COUNCI L

*The Lord Cottesloe, G .B.E . (Chairman) *Wyn Griffith, C .B.E ., D .Litt . (Vice-Chairman ) T. E . Bean, C .B.E . *Professor Anthony Lewis Alan L . C . Bullock *Sir John McEwen of Marchmont, Bart ., *Sir William Coldstream, C.B .E., D .Litt . LL .D. *Joseph Compton, C .B.E. The Viscount Mackintosh of Halifax , The Lady Dalton D.L., LL.D. Sir Emrys Evans, LL .D . Hugh Marshal l *Professor Gwyn Jones Miss C . V . Wedgwood, C.B .E . Councillor J . D. Kelly, C.B.E., D . L., J .P., *Hugh Willat t C .A. *Member of Executive Committee SCOTTISH COMMITTE E

Sir John McEwen of Marchmont, Bart ., LL .D. (Chairman ) D . K. Baxandall, C .B.E . Charles Grave s Ernest , Boden Councillor J . D . Kelly, C .B.E ., D.L., J .P., Charles Carter, F.M .A., F .S.A. C .A. Colin Chandler Mrs. Eric Linklate r G. E . Geddes The Hon . Mrs . Michael Lyle Esme Gordon, A .R.S.A., F.R.I.B.A., Colin H . Mackenzie, C .M .G. F.R.I.A.S. J. McNaugh t T. Grainger Stewart, C .B., M.C ., T.D ., William MacTaggart, P .R.S.A., Hon .R.A. D.L. Hugh Marshall WELSH COMMITTE E

Professor Gwyn Jones (Chairman ) S. Kenneth Davies, C .B.E . Dr . W . Moelwyn Merchan t T. Glyn Davies Principal Thomas Parry, D .Litt ., F .B.A. Sir Emrys Evans, LL.D. Lady Amy Parry-Williams Alex J . Gordon, Dip .Arch ., A .R.I .B.A. Robert E . Presswood David Dilwyn John, C .B.E ., T .D., D .Sc ., Miss Frances Rees, O .B.E . F.M .A . Ceri Richards, C.B .E . Dr. Daniel Jones Professor D . E . Parry Williams, D .Mus . Mrs . Eileen Llewellyn Jones lolo Aneurin William s Alun Llywelyn-Williams STAF F

HEADQUARTER S 4 St. James's Square, London, S.W.I (Whitehall 9737) Secretary-General : Sir William Emrys Williams, C .B.E . Deputy Secretary and Finance Officer : M . J. McRobert Art Director : Music Director : Drama Director: Gabriel White John Denison, C .B.E . J . L. Hodgkinson, O .B.E . Assistant Secretary : Eric W . White Accountant : D. P. Lund, F.C .A. SCOTLAN D Director : Dr . George Firth, O .B.E ., 11 Rothesay Terrace, Edinburgh, 3 (Caledonian 2769 ) Deputy Director : Donald Mather. WALES Director : Dr . J. R . Webster, 29 Park Place, Cardiff, South Wales (Cardiff 23488 ) f}2C H 1 Y Iv C® P .1

T H E A R T S C O U N C I L OF G R E A T B R I T A I N

ARTS COUNCIL OF GREAT BRITAI N

REFERENCE ONLY

DO NOT REMOVE FROM THE LIBRARY SIXTEENTH ANNUAL REPOR T 1960-196 1

4 ST . JAMES'S SQUARE, LONDON, S . W ., DESIGNED BY MISS G . DRUMMOND MCKERROW AND PRINTED IN ENGLAND A T THE BAYNARD PRESS

CONTENTS

Page 1 . PARTNERS IN PATRONAGE 5

2. APPOINTMENTS, RETIREMENTS AND HONOURS 1 1

3. HOUSING THE ARTS 12

4. THE NATIONAL THEATRE 15

5. DRAMA 1 8

6. MUSIC 28

7. OPERA AND BALLET _ 40

8 . ART 48

9. POETRY . 5 1

10. ARTS FESTIVALS : ARTS ASSOCIATIONS, CENTRES AN D CLUBS . 55

11 . SCOTLAND 58

12. WALES 69

13. NOTES ON THE ACCOUNTS 77 1

PARTNERS IN PATRONAG E

An encouraging feature of the effort to sustain the arts in Britain is the extent to which municipalities, large and small, are now participating i n that task. What has long been a common practice in many European coun - tries is at last being adopted, if on a modest scale, by more and more Local Authorities. Their assistance is often tentative and sometimes, unfor- tunately, liable to be cancelled or diminished after a municipal election ; but, broadly speaking, a civic sense of responsibility for the fine arts is gaining more acceptance year by year. Municipal aid for music and drama has hitherto taken the form, in th e main, of subsidies to orchestras and repertory theatres . Until recently there had been only two examples of a broader .concept of responsibility, i.e. of building new homes for the arts . Ten years ago the L.C.C. gave a lead by building the Royal Festival Hall, and three years ago Coventry built the first civic theatre in this country. These notable innovations are now being enlarged. The L.C.C. is to spend £34 million on further cultural buildings on the South Bank and has offered to contribute a further £13 million towards a National Theatre building. A new civic theatre is under construc- tion at Nottingham and proposals for other new theatres, provided fro m municipal funds, are maturing at Croydon, Birmingham, Manchester (Wythenshawe), Guildford and Leicester . Further municipal projects of this kind are being considered elsewhere, * and there is reason to believe that in the next few years the deplorabl e dearth, outside the metropolis, of concert halls and playhouses of moder n design and amenity will be somewhat reduced . Local Authorities are more and more likely to accept the view that the provision of a theatre or a con - cert hall is as justifiable a charge upon the rates as the public library and th e art gallery-both of which, incidentally, are provided for minority interests. But despite the growing concern for the arts among many Local Authori- ties there is a long way still to go . Under the Local Government Act of 194 8 alone, the municipalities of this country are permitted to spend ove r * See the Arts Council's recent report, Housing the Arts, Part H: The Needs of the English Provinces. H.M .S .O., 5s. L16 million a year on the arts : at present they are spending less than one- sixtieth of that amount ; and they also have other powers which permi t capital expenditure on new buildings for the arts. Many of our largest and richest cities remain lamentably negligent of their duties to the arts . In its `Housing the Arts' report the Arts Council reaffirms its convictio n that the welfare of the arts is primarily a local responsibility, and that i t should be a matter of civic pride for a town to display its music and dram a in an adequate and agreeable environment . It would be wrong on all counts to nationalise the arts and to make the provision of theatres and concert halls a Government responsibility, although there are evidently ways in which the Government could and should stimulate local initiative, e .g. by enabling the Arts Council to contribute, on a limited scale, to new building projects by, say, equipping a new municipal theatre with a stage-lighting system.

BENEVOLENT LANDLORD S What type of assistance should a municipality provide for the arts? This is not a question to be given a dogmatic answer, for needs and opportunitie s vary so much that municipal aid must, for the time being at any rate, tak e diverse forms. But there is much to be said, if circumstances are apt, for a Local Authority adopting the r6le of benevolent landlord and providing suitable arenas for the performance of music and drama . This, indeed, seems to be the present trend, and Local Authorities as a rule are wisel y refraining from assuming the actual management of orchestras and repertory companies, and are leaving these duties to self-governing boards or trusts of local people on which they seek no more than a token or minority representation. A municipality which thus elects to settle for the function of benevolen t landlord to the arts thereby encourages a vital sense of responsibility among the citizens for whom it provides the bricks and mortar. It becomes the duty of those citizens to manage and support an amenity provided at considerable expense from the rates . This consumer response and consume r responsibility are as essential a part of the operation as the municipality' s contribution of bricks and mortar ; the ratepayers should provide the theatre but the citizens as a whole should provide its policy and its audience . The current pattern of patronage needs to be watched closely and, i n some respects, radically altered . The Government contribution to the per- formance of music and drama, administered by the Arts Council, is now a substantial sum. * The Local Authority contribution is increasing at a slowe r rate but one which at last shows welcome signs of acceleration . But even these actual and potential sources of patronage will not of themselves pro - vide a sufficiently broad and durable basis for the prosperity of the arts . The nourishment of the arts must not be left solely to Whitehall or th e town hall. Patronage should disclose, so to speak, a molecular structure of representation ; it should be shared by individuals, local and central government, voluntary bodies, industry and the universities . The making s of such a combination of forces are there, but so far they have rarely com e together in a unified effort in any city or region. Examples of corporate responsibility for the arts are rare in this country. An outstanding one is the Edinburgh Festival Society; and many of the other Arts Festivals, such as York, Leeds, King's Lynn and Norwich, have succeeded in developing a similar basis of responsibility. Many orchestras and repertory theatres are now fortified by supporters clubs of one kind and another, but wider manifestations of this principle need to be fostered , especially in our larger towns. The Arts Council has for some time been urging the creation of civic arts trusts to preserve and extend the loca l provision of the arts in such major cities as Manchester or Leeds, or indee d on a regional basis for such areas as the West Riding. So far the only all- purpose body of such a kind to be initiated is the recently created Nort h Eastern Arts Council, which combines representatives of Local Authorities , voluntary bodies such as chambers of commerce, the Tees & Tynesid e Independent Television Co ., universities, industry and trade unions . It is an example which should be followed elsewhere. It is significant that the Trades Union Congress has lately been consider - ing the needs of the arts. In their day trade unions have given timely and generous support to various types of adult education such as the W .E.A., and to such historic institutions as Ruskin College, Newbattle Abbey and Coleg Harlech. One of the problems which will affect them increasingly in future is not so much the lack of educational facilities for working peopl e but the enrichment and enlightenment of their members' leisure . There is already a large and increasing interest in the arts among many industria l workers, and this happy augury leads one to hope that resolutions passe d at recent Trades Union Congresses will in time persuade the unions t o contribute both money and interest to local and national activities in the

s £1,675,000 for 1961-62. 7 arts.* The contribution which industry makes to the arts - a growing and welcome one - comes at present almost entirely from the shareholders ; a similar response from organised labour would be a welcome act o f solidarity. VOLUNTARY EFFOR T It cannot be too often affirmed that the health of the arts depends no less on collective voluntary effort of all kinds than upon Government an d municipal subsidy, and in this collective partnership the individual mus t participate, too. One of the paradoxes of patronage in our time is that although the wealthy benefactor of the arts is very scarce, there are mor e private patrons than ever before. Their donations may be no more than guineas apiece instead of the thousands given by their wealthy predecessors , but the private contributors and the supporters clubs between the m signify a sense of individual responsibility not to be measured merely i n terms of money. The inherent danger in State and municipal patronage is that it could diminish the precious sources of strength which lie in the good citizen's recognition of the value of the arts to a modem society. It is salutary to remind ourselves that long before taxpayers and rate - payers assumed some of the obligations of patronage, cultural activitie s were sustained by private enterprise . One such example was recently quoted by Professor Brinley Thomas, of University College, Cardiff. The National Library of Wales was instituted by the tireless efforts of dedicated men and women of all classes, and during the forty years between 1873 and 1913 th e pride and conscience of Wales were roused to fulfil this challenge . The miners of South Wales accepted a levy on their wages of Is . a man as their contribution, at a time when the average wage of a collier was 45s . a week. In recalling this significant feat Professor Thomas pertinently suggests that, in relation to our present affluence, we are doing less individually than ou r forebears to promote those institutions and activities by which posterity wil l assess our cultural achievements . To transfer this obligation wholly to the taxpayer and the ratepayer would be to lose that element of persona l responsibility which has animated so much of our social and cultural pro- gress since the Industrial Revolution . It would be wrong to say that thi s sense of personal concern has atrophied. Indeed, in recent years it has proved the inspiration which has sustained, for instance, the Welsh National Opera Company, the Scottish National Orchestra and several other valiant and precarious endeavours. But we need to bear in mind that * It was announced recently that six trade unions have between them donated £335 t o Theatre Workshop . there is no substitute for individual responsibility, and that the paramount trusteeship of the arts in Britain to-day is vested in that percentage of the population which rejects the assumption that sessions of bingo and caper s on the Costa Brava are the be-all and the end-all of our new leisure . If they will organise themselves into civic arts trusts they will prove once mor e that voluntary effort is the final safeguard of our cultural inheritance an d aspirations. Nowhere is this view more strongly held than in the Arts Council. If its sole or principal function were to dispense subsidies to the arts from Government funds it would derive a very moderate satisfactio n from its duties . Its main preoccupation, however, is to encourage a loca l and corporate sense of trusteeship wherever, like a grain of mustard-seed , the arts can manage to take root .

THE SHEEP AND THE GOAT S The Arts Council's own responsibilities in this partnership of patronage are still finally undetermined. It may well be, in the years ahead, that it will need to consider its current policies of grant-aid . There is a case, evidently , for arguing that its assistance should be given, primarily, to those town s which reveal a sturdy sense of self-help ; just as there may be a case for its withdrawal of aid from certain complacent and sluggish cities which stil l fail to contribute even a farthing rate to theatres or orchestras which th e Arts Council has been supporting for a long time . The Arts Council is not fifteen years old, and may not yet be ready to revise its initial policy o f assisting promising enterprises wherever it finds them. But, as it grows older, it may well decide to separate the sheep from the goats, and to make a substantial measure of local responsibility one of the qualifications for a grant from its limited funds . If a pound for a pound were the rule at present, as between the Arts Council and local subsidies, there would be som e dramatic transformations of the scene. Since 1947 the Arts Council has provided, in capital grants and annual subsidies, no less than £83,000, an average of nearly £6,000 a year, toward s maintaining a repertory theatre in one large provincial city . During that same period the municipality has contributed no more than £13,750, an average of less than £1,000 a year . When the odds get as long as this ther e is a case for a new scrutiny of the terms of the partnership . There are many other disparities of the same kind in the current pattern of partnership ; as, indeed, there are examples of the exact opposite, such as Canterbury an d Hornchurch, where a Local Authority is contributing several times as muc h as the Arts Council grant. A peremptory revision of these rates of responsibility would do more harm than good, for if a pound-for-pound policy were forthwith applied , several of our best repertory theatres would come to grief immediately . The best answer to this anomaly might be to persuade Local Authorities an d local bodies that the present condition cannot continue indefinitely and , perhaps, to give them three years' or five years' notice that if they wish t o enjoy the amenities of the arts they must pay a fair share of their cost.

W. E. WiLLIAMs , Secretary-General

10 2

APPOINTMENTS, RETIREMENTS AND HONOURS

COUNCI L The period of office of the following members of the Council expired o n December 31st, 1960 : Ernest Boden, Joseph Compton, C .B.E., Dr. Wyn Griffith, C.B.E., Benn Levy, M.B.E., Professor Anthony Lewis and Hugh Willatt. Mr. Compton, Dr. Wyn Griffith, Professor Lewis and Mr . Willatt, who as members of the Executive Committee were eligible for reappoint- ment, accepted invitations from the Chancellor of the Exchequer to serve on the Council for a further term . Mr. Boden continues to be associated with the Council as a member of the Scottish Committee . The Chancellor appointed Alan L . C. Bullock and Hugh Marshall to be members of th e Council as from January lst, 1961. Mr. Marshall has served as a member of the Scottish Committee since January 1st, 1961 .

VICE-CHAIRMAN AND EXECUTIVE COMMITTE E Dr. Wyn Griffith was reappointed Vice-Chairman of the Council and a member of the Executive Committee for a further period of one year. Hugh Willatt was appointed a member of the Executive Committee an d Chairman of the Drama Panel in succession to Benn Levy, and the following were reappointed as members of the Executive Committee for a further period of one year and, where indicated, as Chairmen of the Panel s given against their names : Sir William Coldstream, C .B.E. (Art) Joseph Compton, C .B.E. (Poetry) Professor Gwyn Jones Professor Anthony Lewis (Music) Sir John McEwen of Marchmont, Bart., LL.D.

HONOUR S Dr. Wyn Griffith, the Vice-Chairman, was promoted to be a Commande r of the Order of the British Empire in the Queen's Birthday Honours List, 11

1961 ; and the following Panel members were honoured in the New Year's list for 1961 or the Queen's Birthday List : Art Panel Sir Trenchard Cox, C .B.E., F.M.A. (Knighthood) Roland Penrose (C.B.E.) Professor Carel Weight, A.R.A., R.B.E. (C.B.E.) Music Panel Sir Jack Westrup (Knighthood)

STAFF RETIREMENT We put on record with regret the retirement of Mona Tatham . Miss Tatham served CEMA and the Arts Council for a total period of 19 years , first as Regional Officer in Reading and later as Assistant Director in th e Music Department at headquarters . We offer her our good wishes in her retirement.

