1964

L books [ Tailoring Under the supervision of most We. books our London-trained cutter silver I I:S. C. TRI N ITY N EWS | GOWNS, HOODS, ,aheny. books CASSOCKS, BLAZERS livered I )Oste~ A Dublin University Undergraduate Weekly 3 CHURCH LANE 01. HOD6ES FIG61S COLLEGE GREEN bretta,. IIRYSON ... where else ? THURSDAY, 3rd DECEMBER, 1963 PRICE THREEPENCE match. LTD. :heese COMMONS AT CROSSROADS? S.R.C. Committee Reports

The S.R.C. Sub-Committee which was recently set up to investigate Commons has completed its report. It expanded its terms of reference to include all aspects of evening catering, and its inquiry proceeded along the three lines of examining relevant documents, interviewing various bodies of College opinion, and assessing undergraduate feelings; Under the first head it was made voluntary and argued that seen that the Board had appointed three aims should be sought. a committee under Professor These are, in order of priority, Moody which suggested the pro- the saving of the historic vision of an evening meal for non- Commons as a common, orderly resident students. This was and graced meal for staff and accepted by the Board which students, the provision of a asked the Agent and Treasurer to wholesome meal at the lowest examine its practical application. possible price, and the saving of From their investigations the the " Cista Communis" from all following facts emerged: unnecessary expense. Commons is expensive because From the results of the of the use of waiters, the pro- questionnaire held by the S.R.C. ns vision of stout and the variations to assess undergraduate opinion ,, in attendance. At present it is it emerges that " there is a being subsidised by about £3,500 demand for an evening meal in per year. Since costs are likely College for all classes which is to rise and since kitchen capacity sufficient to make it a practical is stretched, the Board will have .proposition," and that " there ONLY TWENTY-THREE DAYS TO GO .... to decide whether Commons will is sufficient support for one --Photo " Irish Times ’" be maintained whatever the cost voluntary Commons." of providing it. An evening meal for outside students cannot be UNREST IN NEW S,R.C. Elections provided at the same time as a W.U.S. Week Last week we stated that T. M. traditional compulsory Commons L. Stuart had been elected to the on account of physical re- SCHOOL S.R.C. for the Mod. Lang. faculty. strictions. Profits This was a typographical error On the basis of that evidence There has been trouble in the new School of Business Studies the Board decided at the begin- W.U.S. Week is over for and we wish to apologise to Mr. another year and it is now between the staff and third-year undergraduates. Bitterness has been Stuart for any embarrassment ning of June to provide an evening aroused over the nature of the course which, some of the students meal for all, and retain only a possible to stand back and look that he may have been caused by .single voluntary Commons. With- at the results. These are, in fact, maintain, has not been properly planned. this. m a fortnight, however that most encouraging, showing a nett The Divinity School wish to profit of over £200 and a marked Bad feeling was first created by When questioned about the un- decision was changed after pro- the fact that a huge proportion have it pointed out: (a) that they tests were made by Dr. Luce, the improvement on last year’s total. easiness in the Faculty, Mr. had the highest po11---96.1 per tutors, and the Standing Com- On the whole, plain, straight of last year’s Senior Freshmen Pakenham-Walsh admitted that cent. of eligible voters; (b) mittee of the Junior Fellows. forward collections, with no over- were failed on the basis of the he had received a representative that since the first results (which Dr. Luce pointed out that the head expenses, seem to have been results in Accountancy alone. The committee from the students. He we used for our news story) the most successful methods of principal complaint, however, has were published a revision has Statutes would have to be raising money and over £33 found said that most of them seemed changed before Commons was been made to the percentage of their way into the carboy at been the large amount of work unable to use a book-list properly spoiled votes cast in that School. Front Gate from collections on which pupils are expected to and discounted the large failure The new figure is 20.1, which, the march and at Fiesta and the cover before their exams in April. race in Accountancy by pointing however, leaves the Divinity soccer and rugby matches. Similar One student told us that 145 out that many people did not School still at the top of the have " numerical intelligence." He methods outside the all-night books and 50 periodicals were de- spoiled votes poll, its nearest bridge match in Eason’s shop also said that the students’ rival being the Engineering School Relax window raised over £20. scribed as " essential reading " in strongest case lay in the fact that with 3 per cent. Perhaps the most popular item one month. There was also con- they were the pioneers in the new on the programme was the folk- fusion over the standard which faculty, and that he was prepared singing evening organised most was expected in the compulsory to discuss problems with them. with a successfully by the new College language. No clear ruling on that However, " the habit of work" LABOUR’S Folk-singing Society. Both attics was given until well after the did not " seem to be ingrained in of the G.M.B. were packed and a middle of term after many weeks many of them." LOST forge sum of money was raised of vacillation. for W.U.S. Book The saddest aspect of this week YEARS was U.C.D.’s inabilky to partici- The pate fully in all the functions By JOHN DARLEY because W.U.S. is not yet recog- D.V.: nised by the authorities there, PEN SHOP . However, recognition has been 4/5 SUFFOLK ST. Prionnsias Mac Aonghusa APCK app!ied for and we hope to have We specialise in Bookseliers and Pub//sber: their full support and co-opera- tion next year. PARKER, SHEAFFERS 37 DAWSON ST. The Secretary and Treasurer of and all leading brands of To-night W.U.S. in Trinity would like to Fountain Pens. B R 0 WN’S at the DUBLIN 2 thank all the individuals and J596 College societies whose help Sales and Service 139 St. Stephen’s Green PHIL i made the week such a success. 2 December 3rd, 1964 TRINITY NEWS TRINITY NEWS PLAYERS and Dinter A Dublin University Undergraduate Weekly By Michael Gilmour No. S Vol. Xll Thursday, 3rd December, 1964 The recurring problem of communication The over-fussy naturalism and the inconclusive between people is seen in " The Collection " and climaxes left too many loose ends waiting to be Chairman: ’" The Lovers" as not so much of lack of corn- tied up which severely weakened the impact. Douglas Halliday ’./. munication, but the evasion of it. In both plays If James set out to find the truth that is the Vice-Chairman: the characters are intelligent and alert enough last thing that Richard and Sarah want to find in " The Lovers." Here the naive escapist world of Jefferson Horsley to communicate if they wanted to, but for various reasons they don’t, bears and squirrels which Osborne created in " Look Back in Anger" has grown up in Pinter’s Editors: The Collection was originally conceived for Bill Hutchinson, Mirabel Walker, Robin Knight hands into a kind of sexual charade.,, television and the change of media in this pro- The casual opening remark, Is your lover Business Board: duction has not been altogether successful. The coming to-day?" the objective depersonalised plot has as its focal point the unknown act. Did arrangements immediately set the atmosphere Max Unwin, Charles Halliday, Hamish McRae. Bill, a young fashion designer, sleep with another ¯ which is gradually developed and intensified Secretary: man’s wife during a business stay in Leeds~ Pinter throughout. Richard and Sarah are supposedly Caroline Western gives fragmentary views from all who are con- happily married; that is their facade. Their cerned. Stella, the wife, admits it; her husband domesticity is cold and sterile. The evasion from (i James is inclined to believe her but is determined to find out the truth behind it all. The supposed communication on this level is complete. Yet i when Sarah’s lover does arrive he turns out to be ANY OLD RAGS ? lover Bill as first denies, then hints and finally none other than her husband. , i elaborates, while his patron Harry is doing his own To counteract the lifeless husband and wife bit of detective work. The story gets twisted, W.U.S. Week is over. This, one of our first embryos of a Rag lie piles upon lie, equivocation upon equivocation, relationship, Richard plays protector, aggressor, Week, has once again managed to restrain itself to the channelling of and James is left not much the wiser. consoler, accomplice and finally lover. Sarah in student charity into the more intelligent (and slightly less extrovertal) turn plays the conscientious housewife, the inno- These fragments needed the decisive move- cent, the mistress and the whore. On one level pipe-lines of extravaganza. Dublin has never really known a Rag ment of a television camera for the full contrast it is partly a game and partly a salvage operation Week proper, and any movement towards introducing such an in- of moods to be achieved. The play requires two on another it is a means of reaching into them- stitution could possibly bring disastrous results. The English Rags very different rooms and a telephone kiosk; by selves and rebuilding a world in which they can deciding to work within three angled sets, Patsi !, become little more than an excuse for an annual orgy of destruction, both live. A sad nightmare, but it is a world of Warwick, the director, gave herself an almost un- sorts nonetheless. with the (slightly soured) ’ milk of human kindness’ argument poured surmountable problem. The sets themselves are "The over it to make the whole thing palatable. Indeed, the charity aspect In Lovers," Pinter returns to the familiar magnificently accurate and ingenious, but they one-room image, but unlike his earlier plays the of the Rag is often lost and usually forgotten in the fantastic near- limited the actual playing space and made a quick menace or fear is not external infiltrating into hysteria that takes a hold of what were initially well meaning but movement from one set to another virtually that room, but it is inside the room already. There .) slightly naive students. The organisers become obsessed with raising impossible. Where there should have been brief are only occasional references to the forces out- pauses there were long blackouts and the mood side and one hilarious moment of bathos when the % the target to be achieved, adding, purely in passing, that the extra suffered. money will be divided amongst numerous deserving charities. One doorbell rings and instead of the lover it is the wonders whether, if they were in a position to choose, these un- Yet with the controlled underplaying much milkman. But the menace"ls the desire to have consulted vehicles to student terrorism would approve of the some- was achieved. The juxtaposition of the expected things clear and unequivocal which is part of what dubious methods used to collect money in their names. and the unexpected was fully effective, but the basic human nature and almost impossible to climaxes were all missed. When James comes after vanquish." This is the real threat to their world. It cannot be denied that Rags as a whole raise more money than Bill, who sees him as the unknown menace, the Ranald Graham has directed with his attention any other more civilised method of collection. However, if we look ritualistic reversal of the host: guest, defender: firmly on the script and not let himself be side- back at the results of last year’s Famine Relief Week (which is, per- attacker, relationship culminating with James’ tracked into artificiality. He has kept the play haps, the institution most comparable to a Rag) it will be found sudden move forward and Bill’s falling on the floor moving and direct. Constantin de Goguel and that the results fell only slightly short of the amount raised by the was a tepid nothing, utterly devoid of tension. Judy Monahan achieve a rapport which is superb Southampton University students who felt it necessary to break into Much more could have been made of it. and completely essential to the play. ,) Parkhurst Jail and write "Soton Rag" on the prison’s compound walls I. The acting had little depth to it, and if it was In Judy Monahan, Players have found an actress in order to make their case for public philantrophy. Dublin is too not inspired then at least it was workmanlike. who with discipline will be very good indeed. At small a city and Trinity too important a part of it to be able to Nigel Ramage’s Harry had all the sauvity but only the moment she is still indecisive over changes in stomach a fully-blown Rag. In the past there have been vague attempts glimpses of the sinister undertones implicit in the character that the part demands and her voice at a Rag that have, however, quickly degenerated in West-side story- character. Douglas Henderson’s Bill was straight lacks control. But that she was able to bring the ?, type gang warfare. This College has both reputations to keep up and i2, out of the world of Compact and chi-chi coffee depth and sensitivity to the part that she did is a J: live down. Trinity has always seemed rather distant to most ordinary bars, but there was no trace of the slum-boy fair enough indication of her potential. Dubliners and the descending of several hundred paint-potted money- background or attitude. As James, Max Stafford- Constantin de Goguel proved yet again his hungry students on the city (complete with all the normal Rag Week Clark got the tone of the distraught aggressor amazing versatility. Perhaps his Richard was a 1 gimmicks) could only result in resentment by the slightly bemused just right and Michele Berriedale.Johnson as Stella shade too studied, too tense; but this only slightly citizens--the border between good publicity and "over-kill " is very expressed the agonised ache which was all the upset the balance and the insight that went into fine. Receipts would very likely fall. Coupled with this, Trinity’s part allowed her to do. his performance. reputation as a centre of civilised learning would suffer, and we would i: sink into a morass of redbrick stupification. Let’s just try to keep our heads above that. !! This week we publish our music supplement. The Chairman wishes to express his sincerest thanks to Colin Smythe who was in charge of OLl4 d . . . thi: production from its inception to its publication. Without him, the supplement could not have appeared in such an excellently organised fashion. On Wedneseday evening we Dunne gave a radiant Jane Baxter to gin at about three o’clock. It took a Chance on Merrion Square the heat treatment and solicited all had a remarkable effect on New and Second Hand 2-COURSE LUNCHEON 3/9 AT and found Gillie dispensing gin an invitation to her party. Mean- Barry Hannigan who spent at Booksellers and gracious living. (The former while Helen Campbell was single least an hour swinging on a door Ray’s Restaurant rather more than the latter by but heavenly and mistaken, while murmuring "schvodka’, to any- GREENE & CO. the end of the evening.) Carris Berkely was preened, one who happened to enquire polite and impertinaceous. Rob 16 Clare Street. 15 WICKLOW STREET Lot No. 214, Junior Fresh how he was. In fact, " schvodka " Francis Gilbert hawked himself Ervine-Andrews fawned on A to was the one thing it was not. unsuccessfully to bidders Frances N but said that his cocktail party Will Fitzhugh lost one of his Whidborne and Gillie Hawser but was to be so exclusive that he teeth in some bread and cheese¯ eventually found a buyer, Penny hadn’t invited himself. Suzanne The other three hosts, Altaras, THE Oakley. Jeff Thurley had no Jackson synthesized t h e un- Mathew and Greaves, were a bit difficulty at all in selling himself mouthed conversation of Paul like the three bears, one large, Turkey Sue gobbled him up at Thompson with James Stevenson one small and one medium. Chris. MAJOR SOCIETIES’ speed and only regurgitated him who was not heard to ask Dr. Oakley rather lowered the tone in favour of John Tylor. Church if he had read the article of the party, but all was retrieved ilAdrian Hamilton expounded ad on sex in the "News of the when Sheelagh McBratney swept Wo r I d." lan Stainton-Jones BALL infinitum et nauseam on his in surrounded by dinner-jacketed grandmother’s chickens, practised being a successful swains, straight from the Four but Russian cosmonaut, and Melissa w//l take p/ace on George Harris had no need for P’s. Simon Boler was easily the words with the lovely Miss Stanford mentally hugged every- mod-est there; Charles Taylor McCormick. body. Afterwards I saw that just modest until he collapsed, FEBRUARY 2nd 1965 bearded clandestine half-editor oh very gracefully full length on Wanted: A piece of string by Peter Gower in conclave with Bernadine O’Neill--for keeping a sofa and was heard no more. at the M. G. B. Lowes and Jo Pirie Ann and Hugh Iremonger had her eyes inside her head and tying loving Alan Smith. admirers on. Eugen Lamb proved to be an given up their struggle outside INTERCONTINENTAL HOTEL Friday evening saw the resort immaculate host on Saturday, Kilmartins to join the party¯ of many to the Leeson Street Andrew Gibb achieved the con- / plying his willing guests first with quest of the year, none other than Tickets 25 - {inc. Dinner) dwelling of Gordon Bolton, Mark whiskey-based wine cup (closely Davies, Alastair Kane and guarded by Snakebite), then with Jane (the Berg) Lip, scomb.-keep Geoffray Perrin. Slick David it up Andrew, were proud of straight whiskey until we went on you! 2

THE BICENTENARY OF THE CHAIR OF MUSIC usive :o be t. ; the id in Id of d in iter’s lover Jised )here ;ified sedly Fheir from Yet o be wife ssor, h in nno- level ition ~em- can d of filiar the into here out- i the the have t of : to ~rld, ition dale- play and ~erb

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It on at OOF any- uire ka " not. his :ese. ~ras, bit ~rge, hris. :one :ved ~ept ~ted :our the ylor sed. 1764--1964 or] Ore. had side :rty. ]OR- :h;3q A Trinity News Supplement :eep of 3re MUSIC SUPPLEMENT 3rd December, 1964 TRINITY NEWS THE CONTRIBUTORS A Dublin University Undergraduate Weekly The Duke of Wellington was born in Dublin in 18135, went to Eton, and entered the Diplomatic Service Vol. XII Thursday, 3rd December, 1964 No. 5 in 1908, serving as Secretary at Petrograd, Constantinople and Rome, retiring in 1919. During the Second World War he was a Lieutenant-Colonel in the Grenadier Guards, serving with the British Expeditionary Force from 1939-40, the Middle East Force in 1942, and the Central Mediterranean Force in 1943, during MUSIC SUPPLEMENT which year he succeeded to the Dukedom. He was Lord Lieutenant of the County of London from 1944 to 1949, and of Hampshire from 1949 to 1960, was Chancellor of the University of Southampton from EDITED AND PRODUCED 1951 to 1962, and has been Governor of the Isle of Wight since 1956. He was created a Knight of the Garter in 1951, and from 1950 to 1957 was a Trustee of the National Gallery. His publications include BY an ’" Iconography of the 1st Duke of Wellington," written in collaboration with John Steegman, pub- COLIN SMYTHE lished in 1935, and " The Journal of Mrs. Arbutnot, 1820-32," edited with Francis Bamford and published in 1950.

