text:
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