3

HOUSING THE ART S

Early in 1956 the Chancellor of the Exchequer invited the Arts Counci l to undertake and maintain a survey of the cultural building needs o f London and the whole country . The first part of the Council's Report, covering London, Scotland and Wales, was submitted to the Chancellor and published two years ago ; the second part, dealing with the needs of the English provinces, followed in July, 1961 . The first part of the Housing the Arts Report showed that for twent y years or more little had been done to provide adequate and appropriate buildings for the arts in Britain, and that since the war only three majo r projects of the kind had been carried out : in London the Royal Festival Hall and the Mermaid Theatre, and in Coventry the Belgrade Theatre. Two years later the outlook is markedly improved. The L.C.C. are developing their great project for a Metropolitan and Commonwealth Centre for the Arts on the South Bank by adding two smaller concer t halls and a spacious set of exhibition galleries, and their leaders hav e 12 expressed a willingness to make a major contribution to the building o f the National Theatre as well . These are all projects that were set out as main priorities for London in the first part of the Housing the Art s Report. In addition, a new civic theatre is under construction at Notting - ham, and proposals for other theatres are maturing in Birmingham , Chichester, Croydon, Guildford, Leicester, Manchester, Newcastle-under- Lyme and Torquay. After examining in considerable detail the present means for accommo- dating the arts in the English provinces, the Committee of Enquir y reached four main conclusions :- (a) So long as opera and ballet for the English provinces are to be provided by touring companies, then a circuit of between twelve an d eighteen so-called No . 1 theatres is essential. These theatres, which also serve to house musical comedies, operettas and other spectacular shows, must be of the requisite size and capacity with up-to-date equipmen t and proper amenities for players, staff and audience. With very few exceptions, the existing buildings are inadequate . In some places they can be brought up to an acceptable standard . In others, new theatres are required. The onus for this will fall on the present theatre-owners , or new theatre landlords, or the Local Authorities concerned. (b) The new post-war pattern in the provincial theatre has shown th e strength of the repertory movement, which has survived the growth o f television, held its audiences and increased its status in the theatre as a whole. If these gains are to be held, there should be consolidation o f the movement in the larger towns where, if necessary, new theatres should be built or the existing ones thoroughly renovated. Every town with a population of not less than about 200,000 should have its ow n repertory theatre with a resident company . Local initiative should launch such schemes ; and local finance should back them . Here the support of the Local Authority can be the deciding factor. A very small number of adequate repertory theatres already exist : perhaps half a dozen in all . This modest provision needs to be supplemented forth - with, either by the radical renovation of existing buildings, or preferabl y by the construction of new theatres . (c) Every town with a population of not less than 100,000 should have a public hall equipped to adequate standards for orchestral an d choral concerts . In most places the urgent need to-day is for renova- tions and improvements to be carried out to existing halls . New halls are definitely required in two towns where none exists with a popula - 13 tion of over 200,000, and there are about fourteen smaller towns where present accommodation is so inadequate that new halls appear to be desirable. (c) The Standing Commission on Museums and Galleries is under- taking an enquiry into provincial museums and galleries and thei r collections. Pending its completion and the publication of the Com- mission's report, the Committee feels it cannot usefully make any recommendations . Where the Committee of Enquiry has decided that existing accommo- dation for the arts in a certain place is inadequate or does not exist at all , the question arises - what is to be done? The remedy and the solution li e in the hands of the people on the ground . If a hall or an art gallery is to be built, the Local Authority has for many years had the power to build it ; if a theatre is to be built, the Local Authority has acquired the powe r to do so since the passing of the Local Government Act of 1948 . But although local initiative is vital, the Government can play an important part by stimulating and encouraging local interest, and thi s led the Committee of Enquiry to recommend that central funds shoul d be made available as contributions towards the capital costs of new or remodelled buildings, and towards the cost of furniture, equipment and/or decoration. The Council has accordingly asked the Chancellor of the Excheque r to make available the modest sum of £150,000 p .a., of which £100,000 p.a. would be used for contributions towards approved capital items in new theatres and concert halls and £50,000 p.a. for contributions towards approved items of refurbishing and renovating existing theatres an d concert halls. The Chancellor has made it clear that his consent to the publication of the Report does not imply that the Government accept s its conclusions and recommendations . It will be noted that in the Chancellor's original invitation it was state d that the Arts Council would be expected not only to carry out a survey of the cultural building needs of the country, but also to maintain it . It is the Council's intention to publish from time to time progress reports on the measures recommended as a result of its initial enquiry and to bring t o public notice other proposals as they arise. In the words of Lord Cottesloe in the Preface to the recently published Report, `we have now in thi s country larger audiences for the arts than ever before in our history , and we have an abundance of talent in music, opera, drama and ballet ; it is vital that they should be worthily housed' . 14 THE NATIONAL THEATR E

The Executive Committee of the Joint Council of the National Theatre presented a Memorandum to the Chancellor of the Exchequer on December 9th, 1960. The Committee's proposals were that the Nationa l Theatre should be built on the South Bank site of 1 .2 acres, offered for the purpose in 1953 by the London County Council, and should contain tw o auditoria - one of the proscenium arch type and the other an open-stage arena, each with approximately 1,200 seats - at an estimated cost of £2,300,000 . The resources of the Old Vic and of the Stratford-upon-Avo n managements were to be fully integrated, and a company of 150 player s formed to provide a year's repertoire in both auditoria at the Nationa l Theatre, a six months' season at Stratford and a touring company to serve the needs of the principal provincial cities. The annual subsidy required for the maintenance of the theatres and the companies was estimated at £450,000 per annum. The Chancellor was urged to announce the Government's decision in time for the new building to be built and opene d in 1964 - the quatercentenary year of Shakespeare's birth. The Arts Council was fully informed of these proposals and in January , 1961, submitted its own Memorandum to the Chancellor wholeheartedl y endorsing the general case for a National Theatre and commenting i n detail on the particular proposals of the Joint Council . In the House of Commons on March 21st the Chancellor announced the Government's decision not to proceed with the proposal to build a National Theatre, but went on to say that the Government wa s ` . . . ready to make additional funds available through the Arts Council for assistance to the Old Vic and the Royal Shakespeare Theatre, Stratford-upon-Avon, provided that satisfactory arrangements can be made through the Council to govern the expenditure of such funds'. The Chancellor said the Government was `also prepared to increase the support already given through the Art s Council to provincial repertory theatres both by way of grant to repertory companies and by contributions towards the cost of renovating existing theatres and building new ones' . 15 Among his replies to questions on this statement the Chancellor made the following comments : `I do not think that my alternative suggestion will cost less annuall y than the estimate I was given for the cost of a national theatre . One of my difficulties was that I did not think that that estimate was likely to be achieved. I thought that it would be a great deal more costly than the estimate given to me. One estimate was about £300,000 and another wa s about £450,000. I think that my alternative proposal will probably come within that bracket . `On capital expenditure, I think that the obligation to build theatres in the provinces should rest on local authorities . I therefore propose to make something more by way of a contribution to encourage them to do it themselves . ' The Chancellor subsequently asked the Arts Council to advise him as t o how much additional aid would be required, and how it should be dis- tributed both for revenue and for capital purposes over the next three years , to bring about necessary improvements in standards of presentation an d working conditions in existing theatres, as well as for contribution s towards the cost of building of new theatres . A special committee was set up by the Arts Council for this task . The submissions of the Old Vic an d Royal Shakespeare Theatres and of thirty-five other existing theatre managements in London, the English provinces, Scotland and Wales wer e examined in detail, and a summary of the Committee's recommendation s was presented to the Arts Council in May and immediately passed on to the Treasury. Since then a new situation has been created by the offer of the L .C.C. to contribute to the cost of building a theatre on the South Bank . On the assumption that the Government would provide £1 million (i .e. the sum mentioned in the National Theatre Act of 1949) towards the cost of con- struction, the L.C.C. indicated that they would be prepared to find th e balance of the cost, estimated at £1,300,000. Discussions took place between the various interested parties, and on July 12th the Chancellor made a ne w announcement in the House as follows : `I have informed the Chairman of the L.C.C. that the Government would be prepared to join with them in considering a scheme t o embrace the Old Vic, the Royal Shakespeare Theatre, Stratford o n Avon, and Sadler's Wells. . . . I would not in any event be prepare d to agree to more than the sum of £1 million already approved by Parliament towards capital costs nor could I agree to increase the sum 16 by way of annual subvention already contemplated in accordanc e with my statement of March 21 st. I have made it clear to the Chairman of the L.C.C. that this limit would allow the Government for thei r part to guarantee to provide an annual subvention of up to £400,00 0 to cover drama and opera (including any ballet) at the headquarters o f the institutions concerned, but not expenditure on provincial touring , which would be provided for separately. I must emphasise that I am not prepared to contemplate any further increase in these figures . Covent Garden and the Royal Ballet will continue to be provided fo r separately.' The Joint Council of the National Theatre has now been invited by the Chancellor to submit, for the joint consideration of the Government an d the L.C.C., a scheme for a National Theatre to embrace the Old Vic, th e Royal Shakespeare Theatre, Stratford on Avon, and Sadler's Wells . Clearly, many problems of integration and administration remain to b e solved. The inclusion of Sadler's Wells Opera into the scheme will involve architectural reconsiderations, and it seems likely that it will be necessar y to retain the Old Vic Theatre in the Waterloo Road to provide a thir d auditorium. It is hoped that the new building will be completed in time fo r the Celebration of the Quatercentenary of Shakespeare's birth in 1964. The financial proposals made by the Chancellor on March 21st are evidently modified by his later statement, but the Arts Council has bee n assured that Sadler's Wells provincial tours will continue, and that additional help for the provincial theatre is not excluded . The Arts Council expresses its warm gratitude to the Chancellor , Mr. Selwyn Lloyd, for his timely generosity both to the National Theatre and to the hard-pressed repertory theatres . It is to be hoped, too, that the L.C.C.'s latest benefactions to the arts will encourage action by othe r municipalities .

17 13

5

DRAMA

The present composition of the Drama Panel is as follows: Hugh Willa.tt (Chairman) Miss M. E. Barber Sir Alec Guinness, C.B.E. Michael Barry, O.B.E. Frank Hauser Wynyard Browne Miss Celia Johnson, C .B.E. John Bury Eric Keown Professor Bonamy Dobree, Leo McKern O.B.E., D. de Dijon Stephen Mitchell Miss Jane Edgeworth Derek Salberg Richard Findlater General Sir William Platt, W. H. Fox G.B.E., K.C.B., D.S.O. Val Gielgud, C.B.E. Miss Joan Plowright Derek Granger John Whiting Benn W. Levy, who had been Chairman of the Drama Panel for seve n years, retired in December, 1960, and was succeeded by Hugh Willatt . It is with deep regret that we record the death of Stephen Thomas, th e Drama Director of the British Council, who had been a member of the Drama Panel for many years.

LOCAL AUTHORITIES AND THE THEATRE Since the publication of the last Report, the increase in interest and support of Local Authorities towards repertory theatres in the Englis h provinces is shown by the following selected instances .

NEW SUPPOR T Barrow-in- For some years the Renaissance Players at Her Majesty's Theatre hav e Furness been keeping repertory alive in this isolated but important industrial area . The struggle against rising costs, however, proved too much for them, an d an appeal to the local authority to prevent closure produced an immediat e and sympathetic response. After reconstitution as a non-profit-distributing company, the local authority gave the new company a grant of £1,000 ; the Arts Council gave a like sum; so did the great shipbuilding firm of 18 Vickers-Armstrong, and in addition carried out at its own expense certain very necessary improvements and redecoration to the small, charmin g auditorium. There could hardly be a happier example of local and nationa l collaboration in sponsorship . The Corporation has voted a grant of £1,250 towards the cost of re- Bromley seating the auditorium of the repertory theatre . A journey of 212 miles from Manchester to Glasgow passes through Carlisle some of the most densely populated areas in Britain outside London, bu t only one town on the route now possesses a live theatre - Carlisle . When therefore the owner of Her Majesty's Theatre informed the Corporatio n that the theatre might have to close, a special meeting of the City Council resolved to take a seven-year lease of the theatre, to rent it to the newly- formed Carlisle Theatre Trust and to vote to the Trust the equivalent of a penny rate (£3,500) each year for three years, the position to be the n reviewed. The Arts Council responded with an offer of £2,000 towards th e expenses of operating a year's programme of resident repertory an d touring productions . Club-room facilities in the front of house have bee n most attractively restored with the help of a grant from the Gulbenkia n Foundation, and other improvements to the fabric and the heating syste m are now being carried out . The threat to the future of this charming and well-equipped Opera Harrogate House - a famous home of repertory for many years - was removed b y the Corporation's decision to buy the theatre and adjoining property for £34,000, and to let the theatre at a peppercorn rent to the newly-forme d Harrogate Theatre Trust, which is continuing the policy of weekl y repertory. The Arts Council has now offered the Trust a guarantee o f £1,000 in order that as many productions as possible may be given tw o weeks' rehearsal . The Lincoln Theatre Association has been carrying out over the last few Lincoln years a valuable regional service scheme whereby its two companies have co-operated in presenting a different play every week in Lincoln and visiting, one week in three, the towns of Loughborough, Rotherham an d Scunthorpe, where local financial support was available . In Lincoln itself the only contributions had been from the Corporation-controlled `Dawber Bequest', but in recent weeks the Corporation has voted a first grant o f £2,000 from the rates . The Arts Council's own grant was increased i n 1960/61 from £2,000 to £5,000 . The Chelsea Borough Council made a first contribution of £75 from a English Stage small fund established for the furtherance of the Arts in the Borough ; the Company 19

London County Council has very recently voted a first grant of £2,500 . Theatre In addition to annual support amounting to £1,450 from ten Boroug h Workshop Councils in the area and £2,000 from the Arts Council, the Londo n (Pioneer Theatres Ltd.) County Council offered £1,500 in the early part of 1961, and proposes t o repeat the offer for two further years. In addition, the L .C.C. will offer £ for £ up to a maximum of £1,000 with other combined local authorit y grants exceeding £1,500. Richmond The Corporation has announced a loan of £3,000 to Richmond Theatre (Surrey) Ltd. towards the cost of re-seating the auditorium.

INCREASED SUPPOR T Birmingham The Corporation Grant of £3,000 has been raised to £5,000 (see als o below). Cheltenham The Corporation-owned theatre is rented to the Everyman Theatr e Company for £1,000 per annum; in the year under review the Corporatio n agreed to forgo a full year's rent as its contribution to the achievement o f those local citizens who succeeded, in the early part of 1960, in re-openin g the `dark' and only theatre in the town. The Arts Council, at the same time , increased its own offer from £1,000 to £1,500, and this has recently been further increased to £3,000. Colchester The Corporation grant to the 22-year-old repertory theatre of £975 i n 1959/60 was increased in 1960/61 to £2,000 ; in addition, a recent appeal to neighbouring local authorities produced contributions totalling £1,262 , together with £500 from Essex County Council . The Arts Council's earlier contribution of £1,500 has now been raised to £3,000 . Coventry The Corporation increased its guarantee to the Belgrade Theatre Trus t from £5,000 to £6,500; this followed upon an Arts Council increase o f £1,000 in its own grant to the Trust, which has since gone up by a furthe r £1,000. Derby A previous grant of £450 from the Corporation was raised to £750 ; the Arts Council's grant of £1,000 has now been doubled . Northampton In addition to providing the cost of redecorating the theatre (£6,500) the Corporation also made a special grant of £2,500 towards running costs .

SUPPORT FOR NEW THEATRES Birmingham The Corporation has resolved to build a new home for the Birmingham Repertory Theatre on a site to be selected in the centre of the city . No plans are yet available, but a figure of £500,000 has been mentioned as the likely overall cost. The Corporation has also offered to the Crescent 20 Theatre a site in the same area and an interest-free loan of £30,000 toward s the cost of a new home for this distinguished amateur society. The foundation stone of the new Festival Theatre, to seat 1,400, wa s Chichester laid by Her Royal Highness Princess Alexandra of Kent on Friday , May 12th, 1961, on a site provided by the Corporation at a peppercorn rent. The building is to be completed in time for opening in the summer o f 1962, under the direction of Sir Laurence Olivier. A theatre, seating 780, is now being built by the Corporation as part o f Croydon a new civic entertainments centre comprising also a concert hall, exhibitio n gallery and banqueting hall . The whole scheme is to cost about a million pounds of which the theatre is estimated to absorb £400,000 . The new fully equipped Congress Theatre (seating 1,400) with a Eastbourne restaurant for 200, is now being built by the Corporation at an estimate d cost of just under £400,000. It will provide facilities for touring opera, ballet, plays and variety shows when these are available, and will also b e used for concerts, conferences and lectures . A new repertory theatre, to seat 560, is to be built on a most attractive Guildford riverside site in the centre of the town which has been provided by the Corporation at a peppercorn rent . The Corporation has voted £99,000 towards the cost of a buildin g Newcastle- which will include a `Theatre in the Round' . See p. 26. under-Lyme The plans for a new civic centre include the provision of a site for a Leicester theatre which may be built by the Corporation to replace the three theatres all lost to the city in recent years. The Corporation Libraries Committee has resolved to incorporate a Mancheste r theatre, seating 500, in the new Reference Library to be built in the large residential suburb of Wythenshawe. This will be managed and directed i n conjunction with the existing theatre in the Central Reference Library. A new theatre, the Princess, seating 1,560, has been built by the Torquay Corporation at a cost estimated at £200,000, and was opened in June, 1961 . It has been rented to a theatre impresario for the summer seasons and at other times in the year it will be used for concerts, conferences an d touring productions of opera, ballet and plays.

Until a few years ago it was rare, almost unknown, for a production The transfer from a provincial repertory company to be transferred straight into the of West End; a notable exception was the Birmingham Repertory Theatre productions to London from which Sir Barry Jackson transferred a number of productions which achieved fame and success in London. Nowadays London managements 21 keep a much closer watch on what is happening in repertory theatres an d occasionally a complete repertory production is bought, as was A Taste of Honey, by Shelagh Delaney, from Theatre Workshop, The Tinker, by Laurence Dobie and Robert Sloman, from the Bristol Old Vic, an d Celebration, by Keith Waterhouse and Willis Hall from the Nottingha m Playhouse. None of these plays was originally produced with the intentio n or expectation of a move direct to the West End . On the other hand Meadow Players at Oxford have presented plays with special casts in the expectation that they will be bought for London - Passage to India, by Santha Rama Rau, is an example. In other cases London management s may ask a repertory company to try out a new play, offering a limite d guarantee against loss or a share in any West End profits . The try-out might be with the resident repertory company, as was Chicken Soup with Barley, by Arnold Wesker, at the Belgrade Theatre, Coventry ; or with a n entirely imported West End cast, as was The Rehearsal, by Anouilh, from the Bristol Old Vic. For repertory theatres taking part in such tempting ventures as these there are considerable attractions - prestige for th e company and perhaps fame for some of the artists ; valuable publicity and perhaps valuable cash for the management : above all, enrichment of the theatre everywhere. But there are dangers . A company that has been built up and trained over a long, creative period to a distinctive standard an d style under its director may vanish from its home theatre, leaving behind a disappointed public, a scratch team of players and a shattered policy . Or imported `stars' for a try-out may cause disaffection among principa l members of the company who are thereby deprived of the best parts. There is, too, the risk that after spending a good deal more money than usual on an ambitious production the hoped-for transfer to the West En d does not take place and a heavy financial loss has to be faced . These risks are only avoided in the case of a repertory company present- ing a new play (or a new translation of a foreign classic) with characteristi c style and vitality, which is then able to dispose advantageously of its rights in the play for production in London, on film or on television, a s Nottingham Playhouse did with The Long and the Short and the Tall. The classic example of bringing off a `double', of course, is Salad Days, in which the Bristol end-of-season production and the company wer e disposed of to a West End management to the financial benefit of the Ol d Vic Trust and without damage to the continuity and tradition of its achievement at the Bristol Theatre Royal. All attempts to repeat the `double' have always failed, however. 22 It has always been the Arts Council's view that rehearsal conditions in Fortnightly weekly repertory theatres severely limit artistic standards, are intolerable rehearsals in weekly to artists and ought to be abolished. The quick solution, of course, would repertory be for all such theatres to change immediately to a fortnightly schedule of theatres productions, but though this has been impressively successful in one o r two cases - notably in Derby - it is not always economically feasible in the smaller-sized towns where most weekly repertories are located . In most cases there must still be a weekly change of programme, bu t experiments which the Arts Council has been encouraging in recent year s show that it is none-the-less possible with skilful planning and an enlarge d company for most of the weekly plays to be given two weeks' rehearsal . The definite improvement in standards of acting and production which followhas, in most cases, resulted in a marked increase in box office takings , though never sufficient to cover the extra costs involved : hence the need for additional subsidy . A notable example of the worthwhileness of this extra effort and extra aid can be seen at Salisbury Playhouse where all but seven out of forty-four productions in the year have been given two weeks ' rehearsal, and business has never been consistently better. The Arts Council's allocation for this special purpose has now been considerabl y increased in order that more managements, and more productions each year, can benefit by this doubling of rehearsal time. In doing so, the Arts Council hopes that more of these weekly theatres may thereby b e encouraged, where advisable, to take the bold decision which Windsor an d Derby have already taken, and go `fortnightly' . The Arts Council has been aware for some time of the difficulties which New most repertory theatres have experienced in the recruitment of talented Designers young designers to their all-important scene design and painting depart - ments. In most theatres these departments are seriously understaffed, and many of them are poorly equipped ; this is discouraging enough to young talent, but much more discouraging has been the inability of these hard - pressed theatres to offer anything like a reasonable wage . Yet the need for fresh ideas in the visual presentation of the drama to keep pace with new styles in writing and production has never been so urgent . The Arts Council has therefore determined to give a lead and a practica l contribution - as it has already done for new playwrights and for ne w audiences - by establishing, as from April, 1961, a new scheme which it i s hoped will encourage an increasing number of theatre managements to offer opportunities for training and employment to new designers . The main feature of the scheme is that additional grants will be offered by the 23