Michael Tippett was born in 1905 and studited composition with Charles Wood and R. O. Morris and conducting with Sir Adrian Boult and Sir Malcolm Sargent. In 1940 he was appointed as musical director Ever since I joined " Trinity News " three years ago my aim has and choral conductor at Morley College, London, which post he held until 1952. His fame rests chiefly been to produce a Music Supplement, but it has only been just now on the oratorio "A Child of Our Time," the " Concerto for Double String Orchestra," and the operas that a suitable opportunity for the production of one has presented " The Midsummer Marriage" and " King Priam." His other works include the song-cycles " Boyhood’s i itself. I hoped to combine a programme of the bicentenary cele- End " and " The Heart’s Assurance," two symphonies, three string quartets, a piano concerto and piano brations with articles from a number of musical personalities who sonata and the " Fantasia Concertante on a theme of Corelli." He is a broadcaster and writer; his book i were to take part in them and invite other leading figures in Ireland " Moving into Aquarius" was published in 1959. to contribute, so as to give as wide a glimpse of Irish musical life as possible. This, unfortunately, was not altogether successful as neither Joseph Groocock was born in Croydon in 1913. He was a chorister at St. Michael’s in Tenbury and then , Dr. Donald O’Sullivan nor Dr. A. J. Potter were able to accept the invitation. I was also unable to get anyone to write on the Jazz scene a scholarshin in Classics and Music brought him to St. Edward’s, Oxford. He completed his official in Ireland to-day. However, I have included two contributions which education as a pupil of Dr. Thomas Armstrong at Christchurch, Oxford, where he received his Mus.B. In might be described as light refreshment after an interesting and (I 1935 he was appointed Precentor at St. Columba’s College and since 1944 has been conductor of the hope) stimulating collection of articles; one is a schoolmaster’s view University’s Choral Society. He is the music organiser for the Foras Eireann/Carnegie Plan for the of Pop music and the other a light-hearted history of the Twist by a encouragement of musical activity in Ireland and administrator of the Dorothy Mayer Foundation. His recent graduate of this University. compositions include numerous Choral works published by Chesters and Elkins and which have been broadcast on the B.B.C. and Radio Eireann. To-day he receives his Honorary Doctorate in Music from I wish to thank all the contributors for their articles in this this University. Supplement. A lot of work obviously went into their essays and I am particularly grateful to Dr. Groocock as he has had an extremely hectic time recently. My thanks, of course, to Prof. Boydell who has been Aloys Fleischmann was educated at Scoile Ite, Christian Brothers’ College, Cork, and St. Finbarr’s Seminary, very helpful and who modelled the original score of the supplement, Farrenferris, Cork. In 1927 he entered University College, Cork, and graduated in 1930 with First Class and to those who have given me much advice as to the layout and Honors in English and German, and in the following year received his Mus.B. From then until 1934, he design of the pages. I am extremly grateful to the Royal Opera House, attended post-graduate courses at the State Academy of Music and the University in Munich, when he was Covent Garden, who allowed me to search through their files to appointed acting Professor of Music at U.C.C. and then to the Chair of Music in 1935, which he has held find a suitable photograph from one of Michael Tippett’s operas. since then. He was a founder of the Cork Symphony Orchestra in 1934 and the Cork Orchestral Society in 1939. He was the initiator of the Cork International Choral Festival which was founded in 1954 and Financially this supplement would not have been possible had it not been for the generous grant of £50 from the T.C.D. Trust and the has been Chairman of it since then. His publications in English (mainly) and German are numerous, the help promised by the Standing Committee of Clubs and Societies, most important being " Music in Ireland," a symposium which he edited and was published by the Cork and those firms who of their charity have kindly advertised on these University Press in 1953, and " Music in Munster," which appeared in the Irish Art Handbook in 1943. He is a contributor to " Grove’s Dictionary," the " Encyclopaedia Americana," the " Encyclopaedia de la pages. Musique, Edition Fasquelle." For his services to Irish music, the University is to-day conferring an Honorary Mus.D. upon him.

Anthony Hughes was born in Dublin, 1928. His general education was received at C.B.S., Synge Street, and his musical education was pursued at the Royal Irish Acamedy of Music and at University College, L Dublin, where he obtained the B.Mus. degree in 1949. Three years later he won a Travelling Studentship in Music awarded by the National University of Ireland which enabled him to study in 1953-54 in Vienna composition with Dr. Karl Schiste and piano with Bruno Seidlhofer. On his return in 1955 he obtained the D.Mus. degree, and was appointed assistant to Dr. John F. Larchet in U.C.D. He succeeded Dr. Larchet as Professor of Music in 1958. He had taught piano at the R.I.A.M., 1947-58. As pianist he has given MICHAEL McNAMARA recitals in London, Paris and Vienna, while in Ireland he has frequently been soloist with the Radio Eireann ii Symphony Orchestra, has given recitals throughout the country and broadcast in many chamber music pro- Michael McNamara is Principal grammes. In 1956 he was awarded the Arnold Bax Memorial Medal. He has lectured extensively in of the College of Music, Dublin, Ireland for Foras Eireann. He is currently Chairman of the Feis Ceoil Association and Chairman of the This position he had held now R.D.S. Music Committee. for ten years and it is fitting that he should receive an Honorary M.A. from Trinity College after Philip Cranmer: Music Scholar, Christ Church, Oxford, 1935; Assistant Music Master, Wellington College, a decade at this post. He has 1938; Royal Artillery, 1940-46; Director of Music, King Edward’s School, Birmingham, 1946; Staff Accom- long been associated with the panist, B.B.C., Midland Region, 1948; Lecturer in Music, Birmingham University, 1950; Hamilton Harty School as he joined it in 1928. He Professsor of Music, the Queen’s University of Belfast since 1954; Fellow of the Royal College of Organists; became an L.T.C.L. in 1933 and Past President of the Society of Professional Musicians in Ulster. A.R.C.M. in 1934. Married with six children--"the Se6irse Bodley was born in Dublin in 1933. In 1956 he received the Arts Council Prize for Composition first and last are girls" m his and the National University of Ireland Travelling Studentship, and in 1957-59 studied in Germany under 18-year-old son Brian, who has Johann Nepomuk David (composition), Alfred Kreutz (piano) and Hans Mueller-Kray (conducting). won every Feis Ceoil honour, is Since 1959 he has lectured on the staff of the Music Department of University College, his Doctorate already following in his father’s being awarded in 1960. In 1962 he received the Macaulay Fellowship in Musical Composition. He has musical footsteps and is backed been active as a conductor, pianist and adjudicator, his works receiving performances in America, by critics for a brilliant future. Germany, Belgium, France, Australia, and Iceland. His record of "Music for Strings" was issued by Decca This, naturally, pleases his father: (America). In 1964 he was appointed Director of Studies in Irish Folk Music at University College, m"l am looking forward to Dublin. His Chamber Symphony will be performed during the next series of public concerts at the "1 am looking forward to Brian’s Gaiety under the baton of Tibor Paul. development as a violinist." Principal of a college with 1,600 Hans Waldemar Rosen, born 1904 in Dresden, studied at the Landeskonservatorium Leipzig conducting pupils and 40 teachers, he re- ~lrish Times members his own early days, after (Hochkofler), composition (Karg-Elert), piano (Martienssen) and at the universities Leipzig (Kroyer) leaving the Christian Brothers in over twelve years of age. Five or and Innsbruck (Rud. von. Ficker and W. Fischer). 1930: Dr.Phil., thesis: " The liturgical works of Johannes Dublin: "1 was always interested six is the best age to start either de Limburgia acc. to Cod. Bologna Lic. Mus. 37." Theatre conductor, 1933-’39, Leipzig, Music Critic in music and started to study it the piano or the violin." " Leipziger Neueste Nachrichten," editor of Gewandhaus programmes, co-editor " AIIgemeine Musik- with Patrick Delaney and Arthur Zeitung," conductor university choir, radio correspondent on music, etc. During first war years service Darley. I suppose it was the love Playing an important part in in office for preservation of musical activity in Berlin; 1943, conscripted, sound expert in radio reporter of music that made me do it first, bringing much-needed music into unit; 1944, prisoner of war in England; 1947-48, viola player in travelling P.O.W. string quartet; 1948, then I found that I would be more our lives, he enjoys his work released to Ireland; choir conductor, Radio Eireann; since, 1962, Vocal Director. successful at it than anything else, which is our pleasure. A direct, so here I am." likeable person, with a friendly His favourite instrument is still manner, he will always be the Brian Boydell was born in 1917, being educated in Dublin, at the Dragon School, Oxford, and Rugby same, no matter what degrees or where he won the Peppin Cup for Pianoforte. He entered Clare College, Cambridge, where he graduated the violin. "1 like to play a little other honours come his way. in 1938 with a First Class Hons. degree in the Natural Science Tripos (Geology, Physiology, Organic and for pleasure," he regrets ~hat "l Bio-Chemistry). He had also been to Heidelberg for a short period of study in 1935. He studied at the started too late to be a good (My thanks to Michael O’Reilly and Royal College of Music under Patrick Holley and Herbert Howells for composition and paper work, player so concentrated on the the " Irish Independent" for allowing teaching side." He is a firm me to make use of a profile of Michael Shepley and Goosens for oboe, Angus Morrison for piano and Louise Trenton and Lady Harty for singing. believer in starting early. "1 McNamara which appeared about a At the Royal Irish Academy of Music he studied compostion, harmon and counterpoint with Dr. Larchet. month ago.--Ed.). He is a Licentiate in Singing at the Academy. He became Professor of Music at Dublin University in don’t advise anyone to commence 1962 where he had received his Mus.B. in 1942 and Mus.D. in 1959. 3rd December, 1964 1964 MUSIC SUPPLEMENT ¯- (

.’ o0 rv’ e i GARRET WESLEY ~nary uring 1944 from ,f the dude EARL OF pub- MORNINGTON ished

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then Fficial AT DUBLIN UNIVERSITY L In f the ¯ the His been By HIS GRACE from THE DUKE OF WELLINGTON nary, Class 4, he ; was held ciety Garret Wesley was born on July 9th, 1736, to Richard Wesley and his affairs became more and and of Dangan Castle, Co. Meather, and Elizabeth Sale, his wife. Mrs. more complicated and gloomy as --Photo: Salmon of Winchester. , the Wesley descended from a family of ecclesiastical lawyers. Richard his family increased. By the year :ork Wesley was the younger son of Henry Colley of Carbery Castle. The 1780, they all had to move to He Colleys had been settled in Ireland since Tudor times and had built London and the only letter of le la the Castles of Edenderry and Carbery. The Wellesleys had emigrated Lord Mornington which is known ~rary from Somerset to Ireland in the 13th century. They died out in 1728 to survive was written from there and the last Wellesley bequeather his estates to his cousin Richard in October, 1780, to his Irish C011ey, who took the name of Wesley. This was a contraction agent William Lyndon. It appears of Wellesley and has no connection whatever with the Wesleys of from this letter that of the £8,000 NOVELLO reet, Epworth. a year accruing from the Irish lege, But we must return to young the next year, he married Ann estates, £2,200 was allocated to BOOKS tship Garret. He early showed signs Hill, daughter of a brother of pay interest on mortgages and enna of being a musical prodigy and Lord Hillsborough. Mr. Hill was loans and there were outstanding ~ined was composing before he was 14. a banker. At this time Lord debts. Altogether the picture is ON "chet He stuck to the violin till that Mornington’s income "was the a very gloomy one. The letter ~iven age and then he took to the very comfortable one of £8,000 ends on a true Micawber note MUSIC eann harpsichord from which he was a year and the young couple lived with a request to Mr. Lyndon to pro- frequently chased by his sisters in a big house in Merrion Street buy ten lottery tickets. y in who said that he spoiled the in- and at Dangan. During the last Lord Mornington died in the strument. He played the organ weeks of the reign of George II, London in May, 1781, and was at the age of 15½. in the autumn of 1760, Lord buried in a vault in the Grosvenor H. K. Andrews Mrs. Delaney’s letters contain Mornington was raised to an Chapel. The bill for his funeral AN INTRODUCTION TO THE earldom. The reasons for this expenses has survived; it amounts ]ege, accounts of the life at Dangan TECHNIQUE OF PALESTRINA 30s :om- where existence was cultivated step in the peerage are not very to the considerable sum of larty and musical. Richard Wesley was obvious, but he seems to have £80 15s. 9d., which, in view of ~ists; raised to the peerage as Baron taken a prominent part in the life the straitened circumstances of Wilfred Dunwell Morning in 1748 and he seems to of Dublin. He raised large sums the family, appears to be very have spent money lavishly on the of money for charity by his extravagant. The bill includes a THE EVOLUTION OF house and gardens at Dangan. concerts and was Chairman of fine of £2 10s. 0d. for burial in 20th CENTURY HARMONY tion Little now remains except two the Governing Body of the Lock linen. 35s ~der Obelisks designed by Cassels. Hospital. This, in brief outline, is the life ng). Lord Mornington gave his son at Lord and Lady Mornington had of an amiable but ineffectual man Walter Emery ,rate the age of 12 a History of Greek a large family of whom five sons who died at the age of 45 leaving has Antiquities in two volumes which and one daughter survived to a widow and a young family very BACH’S ORNAMENTS 15s 6d rica, perhaps s how s the general maturity and marriage. All the poorly off. But Lord Nornington, ecca bookish tastes of the boy apart sons rose to eminence and the apart from the fact that he sired ege, from his love of music. third became the 1st Duke of a very remarkable family, has a Arthur Hutchings the In 1758, Lord Morning died and Wellington. Descendants in the claim to remembrance in himself. THE INVENTION AND was succeeded by his son, then male line of the two elder sons His published works include II aged 22. In the same year, the having died out, the earldom of collections of ~lees, catches, COMPOSITION OF MUSIC 30s :ting latter founded a musical academy Mornington merged with the madrigals and similar works. His for amateurs which met in Fish- dukedom of Wellington in 1863. glees " Here in Cool Grot" and yer) John Wilson ~nes amble Street, and gave concerts In 1764, Lord Mornington was " When for the World’s Repose" ritic often for charity. In the same made firstly Doctor and then, are still frequently performed, ROGER NORTH ON MUSIC year, 1758, the young Lord shortly afterwards, first Professor isik- and his chants, though now a selection from his essays 42s vice Mornington courted Lady Louisa of Music at Trinity College. He seldom heard, remained popular ,rter Lennox, daughter of the Duke of was then 26. It is this event that during the whole of the 19th 948, Richmond, the Lord Lieutenant. we are now celebrating. century. Unpublished works still At first he was well received and Very little is known of the life existing in manuscript include in- encouraged, but later dropped on of the young couple in Merrion cidental music for a cantata NOVELLO & COMPANY the appearance as a suitor of Mr. Street and Dangan. Lord LTD |gby Connolly who, according to Mrs. Morning had all the business in- "Caractacus" and a march for ~ted Delaney, had double his fortune competence which might be the installation of the Duke of and and half his merit. However, in expected from a musical genius Bedford as Lord Lieutenant. 160 Wardour Street the N.B.--The picture of Garret Wesley, Earl of Mornington, which is reproduced by courtesy of the London W1 Dike of Wellington on the front page of this supplement, is the only picture which can be identified with certainty as being a portrait of the Earl. It was painted about the time he became Professor of Music at this University and has come to the present Duke of Wellington by family descent. C.P.S. 3rd December, 1964 4 MUSIC SUPPLEMENT

An interview with-

MICHAEL TIPPETT

be difficult not only technically that music uses or sets words and especially in the latest form like but also emotionally. At the the setting of words, of course, the theatre of cruelty and so same time, of course, there is a complicates the issue in that the forth; but it doesn’t seem to great deal of quite satisfactory words may contain messages, if have a great relevance to the sub- music being written for large we know what that term means. sisting music of musical works or school orchestras by very good And by that process of analogy art. /" composers which is scaled down. we come to the conclusion that Who was the greatest English ,! Thus the question boils down to music may itself contain messages. composer in the past? " For whom are you writing?" In general, music springs from an Two of them in different On the whole the answer is that ethos of some kind in which the periods are very great. One was MICHAEL TIPPETT. Photo: Axel Poillnant, music which is going to subsist composer lives or which he l~yrd and the other was Purcell. does not in the end get more expresses, and in this sense there I think to a certain extent we difficult than the techniques of is always some ethos behind hold them in esteem partly every kind of music which has through our own temperament. performance in instruments is an the professional players who are Is music becoming too difficult going to play it. ever been written: I should say I would have said that an older to perform,? excitement to a professional that that is a necessity, but I player and he likes having music figure like Vaughan Williams was Some is and some isn’t. There Does music carry a message? would never phrase it in terms closer to the Elizabethans, and is obviously a response from for it. He is not so keen about t h at music really conveys a music whose esoteric complexities I don’t think that music that Britten and myself, for composers of the present time to carries a message, if by message message. It inhabits a certain example, are closer to t h e the virtuosity of young players. of utterance make him feel that kind of world and that world is ? you mean an intellectual or Restoration and to Purcell, but This is increasing and apparently he is unsure what the music is proper for it to express, but if ~7 about at all. There are, there- ethical--possibly ethical certainly this doesn’t mean we don’t the performers enjoy using their not moral--message. We are you start naming the ethical, appreciate them both. To a virtuosity for playing so that the fore, two differing kinds of com- moral or other intellectual con- ,k plexities and modern music can bothered in a sense by the fact certain extent the technical things actual technical virtuosity of cepts that appear to be expressed, which Purcell offers to t h e then you falsify the music in English composer, music for the some strange way. theatre with a high degree of coloratura and dramatic articula- p, What branch of music holds the tion of the English language, are most hope for the future? very important. At the same time, This is really too big a question; as he was a very great composer in the sense that music is so very i’ he is almost a necessity for Moct ern Festival Pieces much a social art that changes in English composers of this time, social habits can always bring one whereas t h e possibly greater Edited by LIONEL SALTER. 2s. 6d. each branch further than another. At music of Byrd and his peers like the present moment in the con- Gibbons is less close to us so A Granded Piano Series of High Musical Merit cert world, the music of large that we have to search a bit in concert halls and theatres has order to obtain his greatness. more resonance amongst t he INT (13) When we go back to another E (10-11) public than chamber music. But figure who had a tremendous PERCY JUDD BRIAN BOYDELL this may easily change; for Dance for an Ancient Ritual name like Dunstable we are Wistful Tune example through intimate tele- really unclear because we have to vision. I should say as far as the accept him as being something DAVID COX future is concerned, that opera E (11) without any living experience, Indian Ritual Dance certainly has a continuing and much as we have to accept a Country Dance exciting future. Probably all person like P&otin who was LIONEL SALTER branches such as we know at the called the greatest composer of ME (11) Spooks present time will go on because his day. We don’t know why DAVID COX they feed the varying degrees of now because we have lost the Brazilian Song INT (14-15) needs, and at the moment I can- habit of listening in this way, but BRIAN BOYDELL not see that any of them are insofar as we understand what going to disappear. music of the past it, then the PATRICK HARVEY Sleeping Leprechaun *Sarabande greatest figure of English music * Music for Two Dancers What of electronic music and is Purcell. INT (15) musique concrete in this context? ME (12) ANTHONY HEDGES If we are to produce works of Which present - day English FRANCIS CHARGIN art at all, I should doubt whether composer influences you most? *Scherzetto these techniques will be much We all influence each other. Tussle used for the purpose. Larger The figure who influences me a ADV (15) questions are in the air. The lot obviously is Britten as I in- ME (12-13) EDWIN BENBOW nature of Da-Da and anti-art is fluence him. We are close; we Serenade *Petite March so strange; we don’t know what are complementary, in some ways this destructive force is. It may being very different. But certain This seri~s has recently been completed with the items marked * be that our whole idea of sub- techniques are so contrasted that stantial works of art may dis- There are 39 titles in all and many have been selected for festivals, we influence each other. Of the appear, but provided that it immediate generation before- ii: recitals and for teaching material. doesn’t, then it seems on the face hand, I should think the strongest of it that works of musical art character to me was Hoist.* 7 are not much helped either by How does your inspiration electronic music or musique con- come? G. RICORDI & CO. (LONDON) LTD. crete, while these technically are This is partly possible to answer extremely satisfying in the theatre. and partly not. That is to say, 271 REGENT STREET LONDON, W.1. That is for incidental music to total theatre, or producing that * I stress " English." It leaves out the Rreatest influencemStravinsky snd Bartok and mood that theatres want, Hindemith, i! 1964 3rcl December, 1964 MUSIC SUPPLEMENT

I visited Michael Tippett at his home in Corsham for this inter- iew in August. He lives in a most interesting house in the High ~ S~reet, but the rear merely has a wall between it and the country- side. Within it is the garden with a rather bumpy crocquet lawn and a gazebo in one corner which looks over the wall at and through the avenue of trees on the other side. The old High first time I couldn’t come direct Street used to run where the avenue is now, but "Capability" to Dublin so I had to come Brown levelled that part of Corsham and planted it to improve the through Belfast, which I didn’t ~oproach to Corsham Court, the home of Lord Methuen. The like very much, and walked down through Donegal as far as Galway native Coltswold stone is almost universally used for entire buildings and then came to Dublin. That including the roofing tiles which are most uneven and which seem was an unforgettable and exciting to keep nothing but the rain out. experience. Then I wished to go He answer my questions in his warm, airy, first floor studio with the other way, so I came once french windows overlooking the garden which could be reached by again later into Dublin and went down to Cork and walked from an outside staircase. The main features of this studio, which there up to the Dingle Peninsula. he likes to keep warm, are electric heaters, large and extremely comfortable leather armchairs and sofa, and the piano at and by Taking the poems of Yeats with which he composes. The work at which he is at present working you? lay on its top. C.P.S. No. When I go away in that form I like to go away anony- mously from everything and I must carry the Yeats poems in my head. I was, naturally, rather like excited when I got to Sligo, but I so inspiration is absolute and un- various things; to South Wales I didn’t go to see the Tower for I to example, as I didn’t know very sub- conscious and as the Germans say and the Midlands as well to Bath is an Einfall: it falls into the mind and Bristol where I am. It seems much about it. My interest in :S or from outside. What in practice to be an ideal place to be centred Yeats didn’t come until rather happens is that in a long work, in. It is close to all that I am later when I was meditating on glish a work that is possibly going to interested in at the present " The Midsummer Marriage." So be a world in itself like " The moment in England. This is I haven’t been in Dublin for ,rent Midsummer Marriage," it is a because I hold the theory that between ten and fifteen years and was case of a concept slowly forming English music-making, private and it will be extremely nice to be "cell. in the mind over a very long p u b I i c, is re-appearing with back again. I have never lived Photo: Leslit Stuart we period. It then articulates itself tremendous vigour in English pro- in Dublin and have never been The Old Man (David Kelly) prophesies the death of King Priam (Forbes ~rtly close to the intellectual life of Robinson). His wife, Queen Hecuba (Marie Collier), watches. From Michael slowly: that is to say it gets vincial life and this is partly where Tippett’s opera " King Priam." lent. decided as a work for the theatre the future is going to lie. Dublin except purely by reading. bider rather than an oratorio for I wasn’t thinking of it in that was example, and then the nature of Do you have an urge to write? way; my interest in Irish life and and letters didn’t find direct ex- was systematically doing, but I of New England because I like the work is slowly apprehended. Of course. The urge to write now have forgotten his name. the New England writers. But for I tike to carry this process of pression by talking to people. The the is absolute, and if an obsession only one I met, curiously enough, I have always had this very until you live in a place you are gestation in my mind as long as has gone on for thirty years. It is not close to the actuality of it in but I dare, deepening all the time and was a man who was collecting strong feeling for Ireland at one on’t something you are used to so that Irish folk songs and he certainly period or another, but, like all a political sense. So my view of looking at it from every angle. is the end of it! our literary things, they are Ireland is desperately coloured, ) a This can go on for a long period fascinated me and gave me ings accounts of collecting folk lore always historical. When I think of course, by my passion for while I am completing some other When did your obsession start? of America now, I tend to think particular periods. the work. It produces in the end a with a tape recorder, which he the The obsession didn’t start, kind of damming up of aesthetic because it was unknown. It was creative energy which eventually only there in embryo during breaks and when it does, as far school life. In fact I didn’t com- are as my experience has gone, it can ime, hold and produce what it needs prehend it. My parents were not Dser to fill this immense conceptual musical in any way and at that for time in middle-class England there MUSIC scheme almost without e v e r were few connections with musical ime, having to cross out and begin ater life. It would be much easier again. now. Also schools’ music wasn’t, ~1 FOR like "The Midsummer Marriage" so was the most extraordinary ex- very active then, so it was aIl l I: in perience because I had no matter of my waiting until the!~ll SQUAeES/ thing was so clear in one way or~li less. certainty that it would ever get ~ :her on to the stage and it took about another that it had to happen. But rous six years. If you imagine working it was very delayed. My first are at one work of art for six years work of worth didn’t appear until my late twenties: the first being .~. to you will see why I got ill and why 11ng the exhaustion was so great. But published when I was twenty- nce, | learned from this that the magic eight or nine. Up to then the SUPRAPItON t a compositions were always so or inspirational side of it is some- immature and had so many was thing which, if you have done the of gestatory " work beforehand, derivative traits within the in- RECORDS ~,hy will appear. But the quality of teresting things that nothing was the the thing, I am sure, comes from published--and I was very grate- but the amount of energy you can ful is wasn’t--until very much 12" L.P.’s, both Mono and ,hat ~lam up from all the conceptual later. the Stereo, only]7/6 each. ithinking you do first, or the feel- What are you working on at usic mg around for what it is that is :going to be expressed. present? I am composing a large-scale Britten likes to live by the sea. work for soloist, chorus and What attracts you to Wiltshire? orchestra which has for its text I don’t think that the attraction St. Augustine’s famous vision of Supraphon Records enable you is quite of that type: I wanted to eternity, which so preoccupied to acquire high quality recordings by move away from Sussex which him throughout his life. I have internationally famous Orchestras was relatively near London and extended and in a certain sense dramatised this text by the and Soloists at an ususually low pricce. also because I wanted to move at The music of the world’s greatest composers is featured, including Brahms, last away from the ambience of addition of further bits of Latin London itself, which means going from other parts of " The Con- Mozart, Schubert, Tchaikovsky, Prokofiev, Beethoven, Chopin, at least 100 miles away from it. fessions" and the Bible. It will Shostakovitch, Haydn, Dvorak, Bach, Rimsky-Korsakov, Grieg. 1 knew this part of the world and be performed in January, 1966, at Though the list contains many of the popular classics, it also includes records I had friends here. As so often the Festival Hall, London, by which will appeal to the connoisseur and those who like to explore Fischer-Dieskau and the B.B.C. it is partially an accident which the unusual and lesser-known fields of music. turns out to be substantially the Chorus and Orchestra with Dr. real thing you are looking for. I Schmidt-lsserstedt conducting. It like to let the accidents happen is a B.B.C. commission. when they seem to be real and in EASON’S RECORD SHOP this case it was. I now know One last question, when were why I like it so much: I like the you last in Dublin? LOWER O’CONNELL STREET ’Cotswold stone and I like the I came twice after the War, ;ambience of being so close to really to walk in the West. The 3rd December, 1964 6 MUSIC SUPPLEMENT

=.

,,.-.

JOSEPH GROOCOCK

It’s A Musical World 000

That anyway is its reputation. Is it justified? To find out, you What is just as important, many and provide financial grants for They h a v e started amateur must be acquainted with more than the Dublin musical scene, for of them possess the skill and the all normal needs. orchestras in places as far afield Dublin is not really representative of Ireland. You can bring the patience to lead the children to Music generally has a more as Tralee and Ballyshannon. They benefits of electricity to even the remotest country dweller: but you share in the delights that music settled place in secondary schools, have formed choirs in the Guilds can’t bring him all the musical opportunities that we lucky people enjoy in Dublin and take so much for granted. can bring. Their work is an up- especially the larger convent of the Irish Countrywomen’s hill struggle against formidable schools. Unfortunately, there are Association, where the keenness Most children spend their most formative years in a primary school. odds. But they have succeeded And in so many cases it’s an unmusical environment. Training Colleges still some schools which seem to has reached the point of bringing in many cases in establishing a be unaware that music exists. hundreds of singers from all over have done their best to promote musical interest among their students. choral tradition, in forming in- But the curriculum is crowded, and a teacher is not yet trained to strumental classes, in setting up And this is especially true of Ireland to join together in a regard music as seriously as other school subjects. Nor is there any and maintaining complete orches- many boys’ schools. In this cantata of Vaugham Williams or real provision in primary schools for the adequate teaching of music. tras. Too little help at present matter we lag behind other Bach. Song books are virtually unknown, serious musical instruments are can be given by the Department neglected. A child may leave primary school with some acquaintance countries, where it is no longer Musical leadership courses have of Education. Inspectors have considered an unmanly activity to with the major scale in sol-fa, but without the ability to read even too great distances to cover, and been organised by Foras Eireann, the simplest music. Lip-service is paid to the great musical tradition there is no financial support for take a serious interest in music. the body which interests itself in of Ireland by teaching (by ear) a few well-worn Irish songs. Mean- even the most elementary musical Outside the convent schools so much that affects rural Ireland. while the great treasures of Irish music remain as unknown as the last needs. In this respect we start there is a sad dearth of good The same body assists in the string quartets of Beethoven. administration of the Shaw Trust, our musical life at an enormous music teachers. Music students which provides lectures in music All this is a dark background, seriously. For there are many disadvantage as compared with who decide to take up a teaching children in England, where the and other subjects: these lectures against which there shine out all teachers, among the 4,000 or so career could build up a big have now been given in scores of the more clearly the examples of primary schools of the Republic, Local Education Authority can practice in many an Irish country appoint a staff of music advisers, places. The Shaw Trust and the schools in which music is taken who have a deep love of music. town if they had the courage to Arts Council have helped to pro- go and settle there. I know of vide the much-needed financial a town, 50 miles from Dublin, backing for public concerts. The where 200 children at present are Music Association of Ireland has demanding piano lessons, but been active in organising country- there is no one to teach them. wide tours by the best artists. In the capital we have become While the R.E.S.O. can at present accustomed to weekly Symphony perform in relatively few towns Concerts, at which all the seats (owing to the lack of suitable are sold. So great is the demand halls) it is becoming increasingly For Fine Printing for good music. If only country possible for even the smallest dwellers could somehow share in towns to enjoy a visit from such this wealth of music! For public a group as the newly-formed Irish concerts in any but the larger Chamber Orchestra. cities are almost unknown. If there is a concert, it is rarely put Steps are being taken at last Quickly Executed on for its own sake. Most often to find the teachers who are so it is associated with the idea of badly needed. Local committees making money for some charity have taken the responsible step or other. A laudable object no of engaging teachers and bring- doubt, but not one that serves to ing them in some instances great increase the prestige of music in distances from where they live. Consult the Printers the country. All this costs far more money If the picture that has so far than can be provided from local been sketched is to some extent sources, and the musical life of a true one, it is, fortunately, not Ireland owes a great debt of true of every place in the country. gratitude to the Carnegie U.K. Everywhere there are a few en- Trust and the Dorothy Mayer o/ this Newspaper thusiasts for good music. They Foundation, two bodies that have can infect others with their already given so much of the enthusiasm, and they can succeed necessary financial backing to in doing so to a really high these projects. degree. These musical leaders have At long last, music in the started gramophone societies, schools seems to be gaining new with the emphasis on serious life. We still have too few good music. So that even in remote music teachers, but at least we ,q The villages it is now possible to join are beginning to acquire some of with others in listening to good the musical instruments that we q recordings of symphonies, con- needed so badly, mainly through :I certos, operas. They have started the generous grants of t he operatic societies, that are busy Dorothy Mayer Foundation. And BRUNSWICK PRESS LTD. at this moment rehearsing " The school music, both vocal and in- Gipsy Baron " or " Maritana " in strumental, is now given a new dozens of towns up and down the incentive to progress through the country. They h ave started 4, 179 Pearse Street, Dublin 2 non-competitive festivals which brass bands, and have organised have been started by Depart- i; courses for conductors and mental inspectors and local com- PHONES 73236175063 players. They have started music mittees in the larger towns. We festivals, some of them in tiny have a long way to go to catch villages, where this form of music- up with the more musically- making acts as a great encourage- developed countries, but we are ~z ment to everyone who takes part. no longer entirely stationary.