Council to a limited number of theatres, selected because of thei r suitability for training and practical opportunity, to enable them t o employ as an additional member in their scenic design department (an d not as replacement of an existing member) one of a group of youn g designers selected and recommended to them by a special sub-committe e of the Drama Panel. A stipulation will be made as to the minimum weekl y salary to be offered for one year's employment, and the Council's gran t will cover not the whole but the greater part of this additional cost. When selecting candidates for recommendation the Drama Panel sub-committe e will consult with the Principals of Schools of Art where training in theatr e design is part of the curriculum, and with others of standing and reputatio n in the theatre and visual arts . New Drama The Arts Council's scheme for limited guarantees to be offered agains t losses incurred by managements staging the first or second production of approved new plays was continued ; twenty-two original and four second productions qualified during the year. An encouraging sign of growing public support at the box office for theatres which have consistentl y included new plays in their programmes is evident in the fact that three o f the premieres resulted in a small profit, and the guarantees were con- sequently not called upon . Bursaries to new playwrights were awarded on the recommendation o f the Drama Panel to Ray Mathew and Beverley Cross . Travel Awards to enable them to study the work of certain continental theatres , Grants and to gain wider experience, were made to Reginald Salberg (Salisbur y Playhouse), Bernard Hepton (Birmingham Repertory Theatre), an d Kenneth V. Moore (Lincoln Theatre Royal) . Birmingham The British Theatre lost a great man with the death of Sir Barr y Repertory Jackson in April, 1961. He was a valued member of the Drama Panel Theatre from 1955 to 1957 and beloved by all who knew him . He founded the Birmingham Repertory Theatre in 1913, the first in Britain to be designed as such, and courageously, generously and wisely guided its fortunes until his death. But the Birmingham Repertory Theatre was never a one-ma n show, and part of Sir Barry's greatness was that he constantly gave opportunities to others . He had built up a sound administration at hi s theatre which ensures that the policies he laid down and followed s o scrupulously will carry `The Birmingham Rep' to even greater distinctio n and security in the years to come. The happiest news for him in recen t months was the fact that a Committee composed of representatives of the City Council, the Birmingham Repertory Theatre and the Arts Council , 24 had been set up to plan for the future ; its recommendations that a new theatre to house the Birmingham Repertory Company should be built o n a site in the Civic Centre area have now been accepted by the Corporation . Although the season up to June, 1960, appeared unsettled and erratic , Bristol the autumn season was the best attended for four years, and the repertoir e Old Vic included a number of new plays of considerable interest . In August, 1960 , the company accepted an invitation to visit the Lebanon, appearing at th e International Festival of Baalbeck with two plays, Romeo and Juliet and The Comedy of Errors. The theatre is now working more closely with th e University Drama Department and members of the company took par t in the production at the University Drama Studio of Happy Haven, a new play specially written by the University Fellow in Playwriting, John Arden . The play was later presented at the Royal Court Theatre by the Englis h Stage Company. John Hale, who has been Director of Productions for the last two years at Bristol, is to be succeeded as Director in July, 1961, by Val May, Director of the Nottingham Playhouse. Derby Playhouse had been a weekly repertory company since openin g Derby in its present building. By the summer of 1960 attendances had steadil y Playhouse declined, losses were being sustained beyond the grants available, and th e management feared that the theatre might be forced to close . However, it decided to take the bold and admittedly dangerous course of giving u p the weekly change of play policy. to become a fortnightly repertory theatre. The greatest risk was that a regular audience which was already too smal l for weekly productions might have to be spread even more thinly ove r twice the run . After breaking off weekly production with a short closure , the fortnightly season opened in August, 1960, and its success was immediate. Attendances increased to the extent that nearly three times as many people have seen each production, and this improvement is being maintained . The standard is higher, the choice of play has been improved, and Derby is to be congratulated on so courageously transforming a depressing situation into one of hopeful encouragement. The Royal Court Theatre continues to be the point of focus for new, English Stage controversial, British and foreign plays ; the English theatre in general, an d Company the London scene in particular, would be infinitely the poorer without this adventurous and provocative management. The company's highlight s in 1960/61 were the London premieres of Ionesco's Rhinoceros, and Chekov's Platonov; The Changeling, by Thomas Middleton, which ha d not been professionally produced in England for nearly 300 years, and th e presentation in repertoire of a trilogy of plays by Arnold Wesker. In all 25

the company has presented twelve plays during the year (exclusive of si x experimental productions on Sunday evenings), and with Altona on April 19th, 1961, achieved its ninety-fifth presentation since opening at the Roya l Court in April, 1956. The greatest difficulty with which this company i s faced is the fact that with such a small theatre, seating only 430, it canno t possibly make a financial success of its major artistic achievements unles s they can be transferred on favourable terms to a larger West End theatre . This means that there is too large an element of chance in plannin g operations at the present level of subsidy, and discussions are now takin g place on ways and means to ease the anxiety . Old Vic The spring season in 1960 began with a mixed repertoire of Shakespear - Trust ian and modern classics ; audience support was unreliable and incalculable , but from October onwards became much steadier . This was largely due to Romeo and Juliet, produced by Franco Zeffirelli, which has been an outstanding success and has broken all records for this play at the Old Vic. Bernard Shaw's St. Joan was also very popular, and this production , together with The Importance of Being Earnest, and a special production of Macbeth (which was not seen in London), provided the repertoire for a highly successful tour of thirteen weeks, for the greater part of which the weekly attendance in the larger provincial cities exceeded 90 per cent. of capacity. Yet even with these very satisfactory attendances such large- scale touring is now extremely costly and there still remained a deficit for the Old Vic Trust to meet, though it was less than had been estimated . It was this company, led by Barbara Jefford and Paul Rogers, which the n visited Moscow, Leningrad and Warsaw under the auspices of the Britis h Council, where its productions were received with great enthusiasm an d high appraisal . The year's work at the Waterloo Road involved th e mounting of nine different productions and resulted in average attendance s of 68 per cent. of capacity. Newcastle- `Theatre-in-the-Round' is still very much of an experiment in England , under-Lyme and has so far been compelled to operate in makeshift premises . Some of the criticisms levelled against this form of presenting plays might be see n to have no foundation if they could be seen in a theatre properly designe d for the purpose. It is therefore particularly interesting and encouraging that the Newcastle-under-Lyme Corporation has voted £99,000, subjec t to loan sanction, towards the cost of a building to include a theatre-in-the- round and which it is suggested should be occupied by Studio Theatre Limited. An excellent central site is available in the town and provisiona l plans have been drawn up by Stephen Garrett, M .A., A.R.I.B.A. The 26 necessary loan sanction is still to be granted, but in view of the Chancellor' s wish to encourage local authorities in their plans for providing new theatres, the delay can only be a temporary one before the first permanen t and specifically designed theatre-in-the-round in Britain is in operation . Two years ago the Northampton Corporation bought this handsom e Northampton theatre, and in the summer of 1960 the building was closed for som e Repertory weeks whilst extensive redecoration and improvements were carried ou t Players by the Corporation . The theatre now looks enchanting and ever since it s re-opening in September, 1960, business has very greatly improved an d the Company has been able to arrange for many productions to b e rehearsed or played for two weeks . This is yet another example of quick public response to a more comfortable and attractive building . In addition to the purchase and redecoration of the theatre, which is leased to th e Company at a concessionary rent, the Corporation has made a grant o f £2,500 towards general running expenses during the year 1960/61 . A special Committee has recently been set up by the Arts Council to Shakespeare co-ordinate plans, some of which are already in being, to celebrate th e Quater- four hundredth anniversary of Shakespeare's birth, in 1964 . Membership centenary of the Committee is drawn mainly from the Arts Council's Drama an d Poetry Panels and also includes representatives from the British Council , the Theatre Managers' Association, Radio and Television Companies. The Committee will act as a clearing house of information for al l organisations taking part in these celebrations, with the intention that a comprehensive programme of the outstanding events can be drawn up wit h as little duplication or overlapping as possible . The Committee will not be a grant distributing body, but will be concerned mainly with providing a service of information and collating plans submitted to it from the principal centres of activity.

27

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MUSI C

The present composition of the Music Panel, whose advice is sough t by the Council on opera and ballet policy as well, is as follows :- Professor Anthony Lewis (Chairman) Dennis Arundell Miss Imogen Holst John Cruft John Horton Norman Del Mar Geraint Jones Keith Falkner Professor Ivor Keys, D .Mus. Roger Fiske, D.Mus. Ivor Newton Watson Forbes Dennis Pilcher John Gardner Alec Robertson William Glock Ernst Roth The Countess of Harewood Professor Sir Jack Westrup Roy Henderson David Willcocks, M .C. National The National Music Council of Great Britain held a National Musi c Music Conference Conference from November 18th to 21st at Guildhall in the City o f London, `to draw public attention to the various facets and problems of Britain's musical life and thereby attempt to raise the general status of music'. This, the largest musical conference to be held in Britain, was attended by delegates from many Local Authorities and education com- mittees as well as from nearly all musical organisations in the country . Comprehensive reports from six commissions of enquiry covering differen t aspects of musical activity were received and debated . The Lord Mayor of London attended the formal opening of the Con- ference and Parliamentary representatives from all political parties partici - pated in the proceedings . A resolution embracing ten specific points fo r future action by the National Music Council was submitted at the conclu - sion of the Conference and accepted . Copies of the Conference Report may be obtained from the National Music Council of Great Britain, 2 Man- chester Square, London, W.1, price 10s. 6d. Symphony No startling economic crisis of a general or particular kind has beset th e Orchestras year under review. Reports of concert attendances have for the most part been satisfactory and a study of the season's programmes reveals no evi- 28

dence to suggest that conductors or managements are lowering their sight s by placing a special emphasis on the accepted formula of popular `box office' programmes . The Musica Viva programmes, pioneered in Liverpool , have been taken up in London and other centres, either by direct imitatio n or with some variation. Important works of the twentieth century ar e featured in the concert brochures of most societies to an extent whic h would have seemed impossible five or ten years ago . Operating costs continue, however, to rise steadily and at a rate which easily outruns the expectation of further increases in box office and hired engagement revenue . The gap is widening and the only way of bridging i t seems to lie in an increased measure of subsidy from public and other sources, if standards of performance and enterprise in programme buildin g are to be preserved in our permanent orchestras . No general increase in players' salaries has taken place during the year , though the Orchestral Employers' Association are still engaged in a long- term review with the Musicians' Union of wages and working conditions. The number of concerts given in the last two years by the five permanen t symphony orchestras associated with the Arts Council are these :- 1959-60* 1960-61* City of Birmingham Symphony 199 204 Bournemouth Symphony 229t 221 t Halle . . 244 244 Royal Liverpool Philharmonic 186 186 Scottish National§ 1721 180f Orchestras associated with the Council, for specific concert promo - tions:- London Philharmonic 63$ London Symphony . . 18 * Excluding television and sound broadcasting . t Including performances abroad and engagements with opera companies . $ Includes forty-six concerts presented in centres outside London, nine industrial concerts and eight in the series `Music of the 20th Century' presented by the London Philharmonic Society . § A brief report on the Scottish National Orchestra appears in the Scottish Section on pp. 62 and 63 . After a promising series of Summer `Proms' which attracted record City of attendances, the playing strength was increased to the full establishment of Birmingham eighty-three players, and Hugo Rignold, the new Musical Director and Symphony Orchestra Conductor, began his first season, which opened in early October, at the Birmingham Town Hall. 29

It proved to be a highly successful season, drawing much larger audience s at all concerts and warm appreciation from public and press for the marked improvement in the Orchestra's standard of playing . The Orchestra appeared for the first time at the 1960 Edinburgh Festival where it accompanied the Royal Ballet for a week of performances at th e Empire Theatre. The Feeney Trust again made it possible for the Orchestra to commissio n a new work from a British composer - Alun Hoddinott's Violin Concerto - which was given its first performance on March 30th with Manoug Parikian. The Orchestra also took part for the first time in the annual Roya l Concert on November 22nd at the Royal Festival Hall in the presence o f H.M. Queen Elizabeth the Queen Mother . Bournemouth After ten eventful and successful years, Charles Groves resigned from Symphony his appointment as Conductor and Musical Director in order to take Orchestra up a similar appointment with the Welsh National Opera Company and t o undertake guest conductor engagements . During this period, he has not only led the Orchestra through several grave crises in its existence but has moulded the players into an instrument of high quality, serving the entir e West Country with orchestral music in a well-organised and carefull y selected series of concerts in large and small centres . The playing strength of the Orchestra was increased from sixty-five to seventy-five players . A number of guest conductors, who had not previously appeared with the Orchestra, were engaged during the season, and the appointment has already been announced of Constantin Silvestri as Principal Conductor for the next season. Opportunities will occur during the 1961-62 season for younger British conductors and the Management Committee hope t o announce the appointment of an Associate Conductor in due course . The Western Authorities Orchestral Association increased the number of its contributing members by thirty-two, making a total of ninety-eigh t Local Government Authorities supporting the Orchestra . This encourage- ment - which in financial terms augments the income of the Society b y over £7,000 a year - has led to a similar increase in the number of places visited in the region, and several small towns received concerts by a sectio n of the Orchestra for the first time. The Orchestra was engaged for several special recording sessions i n connection with the Nigerian independence celebrations . These included the first performance of A Folk Symphony, by the Nigerian composer Fela Sowande. Four twentieth-century works were performed in a concert at th e Royal Festival Hall, including the London premiere of Anthony Milner's 30 Variations for Orchestra. The concert, together with a repeat in Bourne- mouth on the following evening, was made possible by a generous gran t from the Classics Club `Patrons of Music Fund' . The season's programmes were noteworthy for the inclusion of many Halle compositions new to Manchester, including works by Britten, Francis Burt , Orchestra Fricker, Rawsthorne and Malcolm Williamson . Bach's St. Mathew Passion, in a special version prepared and conducted by Sir John Barbirolli, wa s given on March 26th . Manchester has heard few performances of this grea t work in recent years, and it is intended to give performances annually i n the future. The regular series of concerts in Manchester achieved a ninety per cent. average attendance at the Free Trade Hall throughout the season and th e regular schedule of visits to the Royal Festival Hall and many othe r provincial centres was maintained. A new venture was launched with the support of the Society for the Pro- motion of New Music, under the title `Public Orchestral Rehearsal'. This type of programme, which closely resembles the experimental rehearsal s given by the S.P.N.M., has provided Manchester audiences with the oppor- tunity of hearing more contemporary music and, in particular, the work s of lesser-known young British composers. The Orchestra toured in Switzerland during April, 1961, and visite d Athens, Baalbek, Cyprus and other centres in S .E. Europe during July and August. The concerts were received with enthusiastic acclaim in every case . The Orchestra gave two concerts under their conductor, John Pritchard , Royal at the 1960 Edinburgh Festival . At the first, Sir William Walton's Second Liverpool Symphony (commissioned by the Society) was given its first performanc Philharmonic e Orchestra and at the second, a `Musica Viva' programme was presented at th e Festival for the first time, when the principal work was Humphrey Searle's Third Symphony . Later in the year, the London concert-going public ha d its first opportunity of hearing a `Musica Viva' presentation at the Roya l Festival Hall . Given in association with the I .C.A. Music Section, the Orchestra played a programme which included Schoenberg's Erwartung and lain Hamilton's Sinfonia for Two Orchestras . The sixteen subscription and twenty-six `industrial' concerts which com- prise the main orchestral events on Merseyside achieved an audienc e averaging ninety-one per cent ., and six special Christmas concerts were entirely sold out. Two special performances of Bizet's Dr. Miracle, for which a specially designed set was used in the Philharmonic Hall, als o attracted capacity audiences. D.,spite this, the costs of the venture were so 31

much higher than box office receipts that the Society feels seriousl y inhibited in embarking on further enterprises in this field . London Towns in the Home Counties and South East region continued to receiv e Philharmonic regular visits from the Orchestra and during the course of the season a Orchestra number of less familiar works, prepared for performance in London, were London included in the programmes which were directed by some of the principa l Philharmonic guest conductors, such as Krombholc, Kondrashin and Steinberg, as wel l Society as by well-known British conductors. In addition to the provincial concerts, a series of `industrial' concerts has continued most successfully at the Roya l Albert Hall. In the series `Music of the Twentieth Century' the Society commissioned and performed for the first time Symphony No. 3, by Peter Racine Fricker, and Priauix Rainier's Dance Concerto . Other programmes included Fran k Martin's large-scale work, The Mystery of the Nativity (first performance in Great Britain) and Bliss's A Colour Symphony. The latter work, dedicate d to Sir Adrian Boult, was the centrepiece in a concert specially arranged a s a tribute to Sir Adrian to mark ten years of his association with th e Orchestra. London The L.S.O. `Annual Series', the forty-seventh in the history of th e Symphony Orchestra, has been considerably enlarged and is now known as the L .S.O. Orchestra 'International Series' . Both press and public acclaimed the enterprise of the programmes, and the high standards of the performances. Outstanding events included the complete Berlioz Romeo et Juliette under the drectioi n of Pierre Monteux ; a tribute concert to Zoltan Kodaly, at which th e veteran Hungarian composer conducted some of his own works ; the first London performance of Britten's Cantata Academica (conducted by George Malcolm) ; a Bartok programme conducted by Solti ; and a programme at which Paul Hindemith conducted some of his own works as well as Bruckner's Third Symphony. In December 1960, the Orchestra gave a successful series of concerts in Israel and Greece, and the Orchestra als o gave three concerts at the Vienna Festival 1961, where its performance s aroused great enthusiasm and led to an invitation for a return visit in 1963 . Royal The Society's 148th season of six concerts included first performances in Philharmonic London of works by Marius Constant, Hans Werner Henze, and of Society William Walton's Second Symphony, played by the Royal Liverpool Philharmonic Orchestra. Artur Rubinstein was awarded the Society's Gol d Medal at the fifth concert of the season on April 19th after playin g Brahms' First Piano Concerto in D Minor. 32 During the year the Society promoted ten symphony concerts in the Brighton Dome. Visiting Orchestras included the L.P.O., the Philharmonia and the Philharmonic Halle, while the remaining concerts were given by the Brighton Phil- Society harmonic Orchestra. The newly formed Brighton Philharmonic Chorus took part in performances of Beethoven's Choral Symphony and excerpts from Wagner's Die Meistersinger, under the direction of Mr . Herbert Menges, who also conducted the first performance in Brighton of Mahler' s Fourth Symphony . During the summer months, Philomusica of London presented a series Philomusica of concerts in famous London buildings : the chapel of the Royal Hospital, of London Chelsea; St. James's Church, Piccadilly; and the Victoria and Albert Museum. In addition to eighteenth-century music, works by Bartok, Debussy, Hindemith, Hugo Wolf, Malcolm Arnold, Gordon Jacob , Francis Baines and other contemporary composers were performed, and many of these are now included in the Orchestra's repertoire . In October, Sir Adrian Boult accepted an invitation to be actively associated with the Orchestra as an Artistic Adviser . Visits have also been made to Bristol, Oxford, Cambridge, Watford, Lincoln and Salisbury, in addition to many smaller music clubs and publi c schools. The Orchestra took part in recordings of Bach's St. John Passion with the Choir of King's College, Cambridge, and of Handel's L'Allegro and Il Penseroso. The latter was recently awarded a Grand Prix de Disque . This Orchestra continued its regular plan of concerts in the centres of Northern the North-East and in Carlisle. Although audiences were not as large as Sinfonia expected, the general impact of the scheme began to have its effect and Orchestra culminated in the successful launching of the Northumberland and Durham Local Authorities scheme which was referred to in last year's Report . Through this source, the Orchestra can now count on an income of some £7,000 per annum from contributions made by nearly forty Loca l Authorities. Encouraged by this generous and realistic gesture, the Societ y has made plans to engage a nucleus of some eighteen players and con- ductors on a permanent full-time basis for eight months . For certain concerts in the larger centres, the Orchestra will be augmented to fift y players, and the permanent group will visit other places in the region on a regular basis throughout the season. In October last, the Orchestra sent a section of its players across the Pennines from Newcastle, to do a week's tour for arts clubs and musi c clubs in the Lake District. These clubs have, for some years, joine d 33 c