i: 3rd December, 1964 ~64 MUSIC SUPPLEMENT 7

MUSIC IN

RURAL IRELAND By

ALOYS FLEISHMANN Photo: " Irish Independent "

teur field "he), dlds ’ Swift’s quip that geographers, in their maps of the African ment of music centres in the chief the duties of church organist are " uisce f6 thalamh " has a sinister en’$ continent, county towns, with panels of too often foistered on the meaning, because "water under ness " O’er uninhabitable downs qualified teachers who travel to primary teacher or the amateur. ground " would be an apt phrase Place elephants for want of towns," the outlying places, and also So far the negative side of the to cover the work of the Dorothy ging organise concerts, combined per- picture. On the positive side a Mayer Foundation, and also to ~ver applies no less to the cartographers of music, who measure the progress of the art exclusively by its manifestations in the chief cities. forrmances between neighbour- certain amount of headway is describe a scheme based on the a ing groups, and festivals. being made by some devoted long-term policy of ultimately To them, as to the geographers, the unknown hinterland might as well In the realm of Catholic church or be " sandy deserts full of wild beasts and unapproachable bogs." organisations. Foras Eireann, an supplying music supervisors to all Yet the vitality of the art of music, centralised as this must be in the music, an instruction of Pope Plus association of rural bodies, has a the counties. Nine years ago larger centres of population, depends to a certain extent on the Xll dated September 5th, 1958, music committee and employs a with the approval and active lave nourishment which these can derive from the steady infiltration of laid down that each diocese of music adviser and organiser, Dr. participation of the Department ann~ gifted immigrants from the rural areas. One of the reasons for the the church, or if necessary groups Joseph Groocock, who has pro- of Education a scheme was initi- If in pre-eminence of music in central Europe has been the diffusion of of adjoining dioceses, should set duced a comprehensive survey of ated whereby County Vocational and. musical activity throughout the small towns and villages. The cities up a schola cantorum for the pro- music in the Republic, and has Education Committees are in- the have no monopoly of talent, and a high proportion of the most gifted motion of liturgical music. Yet achieved the feat of organising vited to award a scholarship each "USt, no such schola, not even a central a national festival of I.C.A. choirs. for the training of a suitable composers and executants have been brought up in the provinces. institute for the country, has so usic If there had been no tradition of music-making in the villages or Foras Eireann administers the candidate at U.C.C. for a three- u res small-town areas where they and their parents originated, such com- far come into being in Ireland, so Shaw Trust, through w h ich year period in general musician- s of posers as Haydn, Dvorak, Bruckner, Wolf, Mahler, or executants such that trained organists and choir- support has been forthcoming for ship, with emphasis on choir the as Jaochim, Nikisch, Schnabel, might never have found their vocations masters have, as a rule, to be im- such worthwhile activities as the training, conducting and tra- pro- ported, and the general standard sending of lecturers on various ditional music. Provided that he lcial in music. of church music is deplorably low. subjects, including music, to all has secured the B.Mus. degree at The In Ireland the peculiar relation- traditional music generally, attract This can be readily explained as parts of the country, and the the end of the course, the scholar has ship which existed for centuries a larger body of listeners than the effect of centuries of warfare financing of numerous recitals is then appointed as Music Super- ttry- between the towns and the any other type of music pro- and of penal enactments against organised by the Music Associa- visor in the county which has :ists. hinterland could not have been gramme. It can be presumed that religion. A people whose an- tion of Ireland, often in small awarded the scholarship, his sent more adverse for the development the vast majority of such listeners cestors had to worship for so centres where chamber music by duties being to start junior choirs wn$ of music here. The inhabitants are either from rural areas, or long in the open field or in mud the Radio Eireann String Quartet, in the vocational schools and able of the chief towns, mainly of else townspeople who are immi- cabins can be forgiven for not madrigal singing by the Dowland adult choirs in various centres in ngly Danish, Norman or English grants, or descendants of immi- considering liturgy or church Consort or choral singing by the the county, to organise schemes Ilest descent, were ignorant of, and grants, from the countryside. music to be of prime importance. Cor Cois Laoi has been as en- of instrumental music teaching, ;uch indeed hostile, to the language Now that the causes of the breach But in a stable and relatively tirely new experience. to encourage the formation of Irish and traditions of the surrounding have receded into the dim past, it affluent society the externals of Six years ago Lady Dorothy pipe and brass bands, music native population, and the town is high time for a normal situation religious worship should by now Mayer made a major gesture to apprciation clubs, feiseanna and and the country traditions, one a to develop, namely, that the re- have become a subject of greater this country by establishing a festivals, and to organise courses last pale reflection on the contem- action of the average Irish towns- concern. In s o m e dioceses Foundation to encourage music for teachers and prospective .~ so tees porary English scene, the other a man to traditional music, to its liturgical festivals are held for the making, develop a music,loving teachers of choral singing. Five virile growth of the highest in- preservation and development, furtherance of plainchant among public and advance education committees agreed to co-operate step dividuality, remained separate and would be one of sympathy and the school children, but notwith- in music by giving financial in the first instance, and four ’ing- antagonistic, until the plantations interest, and again, that the per- standing such efforts it is a assistance to deserving projects, scholarships have been awarded reat preference being given to group live. and later the abandonment of the formance in a rural area of a singular event indeed for plain- so far, starting in different years. native language by a majority of Palestrina motet, a part song by chant to be heard at the service music making in localities other Three of the scholars have gradu- )ney the population set the seal of Kodaly or a Mozart serenade for of any country (or for that matter than the larger cities. Since the ated, and have now been oca| decline on the Irish tradition in strings should not be unpre- cathedral) town, while Irish con- Dorothy Mayer Foundation came appointed as County Music .~ of literature and the arts. The into being some £12,000 has been Supervisors in Mayo, Galway and of cedented or even an unusual gregations generally, at home or elaborate harp music which had event. on pilgrimage, are notoriously dispensed throughout the four South Tipperary, respectively, J.K. flourished at the Irish courts in That such performances should, dumb. To raise the level of provinces, in terms of aid given while a fourth scholarship-holder ayer the medieval period died out by to say the least, be rareties, is church music and infuse some to small orchestral groups for the from Co. Kilkenny is at present lave purchase of instruments, aid given studying for the degree. North the the beginning of the seventeenth due to lack of organisation on enthusiasm for services worthy of century, leaving only the popular any adequate scale. Up to recently St. Cecilia would need the estab- to teaching schemes, m u si c Tipperary also agreed to award a tc~ music to carry on, and it took no institution for the promotion lishment in most dioceses of com- courses and a variety of other scholarship, but no suitable another century and a half before of music existed outside of missions on sacred music (on a activities, along with constant candidate could be found. It has the this rich stream of song, fiddle Dublin and Cork--the newly- par with the admirable Com- encouragement and advice to all been difficult to persuade the nev¢ and pipe music began to enter founded Municipal School of mission on Sacred Art already who have been in touch with the members of the Vocational Edu- food the consciousness of the towns- Music in Limerick being at last established in the Dublin Arch- Foundation. The benefical results cation Committees to the worth we people -- even then of a small a step in the right direction. diocese) and the founding of at have been widespread -- not of the scheme, because the e of minority of them only. Progress in Galway and in least one centre for the training readily obvious, perhaps, but con- majority of them have never been we To this day a trace of the old Connaught generally has been of organists and choirmasters. If tributing in a vital way to the given an opportunity of learning )ugh cleavage can be seen in the hindered by the lack of a music enough of the latter were avail- new spirit of initiative which can the value of music as an educa- the genuine and spontaneous dislike department in U.C.G., which, if able, a qualified musician could be discerned in the Irish country- tional subject, and so they tend And of their own folk music by a high it had existed, would have been ultimately be appointed to the side. In " Man and Superman," to perpetuate the conditions of i in- percentage of Irish townspeople, a vital force in building up a chief church of every town, even Don luan suggests that " hell is which they themselves have been new a dislike not extended to the folk tradition of live music-making to the sole church in the smaller full of musical amateurs; music is victims. But according as the the music of other countries. A throughout the province. We towns, to lay the foundation of the brand of the damned." By supervisors already ap0ointed hich similar antipathy is certainly not have no equivalent here to the a proper standard of liturgical their benefactions, both Mr. begin to show good results and )art- evident in the attitude of the Rural Music Schools which in singing and organ playing, and at Shaw and Lady Mayer have helped to demonstrate what can be :ore- average French, German or Italian England have begun to transform the same time become the main- to better the Irish musical achieved when a comprehensive We townsman to his own folk music. the countryside by making it stay of musical activity in the amateur, and to reduce the music scheme starts to operate atch To take the other side of the possible for people even in re- neighbourhood. This is the allegedly infernal sufferings of throughout a county--it is hoped ally- picture, broadcast programmes mote areas to receive tuition of normal situation in small towns those obliged to hear him. are of ceili music, and of Irish a high standard by the establish- on the Continent, whereas here It seems a pity that the phrase (Continued on page 14) MUSIC SUPPLEMENT 3rd December, 1964.

BEETHOVEN

AND HIS PIANIST RIVALS

By o ANTHONY HUGHES

" It has always been known that the greatest pianists were also Beethoven’s position was not 1800 he left Vienna to under- the mthermhe tore along like a the greatest composers, but how did they play? Not like the pianists an isolated achievement; he had take a European tour that lasted wildly foaming cataract ~ so of to-day, who prance up and down the keyboard with passages they to struggle relentlessly to accom- four years, and in 1805 settled in forceful the strongest structure have practised." These are the words Beethoven used to dismiss plish his eminence and to strain London where he spent the last could scarce withstand it, and Tharberg as a serious artist. They prove sufficiently arresting to even more earnestly to retain it. seven years of his life. In his anon he sank down, exhausted, modern ears to invite a consideration of one aspect of Beethoven’s His main contenders are now lifetime his concertos and sonatas dissolving in melancholy." There career that tends to be overlooked. The average music-lover knows almost entirely unknown, so were celebrated, above all his is more in this strain, but Sey- that Beethoven succeeded Mozart as the prince of pianists of his much so that it is a great surprise "Sonata non plus ultra" which fried takes care to state the two time and that his forceful personality and powerful technique trans- reading contemporary papers and provoked the same kind of artists respected each other, be- formed the character and nature of Piano Literature. It is easy to advertisements to find that the amazement at its technical diffi- cause they alone knew best how forget that in the decade 1793-1803 Beethoven dominated the two most celebrated pianists re- culty as did Liszt’s sonata half a to appreciate each other. Viennese musical life as an astonishing player long before his great siding in Vienna at this time with century later. status as a composer became apparent. Beethoven were Gluton Eberl and Later in 1799 John Cramer Joseph W61fll. We learn much about Beet- visited Vienna, and he was the i/i¸ hoven’s own playing through pianist who most impressed Beet- Eberl was born in Vienna in contemporary comparisons be- hoven. Although born in Mann- 1766, wrote successful operas and tween him and W61ffl. A cor- helm in 1771, he was brought to became a friend of the aged Gluck respondent wrote in the "All- London as an infant. His early and a confidant of Mozart. After gemeine Musikalische Zeitung" training was with Clementi He Mozart’s death, Eberl was in con- of April 22, 1799: "Opinion is lived in London for the greater stand demand to play in public divided here touching the merits part of his life and died there in /, concerts as well as in the artisto- of the two; yet it would seem as 1850, the head of a publishing cratic salons. When Beethoven if the majority favour W61ffl." il, He tells us then " Beethoven’s business and a successful firm of arrived back to Vienna in piano-makers. He played on the November, 1792, Eberl was the playing is extremely brilliant but 4 has less delicacy, and occasionally Continent rather infrequently and most highly respected player in ¯i he is guilty of indistinctness. He at widely spaced intervals. As a everyone’s estimation and it was shows himself to greatest advan- young man he won Haydn’s by Eberl’s standards the young tage in improvision "rathe writer Beethoven was assessed. Eberl affection and interest during that places him almost on Mozart’s master’s London sojourn, and his inherited the finest qualities of level in this sphere, emphasising Mozart’s style~clarity, delicacy, purpose in visiting Vienna at this )( how Beethoven not only varied restraint and a formal compact- a theme by figurations but really time was to renew Haydn’s ness that helped the listener to acquaintance. He and Beethoven developed it. In this respect he frequently met and performed on readily follow the paths of his im- outstripped W61ffl, " but W. has provisation. Beethoven’s grow- the same evening in the houses of advantages in this that, sound in the nobility. Beethoven had the mg status is evinced by the fact musical learning and dignified in that he, not Eberl, was invited greatest respect for Cramer and his compositions, he plays often in later years remarked on to perform a Mozart concerto at passages which seem impossible a memorial concert in 1795 with an ease, precision and clear- the fluency and evenness of both organised by Mozart’s widow. hands and the distinct character ness which cause amazement (he of his inner part playing. Beet- Shortly after this, Eberl embarked is helped by the large structure on a tour of Germany with Con- of his hands) and that his inter- hoven admired his touch above stance and her sister, Mme. Lang, all others. Certainly Cramer was which won him unanimous pretation is always, especially in Beethoven’s m ost stimulating Adagios, so pleasing and insinu- rival, because all reports refer to praise. 1796-1801 found him as ating that one cannot only admire composer conductor in St. Peters- it but also enjoy." his astonising brilliance, which burg. He returned to Vienna was always controlled by taste, where he died in 1807. He had Ignatz von Seyfried writing feeling and expression¯ Many A PIANO ADDS RICHNESS.., FOR LIFE one further triumph there when some thirty years later makes a years later Beeehoven still spoke his Symphony in E. Flat preceded more glowingly romantic com- of him as the only player of his the first performance of the time, "all the others were but A lifetime of added appreciation of music, an unfailing source of privatte parison. He, too, comments on Eroica. Many of the audience little to him." pleasure and family entertainment . . . a good piano can mean all this and some of the critics thought W61ffl’s large hands and his and more. Here in McCullough’s we have specialised in pianos, for many technical command, that he " was Eberl’s the finer work. Hummel has been omitted from years. Whly not drop in to see our stocks of new and reconditioned always equable; never superficial, the present discussion because instruments, or write for our free brochure? but always clear and thus more Compact and attractively Joseph W61ffl was born in while it is true he was a com- designed, these pianos enhance any decor and do not cost as much as Salzburg in 1772 and died in accessible to the multitude. He panion of Beethoven’s studies you probably think. See them for yourself and used art only as a means to an you’ll realise how easy it London 1812. Leopold Mozart with Albrechtsterger, it was to. is to add extra pleasure and meaning to the years aheadl end, never to exhibit his acquire- and Michael Haydn were his early ments." Seyfried remarks on be some years before he estab- teachers. An early success in Beehoven’s tendency to t h e lished his fame as a pianist Vienna secured him a position as gloomy and mysterious in im- when he relinquished his post as pianist in the household of Count provisation. When Beethoven Kapellmeister of the Esterhazy Oginski in Warsaw. His return family in 1811 he founded his to Vienna in 1795 coincided with began to play " he was trans- ported above all earthly things, Piano School, and became re- Eberl’s departure. His playing nowned as an interpreter of Beet- now made a sensational im- his spirit burst all restricting bonds, shook off the yoke of hoven and Mozart. He instigated 9 DAWSON STREET, DUBLIN 2. TELEPHONE No. 73138/9/0 pression, and he was also success- of servitude, and soared triumph- the r61e of the modern pianist, ful as an opera composer. In antly into the luminous paces of who is the performer almost ex- clusively of another man’s music. 3rd December, 1964 MUSIC SUPPLEMENT 9 TONE QUALITY IN ENSEMBLE MUSIC By PHILIP CRANMER