together in planning such a tour, supported by a special financial guarante e from the Council. Audiences have in some cases remained well below th e capacity of the local halls ; and the income from box office takings (supple - mented in one or two cases by small grants from the Local Authority o r the club funds) has not increased sufficiently to keep pace with rising costs . The project has been suspended for the coming year in favour of a tou r by the Western Theatre Ballet, who will open the season for four clubs , and give a number of schools performances . Contemporary The proposal for closer collaboration between the Society for the Pro- Music motion of New Music and the Music Section of the Institute of Contem - Societies porary Arts mentioned in last year's Report has been adopted and i s working successfully . The S.P.N.M. has continued to present regular studio recitals of chamber music in London and has collaborated in the experimental Orchestral Rehearsal Series mentioned under the Ha116 Orchestra paragraphs earlier in this section . An exchange concert was arranged with the Union of Com- posers of the U.S.S.R. and a programme of Soviet chamber music was given at the Wigmore Hall. It is hoped that a programme of works by British composers will be heard in Moscow during the coming year. The Musica Viva programme, given in association with the Royal Liverpool Philharmonic Orchestra, was a memorable evening, but failed to attract more than a few hundred listeners, most of whom were drawn from the ranks of professional musicians and other enthusiasts . The season also included an organ and choral concert which formed part of the L.C.C.'s 5.55 p.m. series in the Royal Festival Hall. New orchestral music by Elizabeth Lutyens, Olivier Messaien and Luigi Nono under the direc- tion of Bruno Maderna was performed in a special broadcast concer t arranged in conjunction with the B.B.C. English composers figured prominently in the six Macnaghten Concerts , one of which was given by Peter Pears and Benjamin Britten, in recognitio n of the fact that several of this composer's earliest works found their first public platform at Macnaghten Concerts in the early 1930's . Notable among foreign premi6res were Stravinsky's Double Canon for string quartet and excerpts from Messaien's song cycle Harawi. The 1960-61 season attracted the largest audiences in the history of the concerts. London is now well served with performances of music embracing all trends in contemporary musical thought . A small committee known as Contemporary Concerts Co-ordination, whose members represent the interests of societies concerned with the presentation of modern chamber 34

music, has acted as a clearing house in the matter of performance dates and programmes. During the year it published three brochures containing detailed information about concerts of contemporary music in London , and participated in discussions with the L.C.C. about the detailed plans for the new small concert halls to be erected on the South Bank. The total number of Clubs and Societies affiliated to the National Nationa l Federation of Music Societies has again increased, and on January 1st, Federation 1961, stood at 810. The proportion of Music Clubs to Performing Societies of Music Societies remains at approximately one Club to every four Societies . Under the Federation's general scheme of financial assistance towards the cost of professional artists who take part in the concerts given by bot h Clubs and Societies, limited guarantees were offered to a total of 507 applicants. In addition, some fifty of the smaller Societies in England wer e offered assistance under a subsidiary scheme. The funds made available by the Arts Council to the Federation fo r disbursement under the above schemes was increased by twelve per cent ., and the following summary shows the sums offered in 1960-61 . The Choral and Orchestral Societies are divided into `A' (the larger) and `B' (th e smaller) Societies for administrative purposes, but are here combined.

ENGLAND 323 Choral and Orchestral Societies were offered £21,21 7 129 Chamber Music Clubs were offered £4,990

*SCOTLAND 24 Choral and Orchestral Societies were offered £1,54 5 13 Chamber Music Clubs were offered £805

WALE S 18 Choral and Orchestral Societies were offered £735 The claims on the 491 guarantees offered in the previous season (1959-60) were :-

ENGLAND 318 Choral and Orchestral Societies offered £18,955 ; claimed £17,607 93 per cent. 124 Chamber Music Clubs offered £4,140 ; claimed £3,523 85 per cent.

* See also p . 63 . 35

SCOTLAND 20 Choral and Orchestral Societies offered £1,190; claimed £1,175 99 per cent. 14 Chamber Music Clubs offered £945 ; claimed £945 100 per cent. WALES 15 Choral and Orchestral Societies offered £585 ; claimed £545 93 per cent. Special consideration continued to be given to the inclusion of strin g quartets rating national and international status, in the programmes sub- mitted by Chamber Music Clubs. This aspect is reflected in the amount of the guarantees offered to Clubs in England ; in Scotland, where separate grants are made for this purpose, £200 of the £805 offered was given in grants. In the forthcoming season the Federation, encouraged by the success of the special awards made to Choral Societies for the performance of a new work, has decided to award prizes to Music Clubs. These prizes will be given to the Club which, in the opinion of the adjudicators, shows the mos t enterprise and efficiency in planning and carrying out the activities of it s 1961-62 season . The sixteen Regional Committees in England continue to play thei r important part in the affairs of the Federation, and at fourteen of the Annual General Meetings, held in the early part of the year, a musical pro- gramme was arranged to follow the official meeting . Two of these were chamber music programmes, while no less than eleven were rehearsals of a choral work (in one case there was an orchestral rehearsal as well), under an eminent conductor . The study of new or unfamiliar works at these rehearsals encourages societies to widen their repertoire and it is obviou s from the increased attendances that societies find this of great musical value and interest. In addition, planning conferences, where programmes for th e next season's chamber concerts are discussed, took place in some of the regions. The Federation's Annual Conference was held at the Royal College of Music at the end of October . This was a unique event in the annals of the Federation for its founder, Sir George Dyson, who had been President from its inception until 1940, was installed as President for the year. The chief speaker at the Conference was Mr . Hardie Ratcliffe, General Secretary of the Musicians' Union, and on the previous evening a dinner 36 was held to celebrate the 25th anniversary of the Federation . Professor Nikolai Anosov, Professor of Conducting at the Moscow Conservatoire, who spent two weeks in the United Kingdom as a guest of the Federation, visited Societies in many parts of the country. Among the works not previously performed by choral societies durin g the 1960-61 season were : At the Round Earth's Imagined Corners (Hewitt- Jones), New Born King (Jacob), Te Deum (John Sanders), Missa Brevis (Neil Saunders) and In Praise of Music (Hinddriith) . In all, 210 different choral works were performed representing ninety-six different composers . The usual wide selection from the classical repertoire was included in the programmes of orchestral societies, and piano concertos by Peter Cork an d Peter Hodgson were given first performances. 443 different orchestral works by 151 different composers were performed by these orchestra l societies. In addition to the large number of groups supported through the Other National Federation of Music Societies, the Council assisted seventy-two Musical independent and variegated music societies in an aggregate total of 348 Activities performances. Twenty-one of these were opera groups and twelve wer e orchestral. The local opera productions are mentioned in the followin g chapter. Other organisations mentioned at this point in last year's review - local festivals, for example, at Warwick, Dawlish and smaller centres , regional orchestras offering a series of concerts in the North-East, th e Midlands, the South and the West, and a few specialist London groups , including the Sunday Ballet Club and the Renaissance Singers - continue d to receive the Council's assistance. Newly founded chamber music clubs at Bromley (Kent), Trowbridge , Kimbolton and Chipping Campden, were assisted for their first seasons and have now joined the ranks of the National Federation . The Haydn- Mozart Society's scheme of provincial concerts, launched with generous assistance from the Calouste Gulbenkian Foundation and four Indepen- dent Television Companies, was also supported by the Council . Two concerts by a newly formed orchestra in Coventry were assisted . In London, the Wind Music Society amassed the enormous forces required t o perform the Requiem of Berlioz and a series of concerts devoted t o Bruckner's music - the Mass in D Minor and Symphonies Nos. 1 and 8. Recently it has undertaken the first performance (under patronage from many sources) of Havergal Brian's Gothic Symphony, in which 500 performers took part. The London Bach Society went boldly forward wit h its project of performing all Bach's church cantatas . 37

In considering applications for assistance, the Council (and the Joint Allocation Committee of the National Federation of Music Societies an d the Arts Council) are encouraged by any promises of aid from loca l sources, particularly from the statutory Authorities, as a pointer to th e degree of local interest and support. The proportion of applicant societies who now succeed in getting such practical recognition of their enterprise i s steadily increasing . Rather belatedly, so it seems, Local Authorities are beginning to realise that the arts can be helped and fostered, to the benefi t of their community, at very little cost to the general body of ratepayers . A subsequent chapter deals with festivals promoted in association wit h the Council. Many others, on a smaller scale, receive limited support, usually towards the expenses of a specific event or events in the programme. The annual Arts Festival, sponsored since 1955 by the enterprising borough of St. Pancras, is a notable example of imaginative policy and planning in its aims to provide London with opportunities to hear many new and unfamiliar programmes. Several independent societies are invited to presen t concerts and opera in a co-ordinated plan during the festival period, th e invitation being accompanied by an offer of financial assistance, from th e Borough's Public Libraries Committee and the Arts Council . Hutton-le- Hutton-le-Hole is a tiny and remote community on the edge of the Nort h Hole Yorkshire moors. Since 1941 a packed and enthusiastic audience in the village hall has looked forward to the `Arts Council's concert' each Septem- ber. The concert given in September, 1960, now proves to have been the last of a lengthy series which must go on record as a remarkable achieve- ment. The credit for this is due solely to the organisers in the village , Mr. and Mrs. F. J. Burnley, who, year by year, personally supervised all the local arrangements. They have reluctantly decided, in their ninetieth and eighty-third years respectively, that they can no longer continue to undertake these responsibilities . Patrons of The 1957-58 Report welcomed the practical gesture made by Allie d Music Fund Records Ltd. in collecting, through members of the Classics Club, a sum of over £1,000 for the Bournemouth Symphony Orchestra. Its success encouraged this firm, who make and distribute records to Classics Club members, to establish a permanent scheme for the assistance and advance- ment of British music and musicians known as The Patrons of Music Fund . The Arts Council agreed to act as Trustees of the Fund and a Committee of distinguished musicians with representatives of the Classics Clu b members, under the chairmanship of the Baroness Ravensdale, was con- vened to advise the Council on its operation. At periodic intervals the 38

Committee selects a list of some six recommended musical projects whic h is sent to all Classics Club members, who are then invited to select by ballo t three from the list . The results of the ballot determine the choice of project s and the appropriate awards are made subject to confirmation by the Council. Three ballots have taken place since January, 1960, and the following have received awards :- The National School of Opera £500 The Bournemouth Symphony Orchestra . . £500 The Scottish National Orchestra £400 Wind Music Society £200 Talbot Lampson School for Amateur Conductors £150 The Schools' Music Association £100 Young Professional Artists (to assist with recital an d other expenditure at the outset of their careers) : Alan Rowlands, pianist £200 Janet Baker, contralto £200 John and Susan Tunnell (violin and piano duo) £200 John Ogdon, pianist £200 Vernon Handley, conductor £200 Hazel Schmid, soprano £200 Bernard Roberts, pianist £200

Total . . . . £3,250

The applications to the other three Funds which the Council administers Other Funds are steadily increasing, except for the Suggia Gift, which, owing to it s special terms of reference, is not so heavily committed .

39 OPERA AND BALLET

Productions a t During 1960-61 the following new opera and ballet productions wer e Covent Garden presented :- and Sadler's Wells COVENT GARDEN OPERA Macbeth. March 31st, 1960 II Barbiere Di Siviglia. May 16th, Music : Verdi 1960 Designer : Georges Wakhevitch Music: Rossini Producer : Michael Benthall Designer : Jean Denis Malcles Conductor : Francesco Molinari- Producer : Maurice Sarrazin Pradelli Conductor : Carlo Maria Giulini

La Sonnambula. October 21st, 1960 A Midsummer Night's Dream. Music : Bellini February 2nd, 1961 Designer : Filippo Sanjust Music: Benjamin Britten Producer : Enrico Medioli Designer : John Piper Conductor : Tullio Serafin Producer: John Gielgud Conductor : Georg Solti

Fidelio. February 24th, 196 1 Music : Beethoven Designer : Hainer Hill Producer and conductor : Otto Klemperer

THE ROYAL BALLET Le Baiser de la Fee . April 12th, 1960 The Sleeping Beauty, June 10th, Music: Igor Stravinsky 1960 Designer : Kenneth Rowell Music : Tchaikowsky (revised pro - Choreographer : Kenneth MacMillan duction) Designer : Oliver Messel Choreographer : Marius Petipa (revived by Nicholas Sergueff, with additions by Frederick Ashton) 40 Sweeney Todd. August 16th, 1960 The Invitation . December 30th, (first London performance) 1960 Music : Malcolm Arnold Music : Matyas Seiber Designer : Alix Stone Designer : Nicholas Georgiadis Choreographer : John Cranko Choreographer : Kenneth MacMillan Les Deux Pigeons. February 14th, 196 1 Music : Andr6 Messager Designer : Jacques Dupont Choreographer : Frederick Ashto n SADLER 'S WELLS OPERA Tosca. April 2nd, 1960 Orpheus in the Underworld. May Music : Puccini 17th, 1960 (Brighton : April Scenery : Paul Mays 18th, 1960) Costumes : Beatrice Dawson Music: Offenbach Producer : Dennis Arundell Designer: Malcohn Pride Conductor : Colin Davis Producer : Wendy Toye Conductor : Alexander Faris Merrie England. August 10th, 1960 La Traviata. October 5th, 196 0 (Oxford : June 27th, 1960) (Manchester : September 5th, Music : Edward German 1960) Designer : Peter Rice Music : Verdi Producer : Dennis Arundell Designer : Desmond Heeley Conductor : James Robertson Producer : Frank Hauser Conductor : Colin Davis The Barber of Seville . December Ariadne in Naxos . January 25th, 7th, 1960 (Nottingham : October 1961 3rd, 1960) Music : Richard Strauss Music: Rossini Designer : Peter Rice Designer : Carl Toms Producer : Anthony Besch Producer : Douglas Craig Conductor : Colin Davi s Conductor : James Robertson The Cunning Little Vixen. March 22nd, 196 1 Music : Janacek Designer : Barry Kay Producer : Colin Graham Conductor : Colin Davis 41

Both Covent Garden and Sadler's Wells now publish comprehensiv e annual reports of their activities with statistical information . These may be obtained from the appropriate theatre and the 1960-61 issues will b e available during the month of December, 1961 . Opera outside Last year's Report set out the Arts Council's present policy of providin g London opera outside London and described the arrangements it has made to thi s end with Sadler's Wells . To support these activities, the Council increase d its grant for the year from £200,000 to £275,000, which, together with the London County Council's contribution of £25,000, has enabled th e Sadler's Wells Trust to carry out the most extensive programme in it s history. The two permanent Sadler's Wells companies have been performing opera and operetta for forty-two weeks of the year in centres outside London as well as providing a full season at Sadler's Wells itself . With a chorus of forty-eight and an orchestra of fifty-five in each company, th e Sadler's Wells productions have been shown at full London strength in all towns visited. Local press reports have been generally most appreciativ e and audiences have responded well in this effort to improve the operatic bill of fare. Among the difficulties which have yet to be resolved is the heavy strai n imposed upon a few principal singers, conductors and other key personnel , whose responsibilities are divided between the two companies, in havin g to travel to and fro for both rehearsals and performances . This problem applies only to the more experienced and better-known artists whom both London and provincial audiences wish to hear . Sadler's Wells is, however, making its future plans in such a way as to achieve a more specific division of the operas in the repertory between each company who will share not only touring responsibilities but the London season in more equa l measure than has been possible hitherto . This will ensure that the interchange of such artists between the companies will be reduced to a minimum. The planning and casting of an operatic repertory for one company alone is a complex task and these intentions cannot be realised immediately i n the twofold Sadler's Wells plan, even if more money was available t o engage additional experienced artists. Despite satisfactory box office re- ceipts, opera outside London is costing more than ever before . There is indeed still a shortage of good and experienced operatic singers in this country, and again, it is a matter of time before the talent of many of ou r young and promising artists who have chosen to make an operatic caree r 42

can be developed to the point when they can relieve the heavy demand s made upon the experienced artists already in the company . Sadler's Wells will be publishing its own Annual Report during the autumn in which full details of its activities and finances will be set ou t for the information of interested readers . The 1958-59 Report announced the setting up of a committee unde r Opera Lord Bridges to enquire into the present arrangements for training in Training opera and to make recommendations for extending and improving them . The committee completed its report in May 1960 which has since bee n studied by the Council and Government departments concerned. Thanks to the co-operation of the principals of the Royal Schools of Music, the National School of Opera and other institutions who provide oper a training, the committee was able to obtain a comprehensive picture of existing arrangements in this country and in a number of important operati c centres abroad. Representatives of the leading opera companies, at whose request the Arts Council had initiated the enquiry, also expressed in detail their views on the problem and future needs . The Committee's main recommendation was, therefore, to advocate a new scheme which would provide more advanced opera training linke d with further opportunities for young artists to appear before the public i n a fully professional atmosphere under skilled and experienced direction . This would leave the task of general musical and operatic instruction in th e hands of the existing institutions and ensure that a limited and selecte d number of talented students can be developed in their practical work an d thus bridge the gap of experience between conservatoire and the fully professional large-scale opera companies. The Council, having accepted the general conclusions of the Report, has now been invited by the Chancellor to put the scheme into operation an d to include in its annual estimates provision for a grant to meet costs o f upkeep and maintenance. The new centre will be an autonomous and independent body . The Council has nominated the first board of governors , who will hold office for one year in the first instance. They are : Gerald Coke (Chairman) The Rt . Hon. Sir Alan Lascelles , Moran Caplat G.C.B., Hon . F.R.A.M . John Diamond, M.P. Professor Anthony Lewis Geraint Evans, C.B.E. John Pritchard Keith Falkner, F.R.C.M. The Lord Robbins, C.B. Anthony Gishfor d Norman Tucker, C.B.E. The Rt. Hon. the Earl Miss Eva Turner, F .R.A.M. of Harewood Sir David Webster 43