When two or more musicians play or sing together, one of the What of voices in this matter.~ main difficulties which they face is that of blending or matching their Certainly they can hardly rival the different tone-qualities. I want to make some observations about this unanimity of the string quartet. difficulty in relation to the various groups for which composers have In terms of tone-quality, it is the commonly written. voice with fewer outstanding The most homogenous sound in ensemble music is, I suppose, that characteristics which blends best of the string quartet. The instruments belong to the same species, in ensemble music such as the and the four players often take this matter a step further by acquiring 16th-century motet and madrigal. instruments of the same make. Moreover, such is the repertory that I often think that in Cathedral they almost certainly rehearse together more often than any other choirs the blend on Cantoris side Photo: Reg. Wilson. sort of groups, and during rehearsal they attend to matters of detail is better than that on Decani, hardly considered by other musicians, such as matching the speed and and if this is not pure fancy it Symphony, to hear four eminent action than it is in playing, and it extent of their vibrato. Accordingly. it is not surprising that string may be because on the whole the soloists drawn from the corners can never be controlled to the quartets often achieve a unanimity of tone unequalled in music. Their more striking voices are placed on of the earth, probably having met same extent. Furthermore, there team-work can be compared to that of a finely-trained rowing crew, Decani side. I do not think that to rehearse for the first time the is much vocal ensemble music, and indeed sometimes it is apparent that the music issues not from the voice should be required com- day before the performance, each especially in opera (" Bella figlia" four instruments but one. pletely to suppress its personality out-vibrating the other until it from " Rigoletto" is an obvious in a colourless ensemble; madrigal seems that there are six or seven example), which would com- Such homogeneity is approached individual tone-qualities are and motet can be compared in notes to each chord? Occasionally pletely lose its character if sung by no other groups. Add a piano audible; but is is unsatisfactory this respect to the wind ensemble, their final six-four chord sounds with even moderate bivrato. only if the intonation is poor, or in which phrasing, balance, and like something by Var~se or H~ba, I make these more or less to a string group, and you have a if the instruments’ more disagree- and I long for four local soloists, piano trio, quartet, or quintet, intonation must all match, but random observations to show able qualities, those which agree individual character remains. ready and able to give the weeks’ that, in senmble music, few with fundamentally two con- less with other instruments, are Vowel sounds can be a rehearsal-time necessary to come tone-qualities are equal, and some trasting tones. Here, for good exaggerated. The blend is hindrance to good vocal ensemble. to terms with each other and this are more unequal than others. It ensemble, match rather than obviously less good if the oboe’s On the whole, altos and basses difficult music. Many other seems to me that those of us who blend is required. No pianist can tone is too nasal or the flute’s too sing darker vowel-sounds than works, such as Mozart’s Requiem, like to play and sing as well as so alter his tone that the piano breathy. sopranos and tenors, and some make equal demands upon soloists possible in ensemble, whether as will sound like a stringed instru- In certain conditions a surpris- give-and-take is needed here; so from an ensemble point of view. amateurs or professionals, should ment; but there are a number of ing unanimity of tone can be it is in the matter of dialect. The It is probably too much to be fairly content with our things that he and the string- achieved, even with woodwind greatest obstacle to voices in hope that singers could ever learn different tone-qualities, but pay players can do to ensure that their instruments. Some years ago in consort, however, is vibrato. to equalise their vibrato for much more attention to our playing matches. For instance, Birmingham we experimented Have we not all winced, during ensemble singing. Vibrato in phrasing, balance and, above all, their phrasing must agree, not with close-knit four-part chords the last movement of the Choral singing is a far more involuntary Intonation. 0nly in general terms but also in such as the one at Ex. 1, played minute detail. Their staccato by flute, clarinet, bassoon, and notes must be the same length (if horn, in varying order. At a the string-players are playing piano level of tone it was ex- staccato by stopping the bow on ceedingly hard to tell which in- the string, the pianist’s notes strument was playing which note. should be slightly longer; if off the Naturally, at a higher dynamic Tone and Range string, slightly shorter). There level the individual tone-qualities are two important respects in went their several ways. Schubert which both must refrain from writes a similar texture in the in- exaggerating the differences be- troduction to the first movement That pass any Test tween their instruments. Vibrato of his Octet (Ex. 2), and it is not is alien to the nature of the piano, always easy to hear in which order Pianos by such famous names at Bluthner, just as the sustaining pedal is to from the top the clarinet, bassoon the violin. Therefore, in all and horn are playing. Danemann, Knight, Chappell and many phrases where the playing is re- Most writers on orchestration more are all at Nordell Crane. Pianos quired to match, the string- agree that the tuba does not make built by craftsmen for your enjoyment

player shoud moderate his vibrato a satisfactory bass to the brass and the pianist his use of the sus- group. Its tone is much rounder taining pedal. and less incisive than the trom- The characteristics of wood- bone’s, and few four-part chords wind instruments are more in- for three trombones and a tuba dividual, and some writers think show well-blended tone. In this that with them no really satis- r61e the contra-bassoon is often !actory ensemble is possible. This m ore effective, and this is mlplies a misunderstanding of the splendidly shown in Brahms’ first that have a tone and range that pass nature of ensemble. Koodwind symphony, especially in the last ensemble is not intended to be movement. I recently heard a any test. the same as string ensemble. If performance of this work in Why not call to our Showrooms and look you want homogeneity of that which, for economic reasons, the around? Spend a few moments in the sort,I you engage four clarinet- contra-bassoon was replaced by a payers to perform (and very tuba, with unforgettable results. company of the world’s music masters, effective they can be in Haydn The student of music will find it run your fingers over the inviting string-quartet movements). Per- most interesting to make a com- sonally, however, I think that a parison between Brahms’ writing keyboards and judge for yourself the passage like the opening of the for contra-bassoon in his first wonderful selection of all musical slow movement of Brahms’ violin symphony and for tuba in his instruments. concerto, where the composer second. The tuba comes into its uses only the usual eight wood- own as a bass to the full wind instruments and two horns, orchestra in the more opulent (adjacent to Gresham Hotel). can be just as beautiful a piece of scores of Richard Strauss, Elgar, 4 7 CATHAL BRUGHA ST., DUBLIN PHONE 49643. ensemble writing as many string and Sibelius. It is also---and this quartets. The type of sound is has been less explored--a noble quite different, because t h e and sensitive solo-instrument. 7 10 MUSIC SUPPLEMENT 3rd December, 1964

A (;OMPOSER’S VIEW

By

/ SEOIRSE BODLEY

Whether or not one agrees with Herbert Eimert’s remark that the While this is worthy of con- as considering points such as of this set of problems and the !, position of the composer to-day is the position " after Webern," one sideration, the musical problems those above, an Irish composer use of gains made from it would, might well be disturbed by the of course, not involve complete i" thing is certain. It is not possible to ignore or dismiss as pure now being faced by " advanced " .! composers the world over are to enormous rhythmic complexity rejection of musical tradition by eccentricity the post-Webern or avant-garde school of musical com- a considerable extent our involved in performing works in any means. position. In the last two years at the international summer-school problems also. The use or non- this style. When, however, one One can see how the lack of for contemporary music in Darmstadt I have seen both a fellow- use of material derived directly has heard well-known exponents sufficient funds to finance per. composer and an Irish music-critic in attendance for at least some from Irish folk-music is to a large of this type of music admit to formances of difficult serial music of the time. Perhape this points towards a growing awareness in extent irrelevant to the problems, playing only approximations of can in turn affect the type of Ireland of the importance of being informed as to the latest develop- and I do not intend to discuss it the time-values written in the music being written in a small further in this article. score, one realises that one can country such as Ireland. The ments among the avant-garde. In the past Irish composers have most get a somewhat misleading im- situation is even more acute in often discussed the question of the relationship of folk-music to What is the choice before an pression when one knows totally Irish composer who wishes to relation to the field of electronic art-music. serial works only from score and music. A studio for electronic consider his relationship to the recorded performances. latest developments in music? music is an expensive item. In Are there special problems that In a totally serial work the view, however, of the great possi- face him as a citizent of a small element of choice over which the bilities opened to a composer by country? composer has control exists in a the use of electronic means, it c would be indeed a pity if Ireland a Let us consider firstly the region far removed from the i,i vg aH resultant music proper. The does not make some attempt to question of total serialism in enter this field. The invention of which all parameters* are con- position of the composer in ii;. relation to aleatoric music is the RCA synthesiser has, of trolled by a more-or-less serial course, made all other electronic process. The main problem of rather similar. When one realises mtergst- that a musical texture resulting studios seem old-fashioned in this form of statistical com- their methods. It would seem, position is that one cannot forsee from complex serial manipula- tions may bear a close similarity however, that the further de- the harmonic result of the pro- velopment in the production of cedures used except in a general to a texture produced by ’(L IHog " chance" procedures, one can electronic music by the use of way. One is frequently compos- computer may possibly hold some I: ing merely textures--which may see yet a further reason for the synthesis of t h ese seemingly hope for the future of electronic or may not be beautiful in them- music in Ireland. There are a at selves. A perceivable relation- opposed streams of musical thought now being attempted by number of problems such as the ship between notes, in either the clicks produced on the tape by classical twelve-tone or in the many composers. One cannot deny that it might well be ex- quantation errors that have as yet tonal sense, is often absent. A to be solved before this method Pigotts/ further confusion arises from the tremely difficult to tell at first use of a quasi-mathematical hearing that Legeti’s " Volumina" becomes satisfactory. A late approach. (One has incidentally or Earle Brown’s " Dec 25 " were entry into this domain might lYE or take a few the greatest respect for a com- not the result of serial calcula- not be without advantages. Our wall, we see the tions. Again the facet of aleatoric b e I a t e d industrial revolution ~ ancient Trinity poser such as Milton Babbit who Collegs stretching ~s a mathematician in the true music most disturbing to a com- enabled us to exploit the gains out before us. Strains of sense.) Stockhausen’s " Gruppen poser who is m some way and avoid some of the worst gentle melodies have traditionally orientated is the aspects of earlier industrial de- drifted into the streets of the fuer Drei Orchester"--a most velopment in other countries. Of city right through history. impressive work -- uses time- lack of direct control he will have W~ did not supply the lutes and values derived from the relation- over the end result. To liken course we are not yet a properly virginals of Elizabeth I’s ship of the notes of the twelve- aleatoric procedures to the reali- developed country. The implica- time--that we can remember, sation of a figured-bass tends only tions of our industrial state as a but our instruments have tone row to each other according to the relationship of the same to confuse the issue still further. simile for our development in the helped many a student find field of electronic music are merriment and relaxation in intervals as they appear in the Closely related to aleatoric more recent times. overtone series. Since the use of obvious. At Pigotts, you can choose your procedurest is the realisation of I have mentioned some of the instruments from th~ world’s a twelve-tone row at all implies " musical graphics." While this !eading manufacturers. Each the use of a chromatic scale of problems that are likely to face procedures does make some the Irish composer who wishes to instrument is the product twelve equal semi-tones this is sense in a work such as Stock- of craftsmanship, beautifully not quite consistent. Boulez in define his relationship to the finished and flawles in perform- hausen’s "Zyklus fuer einen latest musical developments. It ance. You can buy for cash, his " Structures" arranges his Schlagzeuger," one can see but or on generous hire purchase series of time-values according to little point in an extreme score does not seem to me that I should terms, with part exchange on the order-number of the notes of attempt here to present solutions. !. your present instrumenL such as Robert Moran’s "Four Pigotts’ after-sales s’ervice will the tone-row in the correspond- Visions." Still the possibility of There is no easy way out for the l’, keep your instrument at its ing I, R and RI--but does not a development in this direction person who wishes to compose peak. But what will appeal to provide an analogy for pitch- cou I d not be discounted. good music. These problems L~ you most is our courteous, classes in the dimension of time. must be tackled in relation to the helpful staff. They know their Certainly one can gain a new in- job, and will be glad to guide Again a defect, if the work is to sight into the problems of musical inclinations and interests you in your choice. be considered as totally serial. In of each individual composer. The notation (and of composition) by solutions are as likely to be found other words the mathematics in- considering the relative merits volved in this type of work cannot an d demerits of conceptual in empirical procedures as in ,il be taken too seriously. This is notation, performance notation, theories. Integrity is needed. O"AF’,’ON .’.. 2 not to condemn these works from One must have courage to resist a musical point of view. As well action-notation, notation of re- pressures in either direction, a 117 PATRICK ST., CO sult, and notation that is merely willingness to ignore the road to * Parameter is a word borrowed from provocative. The consideration mathematics. It refers in this context to the easy (and probably short-lived) the house of mus,c dimensions of a musical procedure. In the + Aleatoric procedures are those which are success, and a mind open enough case of a single musical tone for instance defined in their larger aspects, but in which pitch, intensity, duration and tone colour are some element or elements are left to chance. to consider carefully the advances parameters. (oleo- dice.) that have been made. 3rd December, 1964 MUSIC SUPPLEMENT 11

Music

"SENZA ESPRESSIONE"

By

°°’°’the ’, HANS plete WALDEMAR ROSEN n by k of Photo: Radio Eireann per- nusic e of ~mall The :e i.n tonic ronic ¯ In Sometime in the middle twenties a young pianist undertook the give expression to his interpreta- last month I heard, score in hand, --still casts its spell on modern ,ossi- formidable task of presenting the piano music by Paul Hindemith tion in many ways: by choice and the first performance of a sacred man, 600 years after its con- :r by changes in tempo--tempo rubato; oratorio in this style, sung twice ception, as the work of a genius. ts, it then published in two recitals in Leipzig. Before repeating these in dynamics (attack and develop- at the same night to help the So much music written since, even .qand prograrnmes in Berlin, where Hindemith lived, the artist went to see ment of a single tone or a phrase, audience to a better understand- more brilliant in technique, re- )t tO the composer and played his music for him. Hindemith listened effects of contrast); in rhythm ing. The performance, technically mains dead and meaningless. ~n of and said: " My dear young friend, I appreciate very much all the (accents, modifications in dura- impeccable, could be described as When Josef Rufer, a former pupil , of trouble you took in studying and memorizing my music. However, tion of a single tone or in a of a cold intensity and, although and teaching assistant of Schoen- ronic rhythmic pattern); in colouring so many devices listed above as berg, planned a book on twelve- | in I am sorry to tell you, you make a fundamental mistake: You play the tone or by ornamentations means of expression were intro- tone technique the master warned :eem, this music with expression." and portamenti. Musical style duced, it never seemed to make him " Do not call it ’ Twelve- de- will suggest or prohibit one or even the attempt to express any- tone Theory,’ call it ’Com- n of This attitude, at the time of the incident regarded as a snobbish the other of these media of ex- thing but perhaps mathematical position with twelve tones.’" e of cynicism, seems to be becoming common practise in the performance presssion in the performance of a formulae. And yet I felt this Personally, it is on the word com- some of modern music nowadays. We may notice this in occasional live particular work. A " tempo music could not be performed in position that I place the emphasis. ronic performances or in recordings, but one has perhaps to attend a festival rubato," unthinkable with Bach, a different manner. Unfortunately, most would-be followers of this method do re a of modern music on the Continent to evaluate it as a matter of is indispensable with Brahms. ; the One hundred years ago when It is quite another matter when something removed from the idea e by principle. Bach and Handel were re-dis- a record presents the " First of composing music." s yet covered, clarinets and trombones Cantata " by Anton Webern in a ~thod Expression in a musical per- appears in the section " Von der formance in this context may be Wissenschaft" (about Science, were added to their scores. Our rather similar conception. The The situation as Schoenberg late i.e., philosophy) in Strauss’ "Also forefathers knew as well as we relation between word and tone saw it 15 years ago has not night described as the reproduction of sprach Zarathustra." This tone- do that the composer’s sound- reveals this as highly expressive changed since, though the appli- Our emotional perceptions which, in poem was composed in 1896, intention was different, but they music, and this is underlined by cation.of his method has become t,tion the opinion of the performer, the when Arnold Schoenberg, 22 did not care. The maxim of the introduction of 17 ritardandi much more universal. This would gains composer realised in his music. years of age, confessed himself an approximate historical truth in in the 73 bars of the last move- be no great danger if interpreters vorst The so-called " expression-marks" ardent Wagnerian in his early the reproduction of music, a sine ment. The recording certainly and audiences were less con- [ de- which came into general use only works. qua non for us, was non-existent impresses by its perfection, its cerned about serving and being s. Of in the 19th century may permit then, and they felt that the brilliance, but, in my opinion, it served with something new, perly us to apprehend a specific impulse Bach gave his towering master- use of these instruments was is not in accord with Schoenberg’s different, and, if possible, sen- ~lica- which the composer tried to pieces of counterpoint to a world necessary for an exhaustive reali- answer to the question " Feeling sational. The real danger is, in ’aS a translate into music. Richard which rejoiced in the easy melodic sation of expression in this music. or Intellect in Music" which my opinion, to make the lack of n the Strauss has been ridiculed for charm of neapolitan opera. should be valid also for Webern’s fantasy and inspiration a virtue are giving the accompanist of a lied Strauss, in a similar way, became We try to see and understand art: "First, everything of supreme and to apply this attitude to the an instruction as " Habgierig" outmoded during his life-time. our classics in the spiritual value in art must show heart as performance of all new music as f the (covetously) " nicht wiihlerisch " While in 1911 the magic sounds environment of their own epoch: well as brain. Secondly, the real a matter of principle. There is face (not fastidiously) or !’ gleichsam of the presentation of the silver- Bach representing the static mind creative genius has no difficulty in always a possibility that the per- es to wie mit einer Verbeugung " (as if rose in " Rosenkalier" were heard of the baroque- Brahms the controlling his feelings mentally, former may err in expression in the making a bow). As a matter of for the first time, Schoenberg was ec-static of romanticism. We are nor must the brain produce only his interpretation--it may be his ;. It fact, Strauss’ music is so descrip- sitting over the score of his rather convinced that we are the dry and unappealing while fault, because he did not gain lould tive that a sensitive performer " Pierrot lunaire"--the one final right -- though generalisations in concentrating on correctness and insight into the work, or the com- :ions. could not play these phrases in climax in an evolution--the other this respect may lead to almost logic. ((See the article " Heart poser’s, because he did not r the any other way. This, however, is starting point of a revolution. grotesque misrepresentations -- and Brain in Music" from Schoen- express himself convincingly. If, 1pose Both works, however, demand a and they not seldom do. We berg’s book " Style and Idea," however, the interpreter, as a )lems theSpeciala man of the case,musical because theatre, Strauss, highly expressive performance. find ourselves now in the same published by the Philosophical matter of principle, refrains from o the believed in visual images as the Schoenberg gives detailed instruc- danger as far as music of our Library, New York, 1950.) expressing himself in the service :rests source of his creative genius, and tion to this effect, and even if he, own country is concerned. In of the composer who wanted t~ ¯ The his achievement was to find for in the fourth piece of the cycle very recent years, the contem- If history is the mirror of the express something, the latter i~ ound them translations into sound " Eine blasse W~ischerin" de- porary medium of " Composition future there is little hope for an deprived of the very essence of s in which are hardly ever mistakable. mands all instruments to play " in in twelve notes, only related to " art based on the belief in tech- his artistic product. The last eded. The range of expression in his exactly the same degree of loud- one another," initiated by Arnold niques as a saving grace responsibility, in any case, is with resist music is, of course, not confined ness, all without any expression" Schoenberg and to-day accepted (Schoenberg, Problems of artistic the listener. If he is always pre- 3n, a to the picturesque, but comprises --this may be taken as an " ex- all over the world, has developed education, 1911 ). " The Corona- pared to be ignited by that divine ad to every human emotion as well as pression-mark " aptly befitting a type of music which is essenti- ation Mass" by Guilleaume de spark which, at all times, has ived ) ally unexpressive and, by its Machault with all its intricate made music so mysterious an art, abstract thoughts. It is an extra- the picturesque content of the display of isorhythmis devices-- and if he, on the other hand, ~ough ordinary, one might say, visionary poem: the pale washer-woman adepts is claimed to be the valid ances coincidence that the first strict washing pale linen in the pale realisation of the spirit of our quite incomprehensible to the responds to emptiness by silence, age of advanced mathematics in m o d e r n era without any music without expression will die twelve-tone theme in music- moonlight. soon, as every fashion does. literature, as far as I know, Technically, the performer may sound. On a journey to Germany knowledge about this technique 3r 3rd December, 1964 MUSIC SUPPLEMENT 12

THE CONCERT AUDIENCE AND THE ENJOYMENT OF MUSIC By BRIAN BOYDELL

attention as possible on the music Arreste un peu mon coeur; reflects the spirit of our age). we do in the face of the onslaught of an unprecedented rise in the itself. When we hear such a per. 6u vas tu si courant? This growing tradition that it is "non-U" to admit to having standards of performance brought formance of a work which we These words by Phillipe Desportes, which are set to such striking enjoyed a concert springs from about by mass communication h a v e previously superlatively music by the sixteenth-century composer Guillaume Costeley, could the artificial standards of per- and all that is thereby implied. done, I suggest that far greater well apply to many aspects of human behaviour. In the field of music, formance to be heard on gramo- Performances as a whole could be enjoyment can be obtained by they could apply to some trends in contemporary composition; but phone records and is encouraged divided into three categories. using the adequate performance they also point a warning finger at certain habits which are the concern by the general tenor of press There are those which are so as an aural stimulus to re-create of that large and increasing number of people which makes up the criticism. superlative that we are uplifted the ideal in one’s imagination; concert-going public. Habits and traditions can steal up upon us like and b u rst into spontaneous rather than making the occasion It would be an interesting an opportunity for dwelling on the flowing tide, cutting off our retreat from saner attitudes that experiment to screen the applause. There are others which ensure greater musical enjoyment, unless we stop for one moment and members of an audience through are so frightful that one would shortcomings and manipulating think where the habits we are adopting are leading us. One could a psychological laboratory m wish to reverse the habit adopted them as instruments of maso- hardly hope that an article such as this could stem the tide with one order to find out exactly what by George Antheil, who placed a chistic self-torture. Canute-like gesture; but I do hope that it could be of some value to each member of that audience revolver on the side of the piano There are, of course, many was thinking about during the the individual, who might be persuaded to stop and think how the before beginning his recitals in sides to the arguments put for- performance. There would be ward here, and one would wish, greatest enjoyment can be obtained from listening to music before quite a large section who were Paris. In between, there is a great big category of perform- were there more space, to develop this tide of habit and tradition sweeps him into an attitude which actually rather ¯bored with the many of them. I do not mean distorts the perspective of his enjoyment. music itself, who attended for ances which could be described as to imply, for instance, that all social, personal or inquisitive adequate. Is this not the oppor- emerging from a concert who are critics are destructive; or that My contention is that this tide reasons. Some of these would tunity to make an effort to over- one does not welcome the raising bursting to say "Wasn’t that have obtained a vicarious enjoy- is leading audiences into an come that shortcoming in the art of standards. The whole business, attitude which denies real musical awful!" Is not this state of ment from a study of person- however, may well become alities among the audience or of music brought about by the enjoyment so that many concert- affairs rather alarming? It leads necessity of relying on the entirely irrelevant if eventually artists; and if there had been an the electronic boys have their way goers would be better off at the to the heretical and dangerous item on the programme such as executant to bring to life the assertion that standards of per- original conception of the com- and all executive artists become circus, attempting to tune pianos, Tartini’s " Devil’s Trill " arranged redundant. We shall then only be formance have now reached a by Dragonetti and played on the poser? Think how successful that or working in one of those effort was when we used to enjoy able to criticise the music, unless sinister secret offices, to be found stage where they are so high that double bass by an infant prodigy those scratchy old "78 " record- the tape machine goes wrong. in most broadcasting institutions, fewer and fewer people can really who had recently been smuggled ings. A similar effort could be But before we reach that stage, out from East Berlin, they would let us once again take heed of devoted to the grading of artists. enjoy a concert (unless one be delighted, and would talk made to cut out the irrelevancy accepts destructive criticism as a of acting the amateur critic in all the words of Phillipe Desportes: One is indeed appalled by the about the concert for months " number of people one meets form of negative enjoyment which afterwards. This section of the these adequate " performances, Arreste un peu mon coeur audience has always been present and concentrate as much of our Ou vas tu, si courant? at concerts, and it has, and always will be an accepted part of the scene. The section of the audience with which this article is con- cerned is that increasing pro- Our Service is Silent and Speedy The Cream of Milk portion whose thoughts dwell for a great deal of the time on the problem of what to say to Which is more than can be said the connoisseur who will de- mand a critical opinion as one shuffles out through the foyer after the concert. To be safe, the for our customers. opinion will have to be " Wasn’t JERSEY MILK that awful? But to substantiate such an opinon, a great deal more of the time during the perform- ance must have been devoted to But that is the vay we hke it at discerning whether t h e per- formers were playing out of tune Ash your Milhman for the or not; whether Klemperer did it better; or in searching for some stricture which will provide a Bottle with the Groom Top good reason for having suffered SLATTERY’S torture. This is really a plea that we SUFFOLK STREET should allow ourselves to enjoy musical performance more than 3rd December, 1964 MUSIC SUPPLEMENT 13

"T VGER NOT THE SONG" By PETER BANDER

At a recent educational conference the general manager of the degree of talent is necessary, the to maintain that there are no in my experience was the record Research and Development Services department of the Mirror Group end product which appears on " pop" songs equally acceptable " Dominique" made by the Sing- startled his audience with facts and figures of the amount of money television or is heard on gramo- to adults and teen-agers, but it is ing Nun. The tune was the spent by teenagers on reading matter; an equally staggering sum is a fact that "rebel" groups have attraction -- until the pupils expended each week on gramophone records. Averaged out per head phone records is the result of by far the greatest attraction for realised the actual meaning of the of the teen-aged population, these totals give the weekly figures of hard work by a whole team teen-agers. I have little doubt French words. 3.5 magazines and 1.5 records per teen-ager. These figures would employed by the manager con- that if headmasters and principals appear to indicate a high expenditure on cultural matters by British cerned to adapt the personality of were to encourage long hair styles The conclusion which emerges youngsters of these age groups. But a closer study reveals a depressing the " pop" star for commercial mthus placing a cachet of adult from my investigations presented state of affairs; the reading matter can by no standards be considered purposes with the avowed aim of approval on the Rolling Stones or here very sketchily and in a of any great literery value, whilst the gramophone records are 95% persuading vast numbers of teen- the Pretty Things--the next flippant vein is that the money is ’" pop " music. agers to part with their money. " pop" idol would have a Yul spent because of the singer, not simplification but nevertheless Most managers and " pop stars Brynner coiffure, the song. The only musical I am not qualified to pass judg- admit this. requisite for a successful record ment on the musical value of this true. The personification of ultimate popularity is the " pop " Recent months have seen many In one London secondary school is the beat; lyric and tune are kind of music; I have, however, star; such a star becomes popular fans change their allegiance from the influence of the long cuffs and mere trimmings--it is the name some comments to make from the without apparent outstanding the Beatles to the Rolling Stones. exaggerated cuff links, as sported of the " pop" idol which sells educational standpoint. Market qualities or abilities other than I interviewed some two hundred by the Dave Clark Five, was very the record. The process of making psychology has shown that the thoses latent in every youngster. teen-agers about their change of apparent. It proved impossible to the idol’s name has been well ten to seventeen year age group To do justice to " pop" culture, allegiance. Having just caught up suppress this fashion, as the cuffs described in the documentary, is potentially the biggest buyer of I must concede that a very large with the Beatles cult I found it could be speedily pulled up when " Lonely Boy," a film about Paul anything which is appropriately part of our industry owes its very most inconvenient to have to re- reprimand was imminent. The Anka. advertised. To appreciate the existence and prosperity to this adapt myself again to another staff then adopted the opposite Psychologically the field of impact of " pop" record adver- new phenomenon n the " pop" new " sound," and more than this tactics: no objection was raised " pop" culture offers rich oppor- tising one must look at the whole idol. It would be quite wrong to nto the scruffy appearance which to the cuffs provided that they tunities for research -- even to range of persuasive sales-talk look on him as a successful folk these young men affect. I was were as clean and smart as their the extent of several Ph.D. theses, which bombards everyone with- singer, or even as just an enter- astonished to discover that the originators. The pupils had gained and so does the exploitation of out intermission. Primarily, no tainer. He has become an in- only reason for the change in a Pyrrhic victory, for after a immature youngsters by pur- item is sold on its own merit: the dispensible sales promotion gim- allegiance was that the Beatles week, long cuffs vanished. At the veyors of this culture. The secret emphasis is on the great advan- mick. His contribution to the had reached a measure of respect- same time, Dave Clark Five music of the " pop" idol is his origin. tages the purchaser will gain sales of toothpaste, hair cream, ability appreciated by the adults. lost its popularity in the school He is a boy from the street, socially, including a remedy for shirts, jeans, shoes and many The very fact that parents and dancing club and the prefects’ chosen at random by a manager; personality deficiencies. T h e other articles is probably greater teachers accepted the Beatles as common room. this is his attraction for the teen- whole problem can be quite and more remunerative for him talented entertainers rendered On being asked their reason for ager who identifies himself with clearly analysed if one starts from than his income from the sale of them unacceptable to youngsters. liking a record, teen-agers in- the idol, especially with the the premise that a young person records. In fact the process of I further discovered that previous variably reply that they like the financial and social prospects wants to be popular. This state- creating a " pop" star is weary changes had occurred for the performers rather t h a n the offered by a short spell of ment is, of course, an over- and long. Although a certain same reason. It would be foolish record. The one notable exception popularity.

Intermission for UINNESS Right from the opening bars there’s nothing like a Guinness

GD100B 14 MUSIC SUPPLEMENT 3rd December, 1964

A SHORT HISTORY OF A [.