The English An agreement was reached between the Royal Opera House, Covent Opera Group Garden and the English Opera Group under which the Royal Opera Hous e has assumed administrative responsibility for the future development of the Group and its repertory. It is believed that this will make it possible for the English Opera Group to perform more often at home and abroad , and will ease the problems of casting which are inseparable from isolate d and infrequent seasons by enabling the Group to draw on the services o f members of the Covent Garden Opera, as well as its technical an d administrative resources. Benjamin Britten continues to play an active part in the artistic directio n of the Group, together with Peter Pears and John Piper as artistic advisers. The board of directors of the English Opera Group now consists of te n members, five of whom are nominated by Covent Garden . The English Opera Group's engagements for 1961 include appearances at the Schwetzingen, Aldeburgh and Leeds Festivals. The 1960 production of Britten's A Midsummer Night's Dream was taken to the Holland Festival immediately after its premiere at Aldeburgh and the work has since been restaged for the larger resources at Covent Garden , where it proved one of the most successful new productions in the history of that theatre. Handel Opera The Handel Opera Society's appearances at Sadler's Wells Theatre are Society now an established annual event, attracting large audiences . Since its foundation in 1954 the Society has staged eight of Handel's operas. The productions in May this year were a second revival of the successful Semele, and the first opera that Handel wrote in England, Rinaldo. These productions received, in addition to the Council's support, assist- ance from the Calouste Gulbenkian Foundation and the London Count y Council. In June the Society, together with its associated orchestra , Philomusica of London, were invited to perform Rinaldo at the Komische Oper in East Berlin and in the composer's birthplace, Halle, during tha t New Opera town's 1,000th anniversary celebrations. Company Working now in closer liaison with the Sadler's Wells Opera, the company's production of Stravinsky's The Nightingale has been taken into the Sadler's Wells repertory as a partner for the Sadler's Wells productio n of the same composer's Oedipus Rex. During April, the company pre- sented, for its fifth season, the first British performance of Francis Burt' s Volpone and revived a production of The Prisoner by Dallapiccola. The latter opera shared a programme with a new production of Ravel' s L'Heure Espagnole, given in English. This opera had not been seen in 44 London since 1926 . In July 1960 the company presented two performances of Stravinsky's L'Histoire du Soldat in the Theatre Royal, York. The performances formed part of the York Festival and the work wa s subsequently televised by the B .B.C. The company gave a total of thirty-nine weeks of performances during Ballet the year which included a visit to Malta, where they played in the newly- Rambert restored and beautiful Manoel Theatre . All performances were sold out before the company arrived on the island . The annual two-week season at Sadler's Wells was the most successfu l London appearance in the history of the company . New production s included Norman Morrice's The Wise Monkeys and the famous Danish classical ballet, La Sylphide. In the last-named work the title role was danced by Baroness Elsa Marianne von Rosen who re-produced th e ballet. She was partnered by another guest artist from Copenhagen, Flemming Flindt . At subsequent performances both parts were assume d by members of the company and the work was televised in its entirety by the B.B.C. with considerable success . Mme. Marie Rambert, the company' s tireless and dynamic founder and director, was the subject of a B.B.C. TV `Monitor' interview which received a second showing due to the immense interest which it aroused . In addition to many engagements in the provinces, the company Western undertook a second tour of Scotland with a substantially new repertory Theatre and renewed its associations with the West Country by undertaking a Ballet three-week tour of one- and two-night stands for arts clubs and societies in that area. After appearances in Spain, Holland and Germany, the company joine d forces at Sadler's Wells with the Ballet of the Theatre de la Monnaie, Brussels, in Stravinsky's Rite of Spring, and subsequently played with the Belgian company at the International Theatre Festival in Paris. A special programme, devised for the 1961 Edinburgh Festival, included Kurt Weill's Seven Deadly Sins, and Stravinsky's Le Renard. Both works were given subsequently at Sadler's Wells and at the Leeds Triennia l Festival. Improved financial support has encouraged the Board of Managemen t to overhaul its administration and make more definite plans for the future . As foreshadowed in last year's Report, Opera for All toured two groups Opera for in its twelfth season during which 159 performances were given, through All 1960-6 1 the length and breadth of England, Scotland and Wales . Both groups per- formed Mozart's evergreen The Marriage of Figaro and other operas 45

revived from earlier seasons included La Cenerentola, The Barber of Seville, La Boheme and The Beggar's Opera. Each group also included a double bill, one group taking Haydn's The Apothecary with The Boatswain's Mate by Ethel Smyth, and the other group, Weber's Abu Hassan with Puccini' s II Tabarro. Two members of Opera for All who left at the end of the tour hav e made good use of their season's experience, Wendy Baldwin to join the Sadler's Wells Company as a principal soprano, and Alma Myatt to go to the Welsh National Opera Company as a repetiteur. The artistic and musical direction of the two groups remains in the experienced hands o f Bryan Balkwill and Douglas Craig, and the two indefatigable touring managers, Geoffrey Gilbertson and Stephen Webber, who are member s of the Glyndebourne Festival Opera, will again take out the groups in the forthcoming season. Each Group is scheduled for a tour of twenty weeks and they will give an aggregate of no less than 180 performances. Intimate Performances for schools, music clubs and universities, together with Opera appearances at various festival centres and provincial theatres in the U.K. , totalled ninety for the year. Touring engagements included a visit to Scotland for the Scottish Committee of the Arts Council; performances were given in twenty-one towns and embraced places in the Orkney an d Shetland Islands. The company also visited the United States and Canada , followed by appearances in a number of places in the Caribbean under the auspices of the British Council . Amateur Our operatic experience is frequently enlarged by the initiative an d opera and enterprise of the smaller and amateur societies in mounting productions other operatic activities of new or unfamiliar operas which cannot be undertaken by the large r professional organisations. Several notable examples are again to be found among the oper a performances supported by the Council during the year. In its second season at the St. Pancras Arts Festival, the professional Group Eigh t staged The Italian Girl in Algiers and Chabrier's A Lesson in Love in a double-bill with Menotti's The Medium. During the same festival the Handel Opera Society made a brief return visit to the Town Hall, scene of its earliest achievements, for a performance of three religious plays set t o music by Carissimi . Fra Diavolo was seen earlier in the year at St . Pancras in a production by the Philopera Circle. The Polish opera Halka by Moniusko was presented by the University College London Music Society . Among the provincial productions supported by the Council were a number of other unusual choices. The Unicorn Theatre Club at Abingdo n 46 continued its policy of presenting Handel operas by staging Hercules ; Alan Bush's Men of Blackmoor, one of the Festival of Britain 195 1 prize-winning operas, was given its first performances in this country by the Oxford University Opera Club ; Il Mondo della Luna was staged by the Palatine Opera Group at Durham. The Kentish Opera Group pre- sented the European premiere of Menotti's The Old Maid and the Thief and the first performances in English of Rossini's II Signor Bruschino, alternating this double-bill with The Magic Flute. The Lily of Killarney by Julius Benedict was revived at Bristol ; Nabucco and The Tales of Hoffmann at Hebburn ; and The Pearl Fishers at Liverpool. The Chester Opera Group gave Gluck's Orpheus both at Chester and Liverpool as well a s visiting other centres in the area with a double-bill of Gianni Schicchi and Il Tabarro from Puccini's Il Trittico. In presenting The Beggar's Opera at Ryde, the Isle of Wight Opera Company collaborated with one of the Council's Opera for All groups , and engaged from its members the producer and several principal singers . Other popular choices were The Bartered Bride at Gateshead, Rigoletto at Leicester and Carmen at Ealing and Wolverhampton. The remainder included one or two lighter pieces offered as an occasional repertory ite m by some of the more hesitant societies . In all, the Council assisted twenty- one opera groups, which between them produced twenty-seven operas i n a total of 108 performances .

47 8

ART

The present composition of the Art Panel is as follows :- Sir William Coldstream, C .B.E., D.Litt. (Chairman ) Alan Bowness Professor Nikolaus Pevsner, C.B.E. , Sir Trenchard Cox, C .B.E., Ph.D. F.M.A. Claude Rogers, O .B .E. Guy Dixon Robert Rowe, A.M.A. Lawrence Gowing, C.B.E. John Russell Basil Gray, C.B.E. R. J. Sainsbury, A.C.A. Francis Hawcroft Hugh Scrutton F. E. McWilliam, A.R.A. Mrs. K. L. Somerville, O.B.E. H. D. Molesworth Keith Vaughan Benedict Nicolson, M.V.O. Professor Carel Weight, C.B.E., Roland Penrose, C.B.E. A.R.A., R.B.A. The Arts Council's major retrospective exhibition of the paintings o f Picasso, shown at the Tate Gallery in the summer of 1960, was one of th e world's outstanding artistic events of that year . The final attendance figures, which could not be included in last year's Report, were 459,503, and among this number were many who made a special journey from Europe and even the U .S.A. in order to see the exhibition . Roland Penrose, who selected and catalogued the pictures for the Arts Council , was made a C.B.E. in the New Year's Honours for 1961 . Not surprisingly this success has overshadowed the other events of th e year, though the attendance of 119,829 for the relatively small exhibition of works by Toulouse-Lautrec, held in February, 1961, at the Tate, and which was drawn largely from the family collection at the Mus6e d'Albi , has only three times been exceeded in the history of Arts Counci l exhibitions at this gallery. In spite of the heavy demands made by such exhibitions on the energie s of the Art Department, an exceptional effort was made during the year t o supply the needs of towns and cities outside London . Our figures indicate that as against the eighteen exhibitions shown in the metropolis, no les s than 364 showings took place outside . Nor were these provincial exhibi - 48 tions lacking in quality or range. They included an exceptionally rich collection of drawings by Thomas Gainsborough ; an exhibition of paintings by Zoffany and another of Portrait Groups from National Trust collections generously lent from country houses administered by the Trust ; while exhibitions of modern art included another full-scale representation o f modern British sculpture for open-air showing in the summer, an exhibition of the work of Lyonel Feininger brought from America and opened at York, an exhibition of Modern Stained Glass, a survey of the work of Northern Artists and an exhibition of modern European painting from the remarkable Collection of Mr. Alexander Margulies. Nor does this exhaust the list of exhibitions specially prepared for showing outside London. New purchases were added to the numerous exhibitions comprising th e Arts Council Collection, while exhibitions of the work of young painters included Contemporary British Landscape and Six Young Painters, and, in sharp contrast with these in style and content, was an exhibition o f Modern British Portraits . At the Tate Gallery, where the Director and Trustees have generously continued their policy of providing space for our exhibitions, the Picass o exhibition was succeeded by a large exhibition of the sculpture of Manziu. In the meantime for the 1960 Edinburgh Festival, and with the fulles t co-operation from German colleagues in Munich and at the London Embassy, we were able to secure a comprehensive exhibition of the wor k of the Blauereiter (Blue Rider School) . This exhibition, representing an artistic movement whose significance is only now becoming understoo d in this country, was shown at the Tate Gallery from the end of October . It was followed by the centenary exhibition of the work of Wilson Steer which later visited six major galleries outside London . In January, 1961 , a retrospective exhibition of the work of Zadkine was held in the North Duveen Gallery at the Tate, the sculptor himself being present during it s preparation and opening. The Toulouse-Lautrec exhibition was followe d in April by a selection of rather more than 100 paintings and sculpture s by Yugoslav artists, most of them of the younger abstract school. Perhaps the outstanding event of 1961 has been the important an d unprecedented exhibition of the work of Daumier, in whose selection and hanging we were very ably advised by K . E. Maison, and which opened in June at the Tate Gallery. The Arts Council Gallery at No . 4, St. James's Square, though lacking capacity for large exhibitions, is well adapted for those of medium an d 49 D cabinet size, especially of drawings, engravings, books and objects . In June, 1960, these rooms were lent to the Oriental Ceramic Society for a remarkable exhibition of the Arts of the Sung Dynasty, while in August the selection of drawings by John Ruskin made for the Aldeburgh Festival by Sir Kenneth Clark was shown there. In October, 1960, simultaneously with the celebration of Nigerian independence, a major exhibition of the tribal art of the Federation was held at St. James's Square, the 330 exhibits including many of the fines t bronzes and ivories from Benin, He and the Lower Niger, lent by museums and private collections in Berlin, Vienna and the United States as well as i n this country. This exhibition, which was chosen and catalogued by William Fagg, was subsequently shown at the City Art Gallery, Man- chester, and the City Art Gallery, Bristol. It was succeeded in Londo n by the exhibition of the work of Feininger referred to above ; while in January were held a retrospective exhibition of pottery by Bernard Leach and at the same time Landscape for Living, an exhibition arranged jointly with the Institute of Landscape Architects. In March a small and highly selective exhibition of Modern French Book-binding was held, organised for the Council by the Society of `La Reliure Originale', and in May a considerably more ambitious exhibition of sculpture and drawings b y Ernst Barlach . During the year three Arts Council exhibitions were shown at the Victoria and Albert Museum, from whose staff we received every kind o f help. The first of these was of paintings, drawings and designs by Rex Whistler and took place in October, 1960. In March, 1961, was opened the important exhibition of the National Art Treasures of Korea, brought to this country by H .M. ships and including some of the finest historical examples of painting, ceramics and goldsmiths' work . Finally in April was held, by kind permission of the Director of the Museum, an exhibi- tion commemorating the foundation in 1861 by William Morris of the firm of Morris & Co ., which will visit several important provincia l galleries. During the year the Arts Council's collection has grown steadily an d following a change in our purchasing policy several deficiencies in th e representation of new painting and sculpture have been made good . An entirely new and important exhibition of recently acquired works in ou r collection for circulation to major art galleries has now been forme d under the title `New Painting 58-61 ', and as a result of a decision n o longer to show drawings and paintings together, two new exhibitions o f 50

drawings in the Council's Collection have been formed . By means of such exhibitions the work of our young painters is kep t before the eyes of gallery visitors in as many places as possible . The Regional Officers of the Art Department are in constant touch wit h galleries, art centres, societies and clubs outside London, and are largel y responsible for keeping the Council acquainted with their future plans and current activities. The Art Department continues to administer th e loan schemes through which works from the reserve collections of th e Tate and National Galleries are available to provincial galleries . It also supplies complete exhibitions of reproductions and a service of art film s to art galleries, schools and societies .

9

POETRY

The present composition of the Poetry Panel is as follows :- Poetry Panel Joseph Compton, C.B.E. (Chairman) Thomas Blackburn Miss Kathleen Nott Miss Rumer Godden William Plomer, D.Litt. John C. Hall James Reeves Philip Larkin Miss Helen Spalding George MacBeth Terence Tiller Louis MacNeice, C.B.E. Professor Constantin e Trypanis

There were many people who regretted the demise of the English Festival `Poetry of Spoken Poetry . Originally launched in Oxford in the 1920's, it moved to at the London after the war and became generally recognised as an institution Mermaid' exercising considerable authority in the field of verse-speaking. The success of its classes, lectures and readings stimulated a conviction that poetry deserved an even more ambitious type of festival presentation ; and when the Poetry Book Society, backed by offers of generous financial assistance from Associated TeleVision and the Arts Council, was considering the possibility of presenting a new-style festival in London, the directors o f 5 1 the Festival of Spoken Poetry decided the time had come to close dow n their own festival to make way for the new . July, 1959, accordingly saw the last of the English Festivals of Spoken Poetry at Bedford College ; and "Poetry at the Mermaid" was launched in July, 1961 . For this Festival, the Poetry Book Society had the good fortune to secure the active co-operation of Bernard Miles and his Trustees who made th e Mermaid Theatre available for just over a week (July 16th-23rd) and thi s enabled the organisers to put on an eclectic programme consisting o f twenty-one sessions of various kinds, ranging from readings and lecture - recitals to jazz, films and verse drama . The Director was John Wain, who wrote in the Souvenir Programme :- 'What are we celebrating? Nothing of the usual kind ; it isn't anybody's birthday, or a hundred years since the Poetry Book Society wa s formed, or any other commemorative occasion so far as I know . We are, quite simply, celebrating poetry. We are here to give a welcome to poets, to listen to their poems and share in the joy and excitemen t that went into the making of them, and to meet like-minded people in a delightful intimate theatre by the Thames .' There is no doubt that the key to the occasion and the interest it generated was the presence of so many poets in person - poets from England, Wales , Scotland and Ireland ; poets from Canada, Australia, India and Ghana ; poets from North and South America, from France, Germany, Yugoslavia and Greece ; and so on. Then there was the new poetry - the twelve poem s of not less than 50 and not more than 200 lines that had been com- missioned by Messrs . Arthur Guinness & Sons Ltd . - all of them printed in the Souvenir Programme and several of them read by the poets themselve s at one of the evening sessions. The variety of the programmes was in itself a stimulating factor and served to confirm the Director's contention that `poetry, which was gradually expiring in the too-amorous embrace of the printing press, has been gradually freed and led back to light, air and movement by the radio, by the gramophone, by hi-fi and LP, and by a n increasing public desire to hear poets reading their own work' . It was reassuring to find how great was the interest aroused by this Festival by poetry-lovers living in all parts of the country and also overseas . Atten- dances totalled nearly 5,000 ; and there was a feeling of warmth an d enthusiasm that seemed common to poets, performers and audience alike . After the Festival a poet who took part in one of the sessions wrote :- `As a poet, I know just how stimulating and encouraging it was t o come along and take part : a marvellous experience in the course o f 52 what's essentially a lonely occupation . . . . I've never experienced such an atmosphere in a theatre during hours of poetry reading as electri c as a hundred Battersea Power Stations . I found it all, among other emotions, immensely moving ; one could never forget it. ' It is too early as yet to know for certain whether this Festival is going to become a regular event and part of London's summer season . But, if it does so, it will certainly help to strengthen the status of the poet in thi s country and to increase public interest . As the Poet Laureate wrote in his message welcoming the Festival and wishing it all success :- 'What would not the poets of the nineteenth century have given fo r such a Festival? What may not the poets of the future expect from it ? Such performances, such experiments and productions, cannot fail to suggest adaptations, opportunities, and to rouse incitements an d excitements!' The Poetry Book Society completed its seventh year in 1960 . Its Poetry Book membership of 705 marked a disappointing decrease of thirty-eight on the Society previous year. The Selectors were John C. Hall and David Wright ; and the following books were chosen :- The Gravel Ponds Peter Levi, S .J. Come Dance with Kitty Stobling Patrick Kavanagh Poems Dom Moraes Summoned by Bells John Betjema n Recommendations were given to :- Collected Poems William Plomer Collected Poems, 1929-59 James Reeves The Bulletins that accompanied each Choice included specially written contributions by the poets concerned, and poems by William Plomer an d James Reeves . The Society also published a special Christmas poetry supplement edited by Donald Davie with contributions by Laurenc e Clark, Padraic Fallon, Thomas Kinsella, Robert Lowell, William Staffor d and Charles Tomlinson ; a Check List of New Verse 1959 ; and Judgment Day, by R. S. Thomas, with designs by Ceri Richards, being the third o f the Society's special series of facsimile holograph poems . The Selectors for 1961 are Michael Hamburger and Anthony Thwaite . The Council continued its policy of supporting a limited number of Magazines, magazines concerned with the printing and reviewing of poetry, and etc. `Delta' and `Extra Verse' received help accordingly . A contribution was also offered to the Universities Poetry Committee (Chairman : Professor 53

Bonamy Dobree) towards the cost of the third number of the inter- university poetry anthology it publishes annually . Poetry In the autumn of 1960, the Arts Council promoted a series of fou r Readings evening readings at 4 St . James's Square, S.W.1, under the direction of Robert Gittings . The first was given by Christopher Fry with Daphne Slater, the second by Terence Tiller and John Wain, the third by Laurie Le e with John Glen and the last by Ted Hughes and Peter Redgrove (wit h Martin Bell). The Apollo Society was responsible for nineteen recital s during the year, of which six were given in the Recital Room of the Royal Festival Hall, including a special performance of Max Beerbohm' s Savonarola Brown to commemorate the fiftieth recital in this series . Festivals The Ninth Little Festival at Cley-next-the-Sea (June 5th-llth, 1960 ) included a talk with readings by W. R. Rodgers. At Stratford on Avon, the seventh Poetry Festival was directed b y John Carroll with Patrick Garland as Associate Director . The Poet of the Year was Christopher Fry ; and many of the readers were drawn from the company at the Royal Shakespeare Theatre . The first eight Sunday readings were given in Hall's Croft (July 10th to August 28th), and for the final recital (September 4th), which as in previous years was held in the theatre, John Barton devised a special programme entitled The Hollo w Crown, which was presented by Dorothy Tutin, Max Adrian, Paul Hardwick and John Barton himself. This was later repeated at the Aldwych Theatre, London, with considerable popular success. An exhibition of books and MSS . assembled by John Carroll and entitled `The Victorians ' was on show at Hall's Croft during the period of the Festival. At Cheltenham the Festival of Art and Literature (September 26th- October 7th) included a recital of contemporary verse by C . Day Lewis and Jill Balcon, lectures by Sir Kenneth Clark, Eric Linklater, John Wai n and others, and two Workshop Series for young artists and young writers. For the Poetry Competition (with prizes of £75, £50 and £25 provided b y Messrs. Arthur Guinness, Son & Co .) there were 517 entries, which were judged by Charles Causley, Laurie Lee and Erica Marx . The prizewinners were Mark Richards (a New Zealander), Alastair W . Thomson and W. S. Merwin. On the Judges' recommendation an extra prize was awarded t o A. E. Wylde.