POPULAR ART FORM fur .obl ,Me By,

CARL BONTOFT DE ST. QUENTIN

Some thousands of years ago, we are told, primitive tribesmen is still disputed by better somewhere along the coast of the Mediterranean discovered the authorities. richness of music by simply hitting two pieces of wood together. This Young Johann Sebastian L~ach was the beginning of Popular Music. (Incidentally, the capital letters grew up, a solid and sober little rascal, with the strains of some are mine.) From this humble cacophony, redolent with the flavour primeval twist firmly embedded in and full-bloodedness of bygone ages, early man saw the full measure his mind, and upon reaching and enormity of his invention. It may be fairly stated that some adulthood promptly inverted the years later he discovered that the bowels of a dismembered jackal subject, added an occasional Nea- or mongoose, being rubbed together, produced a different sound; and politan Sixth and made it the counterpoint of his Overture: The --Photo: Peter Ryan. in later years he revelled in the exquisite fascination that the dried Coffee Cantata. Hochbauer, in- CARL BONTOFT DE ST. QUENTIN. belly of a goat stretched across a saucepan (Old French: Pbt) made deed, insists that Beethoven used when attacked by ladles or human thigh-bones. the Mixo-Lydian chordal pro- gressions of a Bohemian Twist ,!i Such was the dawning of a the Twist has had on history, totally new era in the life-span of quite frequently in his Ninth one has only to turn to the Symphony, basing the fugal sub- man; a life-span, one may say, several accounts of Richard rs which was to survive the most ject of the last movement (bars i imprisonment in Austria and t monstrous assaults during the 223-269 incl.) upon an ancient 17th and 18th centuries A.D. h is subsequent discovery by " tscha-tscha " from his childhood MUSIC IN RURAL IRELAND Contd. Somehow the indomitable, in- his faithful and devoted lutenist clays in Bonn. Certainly, it is corrigible spirit of man prevailed Blondel, or Cyril as he is known, and recorded, that Franz against these onslaughts upon his sometimes referred to. Richard (von) Liszt managed to seduce brain-child and the age of Poular was indubitably tone d ea f, George Sand during a concert scarcely knew the difference be- version he had prepared of the consists of the best out of the old Music grew in strength and in- that neighbouring committees fluence, until the glorious day tween "Aida " and "West Side Mozarabic "tviszt" and nearly did will follow the example already tradition, and a larger part which when Princes, Archbishops and Story," but one tune rang it again during the eight-bar set, one by one. is dynamic, subject to varying Rulers of Men would accept and through his bemused, befuddled orchestral cadenza at the end of Leaving aside music as educa- degrees of flux as a result of the revere its influence and sway. and beclouded mind during his the 6th movement. tion or practised as an art, few impact of new ideas from out- incarceration. This was the other activities can be so effective side. This dynamic flux is the The first truly Popular Song By now, I hope you will have (Old French: chanson, Old High recently composed " Tu~,ssit durh recognised the inestimable and in anchoring people to their mechanism which enables a folk German: liet) is frequently dl tulpanen" which Blondel, or frequently quite revolutionary homes, in drawing together the tradition to survive by adapting thought to be "Greensleeves," Cyril, had created in honour of p art which this simple, yet bonds of community life. The itself to its ever-changing environ- but this is certainly not so. Long his defeat over the Saladin and dignified, Art Form has played in amateur drama movement has rnent. But in our time the gap the Saladoyle (Old Irish: Sala- proved itself to be a valuable between tradition and the new before Vaughan Williams had our musical heritage. In recent force in countering emigration in influences has become almost resuscitated this haunting early dgil). One morning he awoke to years, the age-old tunes have been 20th century folk-song, a vivid-- hear the strains of this glutinous, refurbished in serial form by rural areas by giving people unbridgeable, these being a rich melody cascade through his something to live for. Music debased form of a non-European, indeed one may say vitalmSong- such eminent composers as Plszt could do as much if it were primitive culture. The efforts form had already existed and held cell and knew that he was and Tutescu, while recordings of sway in the Arthurian courts, as rescued. Blondel, or Cyril, re- this most ancient art (forgive me; properly developed so as to pro- of Comh~l~as Ceoltoiri Eireann, ported to H.Q. in Carossa and vide a network of organisations however valiant, in building well as slightly down-stream of Art) Form have been made, Shalott. This music was what we within two years Richard was using, as far as possible the in the many different fields of up a national revival may free. communal music making. not be sufficient, for the old nowadays call the Twist, the authentic and original instru- Like most other countries, we formulas need revitalising if their perfect human combination of During the 14th and 15th mentation of sackbuts, wash- are faced with a rising tide of grip on the younger generation dance, mime and music, which centuries the growth of plain- boards and human thigh-bones commerial "pop" music (if it is to be retained. With a gap so had kept Guinevere’s feet tapping song and the consequent effect with vocal and mnemonic back- deserves the name) which has in- wide between the old and the and which had in a simplified it had on Popular Music of the ground effect from such choirs as filtrated to an extent never regrettably decadent new, the form been danced to by Salome. time retarded the natural, spon- The Luton Girls and St. Poly- possible b e f o r e because of adapting mechanism referred to This was the ancient and revered taneous development of the thenia’s, Ballsbridge. These have, radio and television, threatening above can hardly function, so that music of India and Iraq, Egypt and Twist, but it survived in the we may safely say, done much to to flood out whatever vestiges the hard core of the tradition it- Eritrea, which had even ex- marshes of Birkenhead and the dispel any doubts hithertofore remain of traditional song and self is now in danger. tended in influence as far as low-lying plains of Birmingham felt, that such music was the Elsinore on one momentous brainstorm (alternatively; brain- dance. Outside influences have In such a situation it is only by and Wednesbury, a n d arose made themselves felt in every occasion. victorious during the Sacking of child) of scraggy, scrawny youths cultivating music intensively at from the wastes of Birkenhead period, and have seemed to every level that we can measure Quite what the origin of the the Monasteries as the war-cry of endanger the very existence up to the changing world around word " Twist" is nobody seems recalcitrant monks and their and the like. of the native forms of ex- us. A people which practises an to know. What is certain, how- confreres. Cranmer and Latimer In conclusion, let me simply pression -- for instance, in the ever, is that it is cognate with both died with happiness in their mention the exhaustive list of art in depth must inevitably ex- the Sanskrit "tugssit " meaning a first half of the eighteenth press itself in so doing, and must hearts and a Twist in their minds, treatises on the subject, none of century Italian music was all the bootblack, and the primitive and at the Court of Queen Eliza- which may be found in any re- develop an individuality strong Bulgarian "t u ~sz" meaning i! ,, rage here, yet Irish dance music enough to survive any menacing beth Galliards and Pavanes were putable library: "A Brief History took its present shape in the garbage or dross. From these mere copies of the richer Anglo- of Twisters" by Carl Bontoft; influences from outside. Provided skimpy details we may safely course of this century out of a that the people play and sing Saxon tugssit (cf. Saxo Gram- " Twisting Made Easy" by Carl ,ii welter of styles and types, out creatively, there is still hope that assume that bootblacks sang be- maticus and Caesar’s Gallic Wars, Bontoft; " An ABC of the Twist " of the Italian giga and popular- a H~ire Phul of C~im an Fh~idh, tween bouts with the bootees of book MCMXVII). We have it on by Carl Bontoft, and many others ised forms of court dances, which or the many pipers and fiddlers the rich and were probably re- the best authority that even in by the same author. all became fully assimilated into warded with a pail of garbage (or who still produce new dance the time of Cromwell, the twist (Extract from a lecture given in the Irish tradition. In every dross) for their pains. survived in obscure religious rites tunes, may not be accounted the Rotterdam, 1924, as part of the corpus of folk music there is a To give the average reader performed on Thursdays over celebration in aid of National hard core which is static, which ]ast of their line. some idea of what influence the corpses of herrings, but this Sackbut and Thigh-Bone Week.) 3rd Decembe:, 1964 MUSIC SUPPLEMENT 15 BICENTEN RY ODE TRANSLATION ODE TO By MUSIC... DR. D. E. W. WORMELL in celebration of the two hundredth anniversary of the Annis ducentis scilicet elapsis ex que in Universitate Dubliniensi Mars est Hibernis indomitis pater foundation of the Chair of Music fundata est cathedra his studiis dedicata. Quan cathedram primus Et Musa cordi est; agmina ferreus in Dublin University. The first .obtinuit ornavitque praehonorabilis Garret Wesley, Comes de Dux fregit instantis tyrrani, holder of the Professorship was ~4ornington, pater viri nobilissimi, Arturi, Ducis de Wellington. Dura lyra tolerare doctus. the Right Hon. Garret Wesley, Caelum relinquas, Melpomene precor Oblivioso tecta silentio Earl of Nornington, father of the Festumque praesens commemores diem; Virtus caducis splendet honoribus, Duke of Wellington. Annos recordamur ducentos Sed fulget aeterno nitore Descend from heaven, Mel- Pieridum studiis sacratos. Carminibus decorata vatum. pomme, I pray, and in person join with us in commemorating and Ex quo iuventus discere musicam Tendatur ergo, Cythie, barbitos, celebrating this day; we recall two Consuevit artem, dum generosior Et tibiae vox mobilior sonet, hundred years devoted to the Aulis in antiquis magister Suavique concentu Camenae Muses’ service. Instituit dociles modorum. Te celebrent citharae potentem. From when our youth with ear quick to learn first began to study the art of music in our ancient halls instructed by a noble teacher. Mars is the father of the in- domitable Irish, the Muses have their love. It was the Iron Duke, schooled to alleviate hardship with music, who broke the ranks of the lowering tryant. Valour if hidden in silence which brings oblivion glows with a transient distinction, but shines resplendent with immortal radiance if the songs of the bards bring glory. Tune then the lute, Apollo, and let the running notes of the pipe sound clear, and may the Muses in sweet harmony sing of you, lord of the lyre.

FOLK MUSIC A large gap is being filled in College music by the formation of a Folk Song Society. It is now in the process of being formed and judging by the concert during W.U.S. Week organised under its auspices it should go far. It aims to hold similar such concerts throughout each term, inviting a well-known artist to appear; also talks on the traditional side of folk music will be held at irregular intervals throughout the year. It is hoped to improve the standard of folk music in College and anyone in- terested should contact T. Crozier or J. Harries.

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DUBLIN UNIVERSITY THE OPENING OF THE EXHIBITION OF PRINTED AND MANUSCRIPT MUSIC .5’ IN THE LIBRARY by F. L. HARRISON, M.A., Mus.D., D.Mus., The Rt. Hon. Garrett Wellesley, Earl of Mornington, Reader in the History of Music at the University of Oxford. M.A. Mus.D ...... 1764-1774 Chair Vacant ...... 1774-1845 John Smith, Mus.D ...... 1845-1862 RECITAL BY THE RONAYNE STRUB DUO IN THE PUBLIC THEATRE, Robert Prescott Stewart, Mus.D. (Knighted 1872) 1862-1.394 TRINITY COLLEGE Ebenezer Prout, B.A., Mus.D ...... 1894-1910 1910-1920 Sonata No. IV in D. Major ...... Handel (1685-1759) Percy Carter Buck, M.A., Mus.D ...... Andante sostenuto; Allegro; Larghetto; Allegro Charles Herbert Kitson, M,A., Mus.D ...... 1920-1935 The continuo part has been realised from the figured bass by Elgin Strub. 1935-1962 George Henry Phillips Hewson, M.A., Mus.D ...... Sonatine in G Minor D. 408 (1816) ...... Schubert (1797-1828) Brian Patrick Boydell, B.A., Mus.D ...... 1962- Allegro giusto; Andante; Minuetto; Allegro moderato. Vier Stficke Opus 7 (1910) ...... Anton yon Webern (1883-1945) Sehr langsam; Rasch; Sehr langsam; Bewegt. DOCTORS (bonoris causa) INTERVAL Vier Stficke Opus (repeated) ...... Anton von Webern For Pianoforte. OF MUSIC IN Sonata No. 2 in G major Opus 8 ...... Philip Cogan (1747-1833) (Dedicated to Clementi ). Sonata in D major Opus 12 No. I (1798) ...... Beethoven (1770-1827) DUBLIN UNIVERSITY For Violin and Pianoforte. Allegro con brio; Andante con variazione; Rondo; Allegro. Sir John Stevenson ...... 1791 John Clarke ...... 1795 John Spray ...... 1821 RECEPTION IN THE COMMON ROOM. John Smith ...... 1827 Chevalier S. Neukrom ...... 1852 8.30p.m. Francis Robinson ...... 1852 A CONCERT PRESENTED BY THE DUBLIN UNIVERSITY CENTRAL MUSIC Sir Herbert Oakeley ...... 1887 COMMITTEE on the occasion of the Bicentenary of the Foundation of the Chair of Rev. Sir Frederick Arthur Gore Ouseley ...... 1887 Music. Held in the Public Theatre, Trinity College. Sir George Alexander Macfarren ...... 1887 Let Us Now Praise Famous Men ...... George H. P. Hewson Rev. John Pentland Mahaffy ...... 1891 (Professor of Music 1935-1962) Sir Charles Hubert Hastings Parry ...... 1892 THE CHORAL SOCIETY. Organ Accompanist: SIDNEY BOAL James Cooksey Culwick ...... ]893 Conducted by JOSEPH GROOCOCK Ebenezer Prout ...... 1895 Address by HIS GRACE THE DUKE OF WELLINGTON Frederick Niecks ...... 1898 " As It Fell Upon A Day" ...... The Earl of Mornington (1735-1781) William Hayman Cummings ...... 1900 "Sweet Aurora" ...... Timothy Geary (1783-1806) Michele Esposito ...... 1905 "The Blackbird Song"...... Percy Buck (1871-1947) "O Leave Your Sheep"...... arr. C. H. Kitson (1874-1944) Charles George Marchant ...... 1911 " The Cruishkeen Lawn "...... arr. Robert P. Stewart (1825-1894) Rev. Edmund Horace Fellowes ...... 1917 " Holy Lord God Almighty"...... Thomas Bateson (c. 1570-1630) 1925 " Fair Phyllis I Saw " ...... John Farmer (c. 1565-c. 1605) Sir Herbert Hamilton Harty ...... "A Little Pretty Bonny Lass"...... John Farmer Sir Henry Walford Davies ...... 1930 " Cupid in a Bed of Roses"...... Thomas Bateson Ralph Vaughan Williams, O.M ...... 1939 THE COLLEGE SINGERS, conducted by JULIAN HALL Sir William Walton ...... 1948 Pianoforte Accompaniment: FRANCIS RAINEY Ninette de Valois, D.B.E ...... 1957 Suite for Flute and Pianoforte ...... Joseph Groocock Specially written for the ocasion. Lady Dorothy Mayer ...... 1958 Allegro; Allegretto; Andante; Allegro. Michael Tippett, C.B.E ...... 1964 Performed by DOREEN DROSTE and JOSEPH GROOCOCK Aloys Fleischmann ...... 1964 INTERVAL Joseph Groocock ...... 1964 " Dark Brown is Thy Valley / From " A Child’s Garden " " All Night Long j by R. L. Stevenson ...... Joseph Groocock "1 Loved a Lass" (George Withers) ...... Brian Boydell " The Windhover" (Gerald Manley Hopkins) ...... Michael Tippett INDEX Performed by THE COLLEGE SINGERS, conducted by JULIAN HALL, Page with Pianoforte Accompaniment by FRANCIS RAINEY NOTES ON THE CONTRIBUTORS ...... 2 Three Excerpts from " Songs of Colmcille "...... Aloys Fleischmann GARRET WESLEY, 1st EARL OF MORN.INGTON, by the (Poems by Roibe~.rd O Farach~in) Specially written for the occasion. Duke of Wellington ...... 3 Orchestral Prelude; The Pets; Murmur and make music. AN. INTERVIEW WITH MICHAEL TIPPETT ...... 4 Performed by the College Singers with Chamber Orchestra and conducted by the composer. IT’S A MUSICAL COUNTRY, by Joseph Groocock ...... 6 Carmen in Honorem Artis Musicae (D. E. W. Wormell) ...... MUSIC IN RURAL IRELAND, by Aloys Fleischmann ...... 7 Brian Boydell wi~ Specially written for the occasion. 25 BEETHOVEN AND HIS PIANIST WORK, by Anthony Hughes 8 Performed by the Choral Society, the College Singers and Orchestra, and conducted UJ TONE QUALITY IN ENSEMBLE MUSIC, by Philip Cranmer ...... 9 by the composer. Baritone solo: Stephen Ryle. MUSIC " SENZA ESPRESSIONE," by H. Waldermar Rosen ...... 10 A COMPOSER’S VIEW, by Se6irse Bodley ...... 11 THURSDAY, 3rd DECEMBER, 1964 THE CONCERT AUDIENCE AND THE ENJOYMENT OF At the Commencements Ceremony in the Public Theatre, Trinity College, the. MUSIC, by Brian Boydell ...... 12 conferring of the following degrees:-- THE SINGER, NOT THE SONG, by Peter Bander ...... 13 A SHORT HISTORY OF A POPULAR ART FORM, by Carl Doctor in Music (Honoris causa): Bontoft de St. Quentin ...... MICHAEL TIPPETT, C.B.E., Mus.D. (h.c. Cantab). 14 PROFESSOR ALOYS FLEISCHNANN, M.A. (U.C.C.), D.Nus. (U.C.D.). JOSEPH GROOCOCK, B.A., B.Mus. (Oxon). Published by TRINITY NEWS, 3 Trinity College, Dublin, and printed by the Brunswick Press Ltd., 179 Pearse Street, in the parish of St. Mark, Dublin. M.A. (honoris causa): MICHAEL MacNAMARA, A.R.C.M., L.T.C.L. December 3rd, 1964 TRINITY NEWS 3 Hockey TRINITY, 0; ST. ITA’S, 2 The high hopes of October have become forgotten memories in November. When the pressure is on, it seems, unfortunately, that the hockey side is quite unable to rise to the occasion. Last Saturday, St. Ita’s, a moderate team who Trinity had brushed aside in the league earlier this year, produced fight- ing, determined cup hockey and, like Pembroke the week before, deserved their victory. The regular reader of this column who hasn’t seen the team ,in action may well be asking what has gone wrong. Basically it is the forward line which has let the side down. The defence is the strongest in Leinster with no apparent weaknesses. The opposition have scored goals this year certainly, but through opportunism, as last Saturday, or penalty corners. Trinity’s for- wards have lost their directness and weave intricate midfield patterns which get nowhere. Far too much of the attack is plugged down the centre of the field where the opposition is generally strongest. Soccer As in the previous match with DEFEAT ]ta’s, there was no score at half- TRINITY, 2; HAMMOND LANE, 1 tmie, but this time Trinity pro- This match at Clonskeagh was played in a very strong wind which duced no second-half rally. Only Experience Wins the Day when St. Ita’s took the lead did blew in the same direction as the slope. Trinity, playing with the the side start to play with any wind, immediately asserted midfield domination and a series of attacks TRINITY, 3 points; U.C.D, 11 points spirit and for a time were well on were mounted, many of which included all of the forward line and t0p. Wild shooting, however, were a treat to watch. After thirty minutes Sowerby picked up a One superstitious supporter turned pale when both our centres marred this offensive. Players nice pass from Leonard and shot Trinity into a well-deserved lead. appeared with number 13 emblazoned on their backs. This apparently who stood out in the Trinity side Just on half-time a tame shot from the opponents was dropped by spelt double trouble and after fifteen minutes Trinity certainly were Stiven at full-back who now Haslett and so at the interval Trinity appeared to have a difficult appeared bothered and bewildered even if they weren’t bewitched. is playing as well as he did last task ahead. At that stage, with the " Last Post" sounding in the stand, and U.C.D. year, and the vastly improved left-half, Webb. They rose magnificently to the halves. Here the pivot around eleven points to the good, a cricket score looked very much on the occasion and Horsley, O’Moore Horsley worked well, and with cards. Fortunately, this was averted, but Trinity never really looked and Pointer all combined well to Lawless and Wormell covering like getting on terms, despite the encouragement of Meldrum’s drop Athletics prevent the inevitable long, high continually, Pointer and O’Moore Last Tuesday the athletic clubs probes from conversion into were enabled to concentrate more goal at the beginning of the second half. of Trinity and U.C.D. had the goals. Haslett dealt spectacularly on attack. This, combined with We lost to a fitter, better co- that very effectively either. In- honour of meeting the Curragh with any other danger that a greater accuracy in passing, ordinated and more decisive stead of testing Hickie with for the last competition this threatened. Although u n d e r meant there appeared to be a towering punts, or using the wind eccentric wooden track will ever pressure for much of this half, certain fluidity in the side that has U.C.D. side. Their fitness was to gain long touches, he persisted see. the defence held firm. The two been lacking recently. As is was, well demonstrated by the fact in lobbing the ball over their The match was historic. Five new wing men, Baker and Unwin, the result was most gratifying. that both tries were scored by the threes into the full-back’s hands. indoor records were washed frequently aided the defence second row men--a feat, one The U.C.D. threes were no more away and two were equalled. while still keeping an eye for an suspects, wholly outside t h e than competent, but looked Trinity’s sprint king Austen shot opening. This was often pro- capacity of Jones or Ollie Bourke. streets better than Trinity because round the derelict tanks to regain vided by Nolan who appeared to Ladies" Hockey U.C.D.’s greater cohesion was they practised the basic art of his 220 yards record in 25.4 secs. be everywhere. After eighty most noticeable in the loose giving and taking a pass. Thus, Sergt. O’Keefe of the Curagh minutes Pointer, on reception of The 1st XI began the season where t h e i r forwards really while our handling was dis- pipped Tom Power of U.C.D. to a delightful pass from Unwin, left well with two creditable per- hunted as a pack, while our eight, astrous, with M el d r u m and cut the 2-mile record by 2 secs. the defence fiat-footed, showed formances ag ai n st Pembroke with certain honourable ex- Wilson the chief offenders, the to 9 rains. 28.5 secs. Lt. Cum- the goalkeeper the ball and then Wanderers and Muckross. With ceptions, were too inclined to U.C.D. backs scarcely dropped a mings slaughtered his own record put it past him. The defence promising reviews, the team hang about. Their decision was pass. Worse still, there was in the mile to win from team hung on grimly after this and seemed all set to repeat last year’s spotlighted by our own in- some very poor marking, with mate McCann in 4 mins. 24.2 secs. although many corners were con- record of success. However, decision, especially over taking Bresnihan really giving Wilson Trinity’s athletes, except for ceded all these were cleared. recent matches have been dis- panalties or when faced with the the run around. Only two the sprint double by Austen in This renovation of team spirit appointing. There is a marked prospect of actually crossing their terrific last-ditch tac kl es by the 80 and 220 yards, were a little stemmed mainly from the wing- lack of tactics and method, whilst line. Morrison prevented further tries. disappointing. Shillington " blew a strong defence is offset by weak Fatal hesitation and some U.C.D. also had a great advan- forwards, none of whom score almost criminally bad marking tage at wing-forward where the up" in the 880 to trail in third consistently. place behind Murphy who set a meant that Trinity were fighting inexperienced Butterworth and new record of 2 mins. 2.8 secs. In the inter-Universities’ Chilean an uphill battle almost from the Sheridan were not in the same Martin was left to win the high Cup competition in Belfast last start. Things got better in the class as Doyle or Roughan. jump with 5 ft. 9 ins. when his week, Trinity first met U.C.D. second half when the binding in It was all very disappointing team mates Russell and Jeffries After a scoreless game and two the lineouts improved and the then, especially as there were failed. Unbeatable Hatt was well periods of extra time, Iris Mor- wind was in our favour. How- occasional flashes from Whitaker beaten in the shot by U.C.D.’s rison netted a goal from a corner. ever, the backs completely failed and Morrison that showed what .Nulreany with a putt of 44 ft. 5 J. M. Nestor Ltd. The final against Queen’s was to utilise the increased possession might have been achieved. For Ins. played in torrential rain and that resulted from this. Trinity, the front row were the The Curragh won the match 6 LOWER BAGGOT STREET Trinity were unable to match U.C.D. really had the edge at best of the forwards, with with 31 points, but Trinity with (Merrion Row End) their opponents’ stick-work or out-half, centre and wing-for- O’Morchoe oustanding in the 25 points managed to beat Tel : 61058 tactics and lost 2-0. ward. Murray attempted little, loose. Stafford-Clarke gave a U.C.D. with 21 points. Pat Osman and Marion Pike even though he was given plenty good all-round performance, and have been chosen for the Irish of rope, but what he did do, he Morrison did sterling work at Universities’ side, Pat’s third year did well--kicking intelligently, full-back. Finally, all praise to ChrE. tu’s 1 SOUTH LEINSTER STREET handling accurately and getting John Cokerwho, despite repeated announce th~ opening of a on the team. Trinity’s team at Belfast was: M. Philp; M. Pike, O. through a lot of covering. But injury, gave it all he had and THE GENTLEMEN’S HAIRDRESSING SALON Meldrum’s handling was very came so near to scoring. Within 50 yards of TriniCy Shepparrd; J. Ludlow, P. Osman, SPECIAL REDUCTIONS FOR STUDENTS L. Logan; O. Meagher, L. Ganly, shaky, he overdid his kicking and, Ah well, there’s always next So remember ~ Turn right at the Lincoln Gate I. Morrison, S. Sheppard, N. Cook. to make matters worse, didn’t do year.