54

10

ARTS FESTIVALS : ARTS ASSOCIATIONS , CENTRES AND CLUB S

Details of the subsidies given by the Arts Council to Festivals of the Arts Festivals in 1960-61 appear in the Accounts (Appendices A, B and Q . As far as the Festivals in England are concerned, it seemed useful to show diagrammatic- ally the way in which their income can be apportioned between receipt s from the public, contributions from subscribers and guarantors (both indi- viduals and institutions), subsidies from local authorities, radio an d television fees, and the Arts Council subsidy. As will be seen, the propor- tion of receipts from the public varies from thirty-six per cent . in the case o f the Cheltenham Festival of British Contemporary Music to eighty-two pe r cent. in the case of King's Lynn . It will be noted that Bath and Cheltenham secure a comparatively large proportion of their income in the form o f contributions from subscribers and guarantors, and this includes industrial and commercial firms as well as individuals, whereas York has so far made no attempt to build up this part of its income . Aldeburgh, Bath and the Three Choirs Festival are particularly successful in arranging for some o f their performances to be broadcast or televised . The subsidies from Local Authorities range from ten per cent . of the total income in the case of Yor k to about 0.175 per cent . in the case of Aldeburgh, where the grant from the Aldeburgh Borough Council is too small to be shown on the diagram. In some cases (e.g. Cheltenham and York) certain services are offered free of charge by the Local Authorities concerned . It will be seen that the Arts Council subsidy varies between four per cent . (Three Choirs) and twenty- seven per cent . (Cheltenham Music) of the total income . The figures given in the diagram are based on Arts Festivals held i n England in the summer of . 1960. In 1961 the following Festivals were associated with the Council in Great Britain :- i Bath (June 1st-11th) Llandaff: Music (June 18th-24th) Ludlow (June 27th-July 9th) Aldeburgh : Music and the Arts (June 28th-July 9th) Cheltenham : British Contemporary Music (July 2nd-14th) 55

ARTS FESTIVALS IN ENGLAND 1960 ANALYSIS OF INCOM E

0 ° 20 °'0 40 ° a 60 " so-, f 00 ",. Aldeburgh Festival of Atusic and the Arts

Bath Festival Society (Orchestral Concerts Society Ltd.)

Cheltenham ArtsFestival Ltd. Contemporary Music

Art and Literature MM/M

Haslemere Festiva l (Dolmetsch Foundation)

King's Lynn Festival

Three Choirs Festival Association (Worcester )

York Festiva! Society Ltd.

0°0 20 0 40 . a 60°, 80°j ° ° ® Receipts ® Contribution.' q Subsidies fromis Radio and Arts Council from Public from Local Authorities Television fees Subsidy Subscribers and Guarantors Haslemere (July 15th-22nd) London : `Poetry at the Mermaid' (July 16th-23rd) King's Lynn (July 22nd-29th) Royal National Eisteddfod (August 7th-12th) Edinburgh International Festival (August 20th-September 9th ) Three Choirs : Hereford (September 3rd-8th ) Swansea : Music and the Arts (October 8th-14th) Leeds (Triennial) Festival (October 7th-14th) To turn from Arts Festivals to Arts Associations-at the end of the fift h South Western year of its existence, the South Western Arts Association had twenty-seve n Arts full member societies, twenty-seven associate member societies and 21 7 Association individual and life members not attached to the associated societies . Projects financed out of the Gulbenkian Foundation's activities gran t included the tour of the Exhibition of African and Oceanic Sculpture fro m the Royal Albert Memorial Museum, Exeter, a series of young artists' lunch-hour concerts given at the Everyman Theatre, Cheltenham, during the fortnight of the Cheltenham Festival of British Contemporary Music , and the commissioning of a new String Trio by William Alwyn for the Oromonte String Trio . Other specially sponsored events included concert tours of various musicians, and the launching of Unicorn, a quarterly magazine devoted to poetry and criticism . During the year, the St. Austell Society of Arts purchased an R .A.F. but which it re-erected on a piece of land immediately adjacent to the Art s Centre and adapted for use as a theatre . The Midlands Arts Association completed the third year of its existenc e Midlands Arts with a membership of twenty-six organisations . In the summer of 1960 it Association organised a successful week-end conference at Lincoln in addition to th e Annual Assembly which was held at Thoresby Hall. Members of eleven o f the affiliated societies contributed to the Annual Exhibition which was held at Dudley Art Gallery. There was a total of 123 exhibits, consisting of seventy-eight oils, forty watercolours, two miniatures on ivory an d three small sculptures . In those parts of England not covered by the South Western Art s Arts Centres Association and the Midlands Arts Association, twenty-two arts centre s and Arts Clubs in other parts and clubs look to the Arts Council for advice and receive a measure of of Englan d financial help towards the cost of professional activities in their season' s programmes.

57 1 1

SCOTLAND

SCOTLAND ' S NATIONAL ORCHESTRA The Scottish National Orchestra grew out of the former Scottis h Orchestra. It was formed on the initiative of the Scottish Committee of the Arts Council, which in 1948 decided that the time had come for Scotland to possess its own National Orchestra. Subsequent negotiations resulted in the Scottish National Orchestra Society Limited being incorporated under the Companies Act in July 1950 . The new orchestra began its career in the autumn of that year, and it i s interesting to record that, apart from the grant given by the Scottis h Committee of the Arts Council, it received financial support from no less than forty-seven local authorities . Eleven years later, in the year 1960-61 , the number of local authorities giving help to the Scottish National Orchestra has increased to 114. The views of the Scottish Committee have not changed . It was agreed in 1948 that it was essential for Scotland to have a good orchestra on a national basis, and that the Committee's subvention would have to b e adequate for the purpose. The orchestra is still small by international, or even by national standards, comprising, as it does, only seventy players . It does not perform quite as many times as other orchestras in Grea t Britain. There are three reasons for this : one, there are only six concert halls in Scotland capable of housing the orchestra at its full strength ; two, there are not sufficient towns and cities with large enough population s to ensure both artistic and box-office success ; and three, there are few organisations in Scotland which can afford to hire the orchestra, with th e result that the income from this source is bound to be modest in compari- son with English orchestras. The Scottish National Orchestra, however, performs about 180 times a year, during the course of which it travel s some 12,000 miles . The Directors of the orchestra wish to see an increase in the number of string players to make it comparable in size with the other permanen t orchestras of Great Britain . They would also like to set up a pension fun d for the players, and to provide the orchestra with a permanent rehearsa l 58 home in Glasgow. They would like it to visit London and other cities, both in England and abroad . All this costs money, and the orchestra under present conditions is har d pressed financially. There is, however, one very healthy sign : since 1955 the income from concerts promoted by the Society has shown a consistent rise, thus proving that the Scottish National Orchestra has played to more people each year. In short, the instrument, now eleven years old, is doin g its job.

FINANCE The Scottish Committee's grant for the financial year 1960-61 was £109,642, an increase of nearly £25,000 on the previous year. The giving of financial assistance followed roughly the same patter n as in previous years, but because of the extra money at the Scottis h Committee's disposal it was found possible to make substantial increases . Thus it came about that grants and guarantees to independent musi c organisations rose by over £11,000 ; the repertory theatres gained an additional £7,150 (including bonuses awarded under the new Approve d Plays Scheme) ; and the Edinburgh Festival Society benefited by £3,00 0 more than in the previous year . Grants to independent arts clubs and art societies also showed a small increase . The cost of the Committee's direct provision of music, drama, ballet , opera and the visual arts showed an increase of rather more than £1,900 . It will be seen from the accounts (Appendix B) that, in spite of th e increased grant, the Committee was overspent at the end of the financia l year by £1,454, and this sum had to be taken from the amount carrie d forward at March 31st, 1960.

EDINBURGH INTERNATIONAL FESTIVA L The chief feature of the 1960 Edinburgh Festival was, as always, the season of opera at the King's Theatre, presented this year by Glyndebourn e after an absence of five years. During the three weeks of the Festival over 22,000 people attended performances of Verdi's Falstaff, Bellini's I Puritani and a triple bill consisting of Wolf-Ferrari's Il Segreto di Susanna, Poulenc's La Voix Humaine and Busoni's Arlecchino. Orchestral concerts were given by the Royal Philharmonic Orchestra, the Scottish National Orchestra, the Sacher Chamber Orchestra of Zurich , 59 the Royal Liverpool Philharmonic Orchestra* and, during the final week , the Leningrad Symphony Orchestra on its first visit to Britain . Chamber music included concerts by the Amadeus Quartet, the Beaux Arts Trio, the Juillard Quartet and the Koeckert Quartet, as well as a number of recitals by distinguished soloists of international fame . The drama programme was notable for two world premieres : The Wallace by Sydney Goodsir Smith, given on the open stage of the Assembly Hall, and The Dream of Peter Mann by Bernard Kops ; two British premieres : Diirrenmatt's Romulus the Great, presented by the Glasgow Citizens' Theatre, and Bjornson's Mary Stuart in Scotland, by the Edinburgh Gateway Company ; a performance of Chekhov's The Seagull by the Old Vic Company ; and a visit from La Compagnie Roge r Planchon in a freely adapted and satirical version of Les Trois Mousquetaires. The Royal Ballet, accompanied by the City of Birmingham Orchestra, presented a Stravinsky programme consisting of Danses Concertantes , Baiser de la Fee and Petrushka, and a mixed programme which included Act III of the Britten-Cranko Prince of the Pagodas . The attendance at th e Empire Theatre for these programmes was 100 per cent ., representing over 16,000 people. Other ballet companies included Susana y Jose, the Little Ballet Troupe of Bombay, and Massine's Ballets Europeens de Nervi . A novel feature of this year's Late Night Entertainments was the premiere of the revue Beyond the Fringe; other artists appearing in thi s popular series were Les Freres Jacques, Beatrice Lillie, and the American actor, Hal Holbrook, in his impressions of Mark Twain . This year's exhibition The Blue Rider Group was held in the Royal Scottish Academy ; it was arranged for the Festival Society by the Art s Council of Great Britain, and included paintings by Kandinsky, Marc , Macke and Klee. In spite of a substantial increase in ticket sales and private donation s and an increase of £3,000 in the Scottish Committee's grant, the ne t deficiency on the 1960 Festival was over £24,000, compared with £7,00 0 in 1959. This deficiency reflects the continually rising cost of presenting the Festival and underlines the urgency of finding further sources of income . It is gratifying to note that, for the 1961 Festival, Edinburgh Corporatio n is increasing its grant from £25,000 to £50,000.

*See page 31 .

60 This was Robert Ponsonby's last Festival ; he is succeeded as Artistic Director by the Right Honourable the Earl of Harewood .

AR T The event of the year was the opening by the Trustees of the National New Gallery Galleries of Scotland of the Scottish National Gallery of Modern Art , situated in the Royal Botanic Garden and commanding a magnificent view of Edinburgh's sky-line . The eighteenth century house, occupied since 1877 as a residence by the Regius Keeper of the Garden, has been successfully adapted to its new purpose. It should however be pointed out that the Committee of Enquiry into the Housing of the Arts in Scotland made the following recommendation in its Report of December, 1958 :- That the promise to build a National Gallery of Modern Art on the Queen Street site in Edinburgh should be honoured without further delay . While the provision of this small gallery in the Botanic Garden is welcome as a n interim measure it cannot be too strongly stressed that it is no fina l solution of the problem . The Scottish Committee has had the privilege of presenting a number o f exhibitions of paintings in the gallery, and one of sculpture in the surround - ing gardens. Thirteen paintings owned by the Committee have been lent to the gallery for an indefinite period . The magnificent series of paintings by Kandinsky was the main feature Festival of the Edinburgh Festival Society's exhibition of paintings from The Blue Exhibitions, Edinburgh Rider Group, shown in the Royal Scottish Academy . Each year, since 1954, the Committee has arranged a special Festiva l exhibition in its gallery in Rothesay Terrace. Never has it presented on e with greater pleasure or more confidence in its importance than th e exhibition shown this year of watercolours by the distinguished Scottis h artist, John Maxwell. This year an exhibition of Old Master Paintings from public and private Stirling collections in the counties of Stirling and Perth formed an important par t of the Stirling Festival . The Committee was closely associated with the Stirling Festival Society in presenting this exhibition, which include d many paintings by European masters. Scottish painting, headed by Raeburn and Ramsay, was, as one woul d expect, well represented . The surprising thing was that, within the limit s of so small an area, it should have proved possible to assemble an exhibi - tion of European painting which included works by Constable, Gains- borough and Turner, Claude and Murillo, Pontormo and Veronese . 61

Arts Council Earlier in the year, and prior to the Maxwell exhibition shown durin g Gallery the Edinburgh Festival, the Scottish Committee arranged an exhibition o f gouaches by four young Scottish painters, which was shown in the Committee's gallery before going on tour in Scotland and subsequently i n England. All the paintings were non-representational and twelve of the m were sold. Support to In addition to exhibitions directly arranged by the Committee, listed i n other bodies Appendix D, practical assistance or financial support was given fo r special exhibitions to the following bodies :-The Society of Scottish Artists for a loan exhibition of works by Ceri Richards, Thomas Whalen and Robert Stewart; the Aberdeen Artist's Society for a loan exhibition o f paintings by Sickert; the Citizens' Theatre, Glasgow, for a series of six one-man exhibitions by young Glasgow artists ; and the '57 Gallery, Edinburgh, for a total of nineteen exhibitions arranged during the year, mainly of young British and European painters. The quality of the exhibitions arranged fully justified the confidence placed by the Committe e in the organisations concerned. A special exhibition of paintings selected from the Committee's own collection was arranged in Oban at the request of the Scottish Tourist Board, and was opened by William MacTaggart, President of the Royal Scottish Academy. Touring Sixty-five showings of exhibitions were arranged in the course of the Exhibitions, year in art galleries, schools of art, public halls, community centres an d Lectures club remises throughout Scotland ; nine of these were held in Edinburgh , and Films and he rest were shown in places as remote as Fortrose in the north and Kirkcudbright in the south, and as difficult of access as the Island of Lewis in the west. In addition fifty-five lectures and twenty programmes of film s on art were presented. Purchases Eleven paintings were purchased during the year, and the Committe e now owns 143 paintings and drawings, fifty-four original lithographs, a bronze, a stone carving and a contemporary tapestry .

MUSI C Scottish There was a further increase in audiences at the Scottish Nationa l National Orchestra Society's concerts in the four chief cities . 3,000 more people than Orchestra last year attended the winter concerts in Aberdeen, Dundee, Edinburg h and Glasgow ; and the increase in attendances at the Society's mid-wee k concerts in the last two cities was 1,300. 62 The orchestra performed on 183 occasions during the year, includin g three studio broadcasts ; in addition six of the public concerts wer e broadcast in the B.B.C.'s Home Service. The orchestra gave four concerts at the Edinburgh Festival and also accompanied the Ballets Europiens de Nervi during the final week of that event . The annual season of promenad e concerts was repeated in St . Andrew's Hall, Glasgow, and three Musica Viva concerts were given, including the first performance in Great Britai n of Stockhausen's Gruppen for three orchestras. These concerts of con - temporary music were made possible by a special grant from the Calouste Gulbenkian Foundation . In November, 1960, the orchestra made its first gramophone recor d under the auspices of Waverley Records of Edinburgh. Donations from Local Authorities totalled £44,508, an increase of £6,000 on the previou s year's total. During the year, 113 concerts were presented by the thirty-seven musi c National societies receiving guarantees against loss through the Scottish Committe e Federation of the N.F.M.S.,* thirty-nine of these concerts were given by ninetee of Music n Societies choral societies, and included seven performances of Messiah, four of Elijah, two each of The Dream of Gerontius and Verdi's Requiem, as well as single performances of the St. Matthew Passion, the Requiems of Brahms and Dvorak, the Te Deums of Holst and Kodaly, and Handel's Semele. Five amateur orchestral societies gave a total of nine concerts, an d sixty-five recitals of chamber music were provided by thirteen music clubs. Twenty of these chamber music recitals were given by string quartets - a reflection of the Committee's continuing policy of awarding a special grant of ten pounds for each string quartet engaged . Help was also given for concert series to the following organisations : Other The Saltire Society, The Edinburgh Lunch-Hour Concerts in the Nationa l Concert Gallery of Scotland, the Connoisseur Concerts in Edinburgh, the Colleg e Societies of Piping, and the Edinburgh Organ Recitals Committee . In addition a number of smaller guarantees and grants were given for single concerts i n Ayr, Banff, Dumfries, Edinburgh, Glasgow, Larkhall and Stonehaven . The total number of concerts arranged directly by the Scottish Committe e Tours went up from 116 to 130, including the thirty-six operatic performances referred to later in the report . Outstanding among the many chamber music concerts directly provided by the Scottish Committee were the five given by Leon Goossens and

*See p . 35 63 Iris Loveridge, the average audience being not far short of 200. After fulfilling private engagements in Shetland, the artists visited Orkney, Fort William, Biggar, Campbeltown and Dumfries . Other visiting ensembles were Musica da Camera, the Parry Piano Quartet and a second tour by Carl Dolmetsch and Joseph Saxby, giving authentic interpretations o f early music played on the instruments for which it was written . Notable among the concerts by artists resident in Scotland were thos e given by the recently formed Glasgow Trio (Louis Carus, violin, Joan Dickson, cello and Wight Henderson, piano). Another interesting develop- ment in chamber music in Scotland was the formation of the Edinburg h Quartet (Miles Baster, violin, Julian Cummings, violin, Brian Hawkins , viola and Ian Hampton, cello) ; this, unfortunately, came too late for use to be made of it by the Scottish Committee during the 1960-61 season. This ensemble replaces the New Edinburgh Quartet which was disbande d in the spring of 1959. An orchestral tour always attracts a great deal of interest and the tou r of the Boyd Neel Orchestra proved to be no exception, drawing in an average audience of almost 400 and ranging geographically from Dingwal l and Elgin in the north to Hawick in the Border country .