Politics, books, arts. The leading Viewspaper. Have you seen this week’s New Statesman .P From your newsagent, Is. TRINITY NEWS December 3rd, 1964 PERSONAL " MESSIAH "--The Choral Society will The Theo. and Spiritualism perform the complete work, n~xt Wednesday and Thursday, 7.30 p.m., Homosexuality Constantin Exam. Hall. Tickets at Front Gate. in College "D " TYPE Labretta, 150 c.c., for Sale, Mr. Fred Graham’s paper to the £30. Apply W. R. Hutchinson, c/o, 38 T.C.D. Theo was a balanced assessment ~vm Our Occult Correspondent De of the problem of homosexu- HAVING A Party? We supply ality. His main point was that Trinity’s No. 1 Barman, Doorman and homosexuality is sexual im- A number of s~ances at which Goguel Guests. Apply 13.22 T.C.D. maturity and so it should not be supernatural spirits manifest themselves are presently being THEO DANCE condemned nor condoned, but YOUR FINAL FLING AT should instead be understood. held in and around College. Your De THE MOLESWORTH HALL Dr. MacCracken, guest speaker, correspondent has witnessed one SATURDAY NIGHT, 5th DECEMBER 4/- said that Kinsey’s system of grad- at which the spirit of a woman ing stages between homosexu- Toulouse-Lautrec ality and heterosexuality was far who formerly lived at CIonskeagh more accurate than the idea of has been present. three groups, homesexuality, bi- The type of s~ance was one sexuality and heterosexuality. He commonly known as " Planchet," Only mentioned the importance of en- Trinity Players have made their for acting reached such a pitch vironmental factors, but, un- and the spirits make their voices impact on the world at large. that he was prepared to sacrifice fortunately didn’t develop this heard by propelling an object, Bodgen, Bates, Myers and Brady his degree for furtherance of his point. usually a glass or an egg cup, have all made their names in the acting. Now he admits that E avy The level of the speeches from around a sheet of paper on which outside theatre and it is pleasing "Economics is boring but essential." Those who know him the floor was high. All the all the letters of the alphabet are to note that the disappearance of speakers were sincere in wanting these actors has not meant a de- better think this compromise may Byrnes to understand the problems of printed. The spirit which spoke cline in either the high standards have resulted from his letter-a- homosexuals, but one got the at the s~ance to which I was party of old or in the scope of perform- day from Corsham, Wilts. impression from listening to the replied to questions put to it and ances. (This term’s Pinter’s pro- Gog is a versatile actor. He is Can you capture the discussion that few had first-hand was eloquent on the nature of ductions, reported elsewhere, in- well remembered for his best supporting actor r61e in the TRUE LUXURY AND knowledge of the subject or were God which it said " was love." dicate that the ambitious spirit used to mixing with hemosexuals. built up has been maintained even U.D.A. festival of 1963 as Beaudri- One felt that they pitied homo- Most undergraduates who have in the tiny theatre of No. 3.) court in Anouilh’s " The Lark," OUTSTANDING :! Part of the credit must go to this and in 1964 as the old man in sexuals, much as one might pity not attended a s~ance tend to be PLEASURE OF DRINKING animals in a Zoo, rather than sceptical. Sizar Dermot Scott year’s Chairman " Gog " who has "Cuchulain" by Yeats. These being perfectly sound citizens said "They’re rubbish,," but now taken over the avuncular parts contrast sharply with his IN DUBLIN apart from their sexual desires. mystical Jane Welland told u~ r61e previously held by Ralph " Bartholomew Cokes" in John- The Theo is to be congratu- that she had "communicated with Bates. son’s "Bartholomew’s Fair" where lated for allowing women to be spirits." Many, however, would Gog is a born actor. Who he played an infantile fool. Of present. Women were excluded seem to agree with Margaret wouldn’t be if they were born of late, he has become a Review from a meeting on this subject Sinclair who said " I have an open a Russian mother, a Dutch-French artist with a good performance in The Wine List offers the held by the Phil a few years ago. mind." father, bearing an American pass- " Pall Me Mantle." He has always Widest Variety Available port and living in London? In a worked hard at his acting, some- more serious vein, Gog has times with little reward but an always had an interest in acting application which even his most LETTER which Dartington Hall carefully harsh critic cannot deny. Entertain matured, a school which is par- Off stage Gog is friendly. He H Sir,-- Your heading of last successful, most notably perhaps i,i week, " Hostility to the S.R.C. in General Studies where can- ticularly suited for developing does not live in a dream-world at the Elections," was, so far as one vassing was most intensive and artistic flair in a person. Gog’s as some far less competent actors could judge, the personal view of the margins of victory among the exceptional character enabled him do, but has a word to say to not only to develop his acting everyone. He does not suffer ,, ;. , the writer rather than an attempt largest, surely suggest t h at to judge the consensus of under- advertising generally neither pro- ability but also to maintain a fools gladly all the same and his ( or i n graduate opinion. As officer ,n duced hostility to the elections sufficiently high academic record life still revolves very much charge of the elections I shouid as a whole nor lost support for to read Honors Economics at around the theatre. However, like to make a few points in reply the main advertisers; indeed the Trinity. Now a Senior Sophister, both the Rugby Club and the , ,OOIlt he has at last accepted the Soccer Club have benefited from to what I consider to have been contrary. A " vigorous election It an irresponsible and unfair article. campaign" is by definition a necessity for getting a degree as his support, although they are un- Dininl . . . D~¢in8 . . well as pursuing an acting career. successful in their efforts to get Nightly . . . Tibia d’H~e, " One should no more believe successful one, both in maximis- ~ extravagant electoral promises ing the poll and letting the elec- In his first two years, his passion him down to play. Dinner Ind ¯ I¯ Carte, !i ~)" than that a particular washing torate know the aims and policies . . . No Cov¯r Ch¯rle .... powder washes whiter; the test of the candidates. Licensed to Midnillht . . i. here is what the electorate wants With regard to the question of .~lli’ done and who they consided is " democracy," briefly, the identi- Informal Dresu . . . more likely to achieve it. I would, fication of votes was made -~ LUNCHEONS DAILY. however, be most interested to necessary in order to eliminate 111[ 12.30-3 ,i have details of the manifestoes voting at more than one of the which have pledged candidates to three booths, which were made I " stopping the inflationary price- necessary in turn to give Science k MIETROPOIAB spiral," and those, apparently students the same facilities as O’Oonneil lit., DI;BINB~ j. almost all," which have those who have lectures nearer described t h ei r approach as Front Square. Your correspon- " radical " or " far-reaching." dent was also presumably un- Among the considerable number aware that votes would not be of manifestoes I collected during signed. the campaign one promises to Stephen L. White. Enjoy a drink in the " work for a levelling-off of the THE NEPTUNE GALLERY the price spiral" and another NEWS EDITOR COMMENTS pi .# q wants a sub-committee on College My assessment of College feel- 136 St. Stephen’s Gree~, Dublin a. eating facilities and rooms, which ing was that it was hostile to the , has in fact been done. This is all. particular manner in which the Telephone: 54 ~ 9° The only reference to a " radical" S.R.C. elections were fought. It or " far-reaching" approach I has been substantiated by the At The Neptune Gallery in Saint Stephen’s Green could find was "in favour of results, since interest was so smaii are sold a Great Variety of Cunning and Delightful radical changes, but only when that less than 49 per cent. of Prints, Views, Maps and Drawings of Ireland and of they do not affect what is best in eligible electors exercised their the City of Dublin. Views in Atquatinta by James the tradition of this University." voting rights, while in eight con- The substance of the manifestoes stituencies there were no contests Malton, by Brocas, Taylor, O’Neill and Wright and , in fact was generally constructive at all. In one constituency L~6 many other Artists may be had, Coloured or Plain, a! and valuable, with regard, for in- votes failed to elect a candidate, reasonable prices. Numerous Maps of the Kingdom are stance, to maintaining as close while in others the suppor~ of links as possible with the students also sold at the Gallery, including those by Ortelius 6 and 13 were su’$cient to secure (1580), Speed (1611), Mercator (1620), Sir William in their schools, to the abolition success. The machinery of / q of compulsory lectures, to rooms " democracy" was clearly some- Petty (1680), Bleau (1685), Jansonius (1690), Iterman / and Commons, and to Readina what rusty. Most people to whom Moll (1700), Senex (1710), Robert Morden (1720). / Room hours. I talked considered that they il [ Rocque (1756), and many others. .!i¸ No one expected everybody in could represent their own in- College to like every manifesto; terests better than could dele- These, at prices varying from ten shillings to fiftv pounds, are well suited for Christmas gifts- if, that is, ~J c nevertheless, the fact that there gated representatives capable only was a satisfactory poll, on the of making promises which even having bought them, you are able to part with them again. i’. , results of which the chief can- White admits they cannot be SEARSONS .i Published by TRINITY NEWS, 3 Trinity College, Dublin, and printed by the vassers were almost uniformly expected to fulfill. Brunswick Press Ltd., 179 Pears¯ Street, in the parish of St. Nark, DubEn. 42/44 Upr. Baggot St,

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