OPER A Large Towns The visit of the Glyndebourne Opera to the Edinburgh Festival ha s already been mentioned; in addition the Sadler's Wells Opera made a welcome return visit in October to Dundee and Glasgow, the operas give n being Madame Butterfly, The Barber of Seville, Hansel and Gretel, Andrea Chenier and the light operetta Merrie England. Tours The demand for opera among music-lovers in the smaller towns and villages remains at a very high level and a total of 6,593 people attende d the performances given by the Intimate Opera Company and the Arts Council's Opera for All. Once again audiences for Opera for All broke all previous records and it is interesting to note that, despite competition fro m the small screen, the average audience in Scotland for this Company has crept up gradually from a mere 168 in 1952 to 325 in 1960 . This year the Company gave six performances of The Marriage of Figaro, six per- formances of The Barber of Seville and two performances ofLa Cenerentola in a tour of the central and southern areas . The Intimate Opera Company visited the Orkney and Shetland Islands and the Isle of Mull, and als o toured over a wide area of the mainland ; their programme include d True Blue (Carey), Gentleman's Island (Horovitz), The Music Master 64 (Pergolesi), Jacques and Jacqueline (Offenbach), Bal Masque (Storace) an d the Masque in Timon of Athens (Purcell) . Three amateur opera societies were given financial assistance towards Amateur the cost of engaging professional musicians . The Glasgow Grand Opera Opera Society, accompanied by the Scottish National Orchestra, presente d Gounod's Faust and Verdi's Luisa Miller on alternate evenings for on e week in the Alhambra Theatre, Glasgow ; the Edinburgh Opera Company gave four performances of Handel's Semele at the Gateway Theatre in Edinburgh ; and Glasgow's Drawing Room Music Society gave fiv e performances of Mozart's The Marriage of Figaro.

BALLE T Following its highly successful appearance at the Edinburgh Festival, Large Towns the Royal Ballet visited Aberdeen and Glasgow in September, playing, as usual, to full houses. Another Festival ballet company to perform outsid e Edinburgh was Susana y Jose. Taking advantage of this Spanish company' s visit to the Festival, the Scottish Committee made a two-week booking , one week of which was spent at the Citizens' Theatre, Glasgow. During their second week under the Committee's auspices the Susana y Tours Jose company played five one-night stands, with an average audience o f 332 ; the places visited were Duns, Falkirk, East Kilbride, Bridge of Alla n and Haddo House, Aberdeenshire. Following the success of their first Scottish tour in October, 1959, the Western Theatre Ballet undertook a tour of three weeks in the spring o f 1961 . A completely new programme was offered which included Street Games, a ballet specially mounted by Walter Gore . This company was seen by more than 3,500 people .

DRAMA In the Council's Annual Report for the year 1959-60 reference was Repertory made to the crisis facing four of the five repertory theatre companies Theatres receiving the Scottish Committee's support ; these are the Dunde e Repertory Theatre, Edinburgh Gateway Company, Glasgow Citizens ' Theatre and Perth Repertory Theatre. Their difficulties were due to th e serious decline in audiences over the previous two years . The record of attendances at these four theatres for 1960-61 is no better, though the general decline seems to have been arrested at three of them . The future prospect, however, looks brighter since the Chancellor of th e Exchequer's announcement in March, 1961, of increased aid for repertory . 65 It is hoped that the extra money which is to be made available will enabl e the repertory theatres to win back their audiences by improving their standards of production and making their theatres more attractive place s to visit. Dundee Although business at Dundee Repertory Theatre during the first part of the year was considerably less than during the previous year, from abou t August onwards box office takings picked up and maintained a sligh t increase. Early in the New Year, however, the theatre suffered a sever e financial crisis which threatened for some time to end its activities . An appeal was made to the Scottish Committee of the Arts Council and to th e Dundee Corporation, each of whom agreed to increase its subsidy for the coming year by £1,000. In addition, a public appeal for the creation of a Reserve Fund raised some £1,700. The immediate future of the theatr e was thus ensured. Notable productions of the year were Arthur Miller's A View from th e Bridge and Death of a Salesman ; Robert Bolt's first play, The Critic and the Heart ; Peter Shaffer's Five Finger Exercise ; and, the only new play of the year, The Blind Madonna, by Neil Curnow, a former member of the company. Edinburgh The Edinburgh Gateway Company maintained a high standard of pro- duction throughout the season, which opened with the Edinburgh Festiva l presentation of Bjornson's Mary Stuart in Scotland. This was followed by The Taming of the Shrew and the premiere of Robert Kemp's Master John Knox, written to commemorate the 400th anniversary of John Knox's birth. Although these three plays drew fairly large audiences they were expensive to produce and the decline in attendance during the rest of the season left the Company with a large deficit . This was partly due to the lack of a consistent policy and the employment of a completely new company o f actors with no local following . The Company has plans for remedying this state of affairs next season, and it is hoped that, with the continued help o f the Edinburgh Corporation and the Scottish Committee, the new policy will reap its reward in larger audiences . Glasgow The Glasgow Citizens' Theatre embarked during the year 1960-61 on a more ambitious and experimental policy than that of previous years . The season opened with Romulus the Great, by Friedrich Diirrenmatt, imme- diately following its British premiere by the Citizens' Company at th e Edinburgh Festival. The Enchanted, by Jean Giradoux, had a limited appeal, but John Cairney's performance of the title role in Hamlet proved one of the most exciting theatrical experiences of recent years ; this pro- 66 duction was seen by 16,000 people during its fortnight's run . A triple bill by Ionesco did poor business but aroused healthy feelings both `for' and `against' ; Rollo, The Aspern Papers and Roots completed the autumn season. The Christmas Revue was followed by Lysistrata, Hedda Gabler (which also toured the south of Scotland for the Arts Council), Great Expectations, the premiere of Break-Down, by the Glasgow author, Stewart Conn , Murder in the Cathedral, Under Milk Wood and A Passage to India. An interesting observation over the season has been the increasin g number of young people in the audience, also unfortunately a noticeabl e decrease in attendance by the older patrons . Perth Repertory Theatre reverted to its two companies and paid regular Perth visits during the winter months to Arbroath, Stirling and Kirkcaldy . Visits were also paid to Dunfermline and Troon . During the summer months a ten weeks' tour of the rural areas of Scotland was undertaken . In September the Company completed twenty-five years' work in the Pert h Theatre ; during twenty of those years regular visits have been made to many towns and villages throughout Scotland . Help was once more given to the theatre by Perth Town Council and Perth County Council, and th e Playgoer's Club raised over £3,000. The activities of this club have revolutionised the Company's financial position and it is largely owing to this magnificent effort that the theatre has been able to continue . Outstanding productions of the year were Traitor's Gate, Inherit the Wind, Heartbreak House, Five Finger Exercise, Roots, Juno and th e Paycock, One More River, The Aspern Papers and Ghosts. The tenth annual Pitlochry Festival (April 16th to October Ist) Pitlochry successfully maintained its hold upon audiences built up steadily since 1951 from thirty-eight per cent . to almost sixty per cent . of capacity . The most interesting play was James Roose-Evans' controversial treatment o f J. M . Barrie's The Admirable Crichton, chosen to mark the centenary of the author's birth. Her Majesty Queen Elizabeth The Queen Mother saw this play during the last week of the Festival, and it was presented sub- sequently by invitation at The Belgrade Theatre, Coventry. Of the other five plays, the best attended were Charles Hawtrey's The Private Secretary and Noel Coward's Private Lives, with the premiere of R. F. Delderfield's new historical play, Napoleon in Love, not far behind. The repertoire wa s completed by another new play, Between the Tides, by the Dutch play- wright Ben van Eysselsteijn, and a double bill of Bernard Shaw's The Dark Lady of the Sonnets with David Garrick's Katharine and Petruchio. 67

Tours The choice of You Never Can Tell for the Scottish Committee's tour by the New Scottish Touring Theatre brought a welcome increase in attendance over last year's figures . This tour included Stornoway and Shetland as well as a large area of the northern and central mainland . This year the southern theatrical tour was undertaken by the Glasgow Citizens' Theatre - the first full-scale tour by this company in the eightee n years of its existence . The play selected was Hedda Gabler and the com- pany was most warmly received everywhere. Another tour to show a welcome increase in audiences since last year was that of the Children's Theatre which was seen by nearly 8,000 people . This tour included a week on the Isle of Arran . In a tour intended primarily for the smaller places without facilities for full theatrical presentations, Rosalinde Fuller presented her dramatisations of short stories by famous authors ; and another small-scale show to attract favourable attention was the special programme devised by Ia n Gilmour and Meta Forrest to mark the centenary of the birth of Sir James Barrie . Puppets The Lee Puppet Theatre undertook a tour of fifteen performances of their special adaptation of Alice in Wonderland, mainly in Argyll, the Isle of Mull and the Border towns and villages . Scottish The Scottish Repertory Theatre Trust, which was inaugurated in 195 8 Repertory with a gift from Scottish Television and which has received £7,000 so fa r Theatre Trust from that organisation, received a further donation of £1,000 from the same source. This was divided equally between the repertory theatres i n Dundee, Edinburgh, Glasgow, Perth and Pitlochry . The purposes of the Trust are to promote and encourage dramatic art in all its forms in th e repertory theatres in Scotland. Notwithstanding appeals which have bee n privately made to certain charitable organisations, no donation has bee n received from them or from any source other than Scottish Television, and unless money can be provided from other sources it is feared that the Trust may have to be wound up . Travel Grants Three travel grants were awarded during the year to a producer, a designer and an actor working in the Scottish Theatre to enable them t o study stage design and methods abroad . The recipients were Callum Mill, David Sidey, and Iain Cuthbertson. Play The play commissioned from Alexander Reid through the Pitlochry Commissions Festival Society was completed too late for production in 1961 ; it is hoped that this play will be presented at the 1962 Pitlochry Festival . A further 68

grant to the Society resulted in their commissioning a play from Ronal d Mavor, also for presentation in 1962 . . The Scottish Committee's experimental scheme of special awards to Approved repertory theatres for the production of `worth-while' plays proved a Plays Scheme stimulus to the five theatres taking part . The Committee's Play Panel gave its approval to forty-five plays in all and bonuses totalling £1,900 wer e awarded. The scheme is to be continued for a further year . Mention has already been made of the appearance at the Edinburgh Old Vic Festival of the Old Vic Company in The Seagull. Later in the year another company of the Old Vic visited Aberdeen, Edinburgh and Glasgow prio r to its Russian tour ; the plays presented were Macbeth, Saint Joan and The Importance of being Earnest .

The following retired from the Committee during the year : J. A. Membership Henderson, Miss Violet C. Young, Mrs. Eric Linklater, Charles Carter of the Scottish and Charles Graves. Mrs Linklater, Mr. Carter and Mr. Graves were Committee appointed for a further term . In addition the following new members wer e appointed to serve on the Scottish Committee : George E. Geddes and T. Grainger Stewart, C.B., M.C., T.D., D.L.

We record with great regret the death of Mrs . Ellen Kemp, who served Death of CEMA and the Arts Council as Exhibitions Officer for seventeen years . Mrs. Kemp

12

WALES

For the year 1960/61 the Council's Committee in Wales received a grant Finance of £60,823, an increase of £16,873 on that for the previous year . Full details of the accounts appear in Appendix C where it will be seen tha t general expenditure on the arts amounted to £52,187 . Schedule 1 shows the distribution in all branches of the Committee's activities, and Schedule 2 the allocation of general operating costs . 69

The Future Greater expenditure on the arts does not always signify greater activity ; of the Arts an increased grant can quite easily be justified to meet increased costs, in Wales with no mention of expansion . In the year ended March 31st, 1961, the Welsh Committee received a bigger grant and spent more than ever befor e on the arts, because a greater interest was being taken in music, drama, poetry and exhibitions of pictures and sculpture . More people were talking about the arts, the work of the Welsh Committee was becoming more widely known, through the press, through the increased activities of it s beneficiaries and through the interest of audiences everywhere . Encouraged by these developments and impressed by this favourable reaction toward s its activities, the Welsh Committee decided that the arts in Wales and their needs could best be served at this time if those interested in what the art s can bring to the life of the community could meet and discuss their needs . It was in this way that the Conference of the Arts came about . Local authorities, industrial organisations and the trade unions were invited to attend, together with representatives of national institutions and organisa- tions directly concerned with the Arts Council's activities in Wales. The Conference was held in Cardiff in March and was attended by representatives of sixty-nine Local Government Authorities, fiftee n industrial concerns, thirteen trade unions and twenty-three organisation s directly concerned in one way or another with the arts . In his foreword to the Conference handbook Professor Gwyn Jones said `The Welsh Committee is convening this Conference because it believes the next fe w years can see the fulfilment of many long-cherished Welsh ambitions in music, drama and the visual arts, provide Wales with the artistic institu- tions she needs, and greatly increase the opportunities for first-hand enjoyment of the arts in every part of our country . This pleasurable enrichment is more likely to be attained if there is a shared awareness of needs and possibilities among the directly interested parties' . The Conference was a success . The arts and the work of the Welsh Committee of the Arts Council received much publicity in the press and on the radi o and television : delegates went away more aware of the contribution the arts make to the life of Wales and, it is hoped, more determined to mee t the needs of the arts in Wales . It would be wrong to say that th e Conference had far-reaching effects. Its objectives were limited, for indeed it was the first one of its kind in the United Kingdom . It succeeded, in that it brought together to talk about the arts representatives of Local Government, industry and the trade union movement . From now on it is hoped that the main provider for the arts, the Government, through its 70 agent the Arts Council, will be joined by these other potential patrons . In Wales the combined efforts of those interested in the well-being of th e arts could ensure them a prominence unequalled elsewhere in the Kingdom.

MUSIC During the year the Welsh National Opera Company began a planned Opera re-organisation. New premises were obtained and extensive alterations carried out to provide the Company with rehearsal rooms for the chorus , studios and an administrative headquarters . John Moody joined the Company as Director of Productions and Charles Groves was appointed Musical Director . Seasons of opera were given in Llandudno and Cardiff with the Bournemouth Symphony Orchestra and in Swansea with a specially assembled orchestra led by Reginald Morley. At Llandudno in August the Company performed the Barber of Seville, Die Fledermaus, Madam Butterfly, La Traviata and Il Trovatore with Warwick Braithwaite and Charles Groves conducting . Audiences came in from a wide area of North Wales for what has now become a regular feature of Llandudno's summer season . At the Royal National Eisteddfod of Wales in Cardiff the Company gave a first performance of a new opera by Arwel Hughes with libretto b y Saunders Lewis. This opera, Serch yw'r Doctor, was commissioned by the Welsh Committee of the Arts Council. In November the Company appeared in Cardiff with the Bournemouth Symphony Orchestra con - ducted by Warwick Braithwaite, Charles Groves, Ivor John and Wy n Morris. The following operas were performed : Madam Butterfly, Die Fledermaus, Nabucco, IZ Trovatore, La Boheme, May Night and Tosca. In addition the Company gave a first performance of The Battle, by Verdi. This opera was produced by John Moody who chose to give it a modern setting. Its first performance aroused much interest and it remain s in the repertoire of the Company. In March of this year the Company visited Swansea for a week of oper a which included performances of The Battle, La Boheme, Nabucco, Mada m Butterfly and Il Trovatore. The conductors were Charles Groves, Ivo r John and Wyn Morris . Although the year was one of re-organisation for the Company it is encouraging to find that it undertook two new studies and also prepare d plans for establishing an opera school in Cardiff. It is hoped that when the school opens the Welsh National Opera Company will be able to train 71 students and young singers from Wales, and so make a further contribution to opera in the United Kingdom. Festivals The Welsh Committee continued to give substantial support to Festival s of music and although they attract large audiences it seems evident that none could carry on without an Arts Council subsidy . Of the five Festivals supported by the Committee three take place in rural Wales, the Montgomery, Dee and Clwyd, and Brecknock . In Newtown for the Montgomery Festival Charles Groves conducted the combined choirs of the county and the Bournemouth Symphony Orchestra in a fine perfor- mance of Bach's Passion of our Lord according to St . John. The soloists were April Cantelo, Helen Watts, David Galliver, Wilfred Brown , Hervey Alan and John Carol Case. The B.B.C. Welsh Orchestra appeare d at the Dee and Clwyd and Brecknock Festivals held at Corwen an d Ystradgynlais respectively . The Requiem, by Brahms, conducted by Morgan Nicholas with Elizabeth Vaughan and Roger Stalman, wa s performed at Corwen. At Ystradgynlais Arwel Hughes conducted Hiawatha's Wedding Feast, by Coleridge Taylor, with April Cantelo , Kenneth Bowen and Marian Nowakowski . In June the third Llandaff Festival was held in the Cathedral with performances by the London Symphony Orchestra, conducted by Charle s Mackerras, the B .B.C. Welsh Orchestra, conducted by Robert Joyce, th e Wang String Quartet and the Llandaff Choral Society . An impressiv e feature of the week was a programme of verse and music devised by th e Archdeacon of Llandaff and presented by Jill Balcon, Cecil Day Lewis , William Squire and the Cathedral Choir. A first performance of a n anthem by Edmund Rubbra and a first reading of a poem by R . S. Thomas were included in the programme. The Festival ended with a recital by Gioconda de Vito and Ernest Lush . The Llangollen International Musical Eisteddfod in July agai n attracted huge audiences with its programme of folk singing and dancing . Artists at the evening concerts were Ram Gopal and his company , Fedora Barbieri, Amy Shuard, Giancci Jaia and David Lloyd . In October there was held the thirteenth Swansea Festival of Music and the Arts. The Festival Committee put special emphasis upon Spanis h music and artists . The London Symphony Orchestra appeared for th e whole week and was conducted by Antal Dorati and Enrique Jorda, an d the soloists were Shura Cherkassky, Steven Staryk, Hugh Maguire, Simo n Streatfield- and Gonzalo Soriano . In addition to the Brangwyn Hall 72 concerts two concerts were given in St . Mary's Church with the Geraint Jones orchestra and Andre Marchal, organ . In August Cardiff welcomed the National Eisteddfod for the first time National since it became the capital city. The occasion was one of pageantry and Eisteddfod splendour, graced as it was by the presence of Her Majesty the Queen , H.R.H. the Duke of Edinburgh and their children . The ceremonies, competitive events, concerts and drama performances attracted large audiences throughout the week . The Bournemouth Symphony, Royal Liverpool Philharmonic and Orchestral London Symphony Orchestras gave concerts in Wales during the year . Concerts In November the Bournemouth Orchestra with Charles Groves visite d Haverfordwest for a concert promoted by the Pembrokeshire Joint Orchestral Committee and played also in Port Talbot . In January the same orchestra gave concerts in St . Mary's Church, Swansea, Treorchy , Merthyr Tydfil and Cardiff. The conductors were Charles Groves an d Henry Krips. At one of the Cardiff concerts a programme of Welsh music was played as a tribute to the living composer. Works by Daniel Jones, Alun Hoddinott, Grace Williams and Denis Harbinson were performed . , In February George Tzipine with Lilian Kallir (piano) conducted a concert by the Royal Liverpool Philharmonic Orchestra in Rhyl . The Barry and District Concerts Committee opened its season in October wit h the London Symphony Orchestra conducted by Antal Dorati . During the year music clubs supported by the Committee presented 118 Music Clubs concerts, of which 33 were performances by the Arts Council's Opera For All company. The demand for this company has been so great that tw o groups were toured ; both visited Wales and performances were given of The Marriage of Figaro, The Barber of Seville, Cenerentola, La Boheme , The Beggar's Opera, Abu Hassan and Il Tabarro. Some clubs included string quartets and piano quartets in their programmes and nineteen such concerts were given by the Allegri, Amici, Aeolian and Zorian Quartet s and the Robert Masters and Parry Piano Quartets . The Welsh Choral and Orchestral Societies affiliated to the National Choral Federation of Music Societies gave 27 concerts, all of which were Societies supported by funds provided by the Committee.

DRAMA In the autumn of 1960 the Arts Council's Theatre Company toured English Wales with a production of Five Finger Exercise, by Peter Shaffer . The Tours play was directed by Hugh Hunt and the sets were designed by Gillian 73

Armitage. The cast was headed by Jessie Matthews and Ernest Hare . The company visited 29 centres in various parts of Wales and gave 33 perfor- mances during the seven weeks' tour ; it played to more than 10,000 people . In the spring of 1961 the Arena Theatre Company directed by John English undertook a short tour of four weeks with a production of Roots, by Arnold Wesker . Most of the performances were given in North Wale s where the play was the subject of much controversy in the local press . Opinion was sharply divided on many aspects of the play and the Wels h Committee was encouraged to find young people approving their choice , for on them depends the future of the live theatre . Cardiff The same company gave its eleventh summer festival of plays in Cardiff Summer with performances of Tom Sawyer, by John English, Hindle Wakes, by Festival Stanley Houghton, Never Had It So Good, by John Wiles, Traveller Without Luggage, by Jean Anouilh, and Two Roses, by James Albery. The festival was supported by Cardiff Corporation and the Wels h Committee of the Arts Council . The Old Vic In December the Old Vic Company visited Cardiff with performance s of Macbeth, Saint Joan and The Importance of Being Earnest, all of which attracted good audiences to the New Theatre . Welsh The Committee again assembled a Welsh Drama Company under the Company direction of Emlyn James to present Eisteddfa Gwatwarwyr at the National Eisteddfod. The play was commissioned by the Cardiff Eisteddfo d Committee from Tom Richards and played to a capacity audience at the Prince of Wales Theatre, Cardiff, during Eisteddfod week . Subsequently the company gave performances at the Anglesey Drama Festival, the Swansea Drama Festival and the International Drama Festival at Cardiff . Welsh Drama The Committee gave substantial support to three Welsh Drama Festivals Festivals held at Garthewin, Llangefni and Swansea . In June at Garthewin performances were given of Esther, by Saunders Lewis and Gofid Cudd, a translation by G. J. Evans of Los Aroboles Muerem de Pie. The Anglesey Festival in September presented performances of Y Gell Olaf, by Gwilym R. Jones, and Eisteddfa Gwatwarwyr, by Tom Richards, and a programme of prose and verse based on the works of W. J. Gruffydd and T. Rowland Hughes. At the Grand Theatre, Swansea, in November the Swansea Welsh Drama Society presented performances of Noa, by Andre Obey , translated by F. G. Fisher, Y Pwllgorddyn, by J. Ellis Williams, and Eisteddfa Gwatwarwyr, by Tom Richards. Poetry Voices of the Century, a programme of verse devised by Glyn Jones , 74 was revived and presented in Bangor during the Students' Arts Festival , by Heather Black and William Squire .

ART No longer can it be said that there is little or no interest in the visual arts in Wales. Earlier reports have referred to the ever-increasing public the visual arts have gained during the last fifteen years . Not only are more people viewing exhibitions but they are also buying pictures . The late David Bell, with his missionary zeal, always asserted that buying a pictur e should be as important as buying a new suit and while suits retain thei r lead more and more people in Wales are buying pictures regularly . This can be attributed in the main to the work of the Arts Council, which ove r the years has given everyone the opportunity to see exhibitions of all kinds . During the year the Welsh Committee arranged three major exhibitions . Welsh an exhibition showing the rise of the Committee In July, How Impressionism Began, Exhibitions Impressionist movement in France, was shown in Cardiff at the National Museum. The exhibition was opened by the Rt. Hon. the Earl of Jersey and was seen by over 5,000 people . Homage to Music and Poetry, an exhibition of the works of Ceri Richards, was assembled specially for showing during the Nationa l Eisteddfod. The Sophia Gardens Pavilion was converted into a series o f galleries centring on the gallery which housed the Ceri Richards paintings . In his foreword to the catalogue the artist says `I think this little exhibitio n which I have assembled has become particularly relevant to the Eisteddfo d - for within its small compass is juxtaposed the references to music and poetry which have frequently been the motives for a series in my work - this will be seen from some of the titles I have listed . Music is specially significant for me and moves parallel with my love and activity o f painting - continually'. In March, 1961, the Eighth Exhibition of Contemporary Welsh Painting, Drawing and Sculpture was mounted in the National Museum with 9 5 paintings and drawings and 15 pieces of sculpture selected by Care l Weight, Anthony Gross, Kenneth Rowntree and Austin Wright . This exhibition was then sent on tour and was seen in Bangor, Aberystwyt h and Swansea . In addition to these major exhibitions three others were re-assemble d for further touring. `Industrial Wales', the Seventh Exhibition of Con- temporary Welsh Painting, Drawing and Sculpture, was shown i n Coventry, Nottingham and Cheltenham . 75

A collection of works by the '56 Group was shown in Cambridge an d Welshpool and paintings from the Arts Council's Welsh Collection wer e shown in Cardiff at the National Museum and in the Glynn Vivian Ar t Gallery, Swansea . Arts Council Exhibitions assembled by the Arts Council in London were toure d Exhibitions extensively and 29 such exhibitions were seen in 19 centres . Exhibitions supported by The Committee continued to give financial support to enable societie s the Welsh and organisations (see Schedule 3) to arrange exhibitions . Committee Art Films During the year the tour of art films was extended and 36 performance s were arranged in 34 centres . Much support for these tours is received fro m Local Education Authorities. This year the Committee for the first time provided money so that a film could be made of La Cathedrale Engloutie series of paintings by Cer i Richards. The film is to be made by Dudley Shaw Ashton and when completed will be included in the Art Film catalogue and will be availabl e for showing in Wales . Purchase of The purchase panel of the Committee chose fifteen works by Wels h Pictures artists for purchase. These paintings are now in the Welsh collection an d will be seen in future exhibitions of the Committee's purchases . Welsh S. Kenneth Davies, Dr . Daniel Jones, Dr. Thomas Parry and Alun Committee Llywelyn-Williams were members of the Welsh Committee due to retire on December 31st, 1960. All four were re-elected for a further period of three years. Dr. W. Moelwyn Merchant joined the Committee as a new member. Honours The Queen's Honours List included Dr . D. Dilwyn John, a member of the Welsh Committee, who was made a Commander of the Order of the British Empire. Welsh Office During the year Dr . J. R. Webster was appointed Director for Wales in succession to Miss Myra Owen, O .B.E. Miss Owen had served the Council and the Welsh Committee since 1946, first as Assistant Director and late r as Deputy Director. She was appointed Director for Wales in 1952 on th e resignation of Huw Wheldon .

76

1 3

NOTES ON THE ACCOUNTS

These notes are given in amplification of the Annual Accounts which are containe d in Appendices A, B and C following . 1. The surplus of £683 2s . 11 d. raised by, the Dylan Thomas Memorial Recital held on February 14th, 1954, was handed over to the Trustees o f the Dylan Thomas Fund during the year ended March 31st, 1961, togethe r with accumulated interest amounting to £137 6s . 6d. This necessitated the realisation of the 4 per cent . and 4 per cent. Defence Bonds in which £68 0 of the surplus had been invested . z 2. Schedule 3 includes a grant of £100 to the United Parishes of Sain t Vedast alias Foster. This was offered as a contribution towards the cost of erecting a plinth for Epstein's sculpture "Ecce Homo" which he bequeathed for the churchyard site of St. Matthew, Friday Street, in. the City of London. 3. In the years between 1948-49 and 1951-52 items of equipment, mainly tables and chairs, were loaned by the Council to certain Arts Centres an d Arts Clubs . These items, hitherto included in the Balance Sheet under Theatre and Concert Hall Equipment, have been converted into outright grants during the year ended March 31st, 1961 . The original cost is included under Grants and Guarantees in Schedule 3 as follows : Arts Centres and Arts Clubs £ s. d. Alfreton and District Arts Association - - - 150 0 0 Hartlepools Arts Association 130 6 4 Leek and District Arts Club 351 8 5 South Western Arts Association : St. Austell Arts Club 224 5 0 Street Society of Arts 149 10 0 4. Normally art exhibitions organised by the Council result in a ne t cost shown in Schedule 1 attached to the Accounts . In the year ended March 31st, 1961, the unprecedented success of the Picasso Exhibition created a problem of presentation, and this exhibitio n has therefore been shown as a separate item in the Revenue and Expenditur e Account, while the results of other exhibitions are summarised in the usua l 77 way in Schedule 1 . The discrepancies shown as a deduction from th e Picasso takings are still being investigated . Enquiries so far made suggest that some part of the discrepancy may be due to errors in the recordin g system rather than any losses of cash . Any credits produced by the investigation will be brought to account next year.

78 APPENDICE S

79

THE ARTS COUNCI L APPENDIX A REVENUE AND EXPENDITURE ACCOUN T

19596 0 £985,771 GENERAL EXPENDITURE ON THE ARTS IN ENGLAND £1,225,434 0 (See Schedule 1 ) 99,818 GENERAL OPERATING COSTS IN ENGLAND (See Schedule 2) 125,709 2 6,151 CAPITAL EXPENDITURE FOR THE YEAR TRANSFERRED T O CAPITAL ACCOUNT 10,575 0 2,072 RESERVE FOR CAPITAL PURCHASE 54 1 0 84,850 GRANT TO SCOTTISH COMMITTEE 110,393 1 3 43,950 GRANT TO WELSH COMMITTEE 60,823 0 2,906 BALANCE carried down 4,235 19

£1,225,518 £1,SJ /,225 5 8

22,231 BALANCE carried forward 26,467 7

£22,231 £26,467 7 1

80

OF GREAT BRITAI N

FOR THE YEAR ENDED 31st MARCH, 196 1

1959/60 £1,218,000 GRANT IN AID : H.M. TREASURY £1,500,000 0 0 PICASSO EXHIBITIO N Recorded sales, etc ., of tickets and catalogues £112,126 0 3 Less discrepancies between sales records and cash re - ceived, written off 739 0 7 111,386 19 8 Less organising expenses 58,285 12 3 53,101 7 5 Less Reserve for Special Art Projects 30,000 0 0 - 23,101 7 5 2,195 REPAYMENT OF LOANS 3,195 0 0 CANCELLATION OF GRANTS and provision for expenses in previou s 3,411 year not required 1,950 18 1 1 AMOUNT TRANSFERRED FROM RESERVE FOR CAPITAL 750 PURCHASE 2,072 5 0 SUNDRY RECEIPTS Interest: Bank and Investment 3,330 16 4 Proceeds of sale of Assets 1,479 12 1 Miscellaneous 2,095 5 1 1 1,162 6,905 14 4

£1,225,518 £1,537,225 5 8

19,325 BALANCE as at 1st April, 1960 22,231 8 1 2,906 BALANCE brought down 4,235 19 0

£22,231 £26,467 7 1

8 1 F

THE ARTS COUNCI L BALANCE SHEET A S

LIABILITIES 1959/60 CAPITAL ACCOUNT Balance as at 31st March, 1960 £93,851 12 1 0 Add Capital Expenditure during year transferred fro m Revenue and Expenditure Account 10,575 0 6

104,426 13 4 Less book value of Assets sold : Office Equipment 69 0 0 Cars and Vans 1,873 12 2 Theatre and Concert Hal l Equipment 1,296 5 0 Lithographs 2 4 3,238 19 6 £93,852 - £101,187 13 1 0 21,449 GRANTS AND GUARANTEES OUTSTANDIN G 46,235 11 0 CREDIT BALANCE S Sundry Creditors and Accrued Liabilities 28,094 19 7 Due to Scottish Committee 8 2 0 Due to Welsh Committee 2,848 0 0 22,449 30,951 1 7 19,365 SPECIAL FUNDS (See Schedule 5) 19,899 A 9 RESERVE FOR CAPITAL PURCHASE S Balance as at 31st March, 1960 2,072 5 0 Plus additional reserve required as at 31st March, 1961 54 10 0

2,126 15 0 Less amount transferred to Revenue and Expenditur e Account 2,072 5 0 2,072 54 10 0

£159,187 Carried forward £198,327 18 2 82

OF GREAT BRITAI N AT 31st MARCH, 1961 ASSETS 1959/60 OFFICE EQUIPMENT At valuation as at 31 st March, 1956, and additions at cos t less items sold to 31st March, 1960 £15,965 17 9 Additions during year 821 18 4

1b,/a/ 16 1 Less items sold during year 69 0 0 £15,966 £16,718 16 1 MOTOR VANS AND CAR S At cost as at 31st March, 1960 10,410 8 10 Additions during year 4,688 8 8 15,098 17 6 Less items sold during year 1,873 12 2 10,410 13,225 5 4 PIANO AND CELLO ACCOUNT At valuation as at 31st March, 1956, less items sold t o 31st March, 1960 530 0 0 Less transfer to Equipment on Loan 430 0 0 530 100 0 0 THEATRE AND CONCERT HALL EQUIPMEN T At valuation as at 31st March, 1956, and additions at cos t less items sold to 31st March, 1960 12,208 0 0 Transfer of piano during year 430 0 0 12,638 0 0 Less items sold during year 1,296 5 0 12,208 11,341 15 0 ART EXHIBITION EQUIPMENT At valuation as at 31 st March, 1956, and additions at cos t less items sold to 31st March, 1960 10,926 1 4 Less items sold during year - 10,926 - 10,926 1 4 LITHOGRAPH S At cost as at 31st March, 1960 572 1 5 Less items sold during year 2 4 572 571 19 1 PICTURES AND SCULPTURES At cost as at 31st March, 1960 37,094 16 1 1 Additions during year 4,802 4 1 1 37,095 41,897 1 10 REPRODUCTION S At valuation as at 31st March, 1957, and additions at cos t to 31st March, 1960 6,144 6 7 Additions during year 262 8 7 6,144 6,406 15 2 WIGMORE HALL CANTEEN STOC K 232 As at 31st March, 1961 171 17 2 £94,083 Carried forward £101,359 11 0

83

THE ARTS COUNC I BALANCE SHEET A S LIABILITIES £159,187 Brought forward £198,327 18 2 - RESERVE FOR SPECIAL ART PROJECTS 30,000 0 0 REVENUE AND EXPENDITURE ACCOUNT 22,231 Balance as at 31st March, 1961 26,467 7 1

NoTE: No provision has been made for depreciation of Assets : renewals are charged to Revenue .

£181,418 £254,795 5 ?

I have examined the foregoing Account and Balance Sheet . I have obtained all the informatio n this Account and Balance Sheet are properly drawn up so as to exhibit a true and fair view of the

84

OF GREAT BRITAI N AT 31st MARCH, 1961 ASSETS £94,083 Brought forward £101,359 11 0 LOANS TO ASSOCIATED AND OTHER ORGANISATION S (See Schedule 4) Secured by Mortgage 3,125 0 0 Secured by Investment 3,330 0 0 Unsecured and only conditionally recoverable 9,390 0 0 15,845 0 0 Less Reserve 9,390 0 0 6,580 6,455 0 0 SPECIAL FUND INVESTMENTS (See Schedule 6) At cost or as at date of transfer 15,745 (Market value £11,602 Is . 10d.) 15,744 10 7 INVESTMENTS 3 per cent . Savings Bonds 1960170 (Market value £4,002 Is . Id.) 5,000 0 0 31 per cent. Defence Bonds, Conversion_ Issue (Market value at par) 598 13 0 6,279 5,598 13 0 DEBIT BALANCES Sundry Debtors and Payments in Advance 40,264 15 3 Due from Scottish Committee 105 0 0 Due from Welsh Committee 4,118 6 2 32,252 44,488 1 5 CASH On Deposi t 81,000 0 0 Imprests 336 19 2 In Han d 242 1 3 81,579 0 5 Less Credit on Current Account 429 11 2 26,479 81,149 9 3

£181,418 £254,795 5 3

Chairman : COTTESLOE Secretary-General : W. E. WILLIAMS and explanations that I have required and I certify, as the result of my audit, that in my opinio n transactions of the Arts Council of Great Britain and of the state of their affairs . (Signed) E . G. COMPTON, Comptroller and Auditor General. Exchequer and Audit Department , 14th August, 1961 . 85 THE ARTS COUNCI L

SCHEDULE 1-GENERAL EXPENDITURE ON THE ARTS

MUSI C Opera and Ballet Grants and Guarantees (See Schedule 3 ) Directly Managed Performances (Opera for All) Other Activities Grants and Guarantees (See Schedule 3 ) Directly Provided Concert s Wigmore Concert Hall (including costs of Repairs to Building ) Net Revenue of Wigmore Hall Catering

Net Total Expenditure DRAMA Grants and Guarantees (See Schedule 3 )

ART Grants and Guarantees (See Schedule 3) Exhibitions (excluding Picasso Exhibition shewn separately in Revenue and Expenditur e Account) Art Films Tours Lithograph Sale s

Net Total Expenditure POETRY Grants and Guarantees (See Schedule 3 ) Poetry Readings Poetry Library and Miscellaneous Expense s

Net Total Expenditure FESTIVALS Grants and Guarantees (See Schedule 3 )

ARTS CENTRES AND ARTS CLUBS Grants and Guarantees (See Schedule 3 )

Net Expenditure transferred to Revenue and Expenditure Accoun t

86

OF GREAT BRITAI N

IN ENGLAND FOR THE YEAR ENDED 31st MARCH, 196 1

Gross Gross Net Net Revenue Expenditure Revenue Expenditure £821,626 7 10 £12,329 5 5 £18,032 11 0 5,703 5 7

174,327 10 2 527 6 4 1,161 17 0 634 10 8 10,749 4 8 13,192 8 10 2,443 4 2 £347 4 5 347 4 5 1,004,734 18 5 347 4 5 £1,004,387 14 0

154,341 18 5

• lcn Ini 1Q c 154,341 18 5 6,200 9 8 45,117 3 7 83,124 16 4 38,007 12 9 1,053 13 10 1,717 5 5 663 11 7 5 3 5 3 44,871 14 0 5 3 44,871 8 9

2,581 11 0 210 16 4 112 9 0 2,904 16 4 2,904 16 4

10,300 0 0 10,300 0 0

8,628 2 8 8;628 2 8 £1,225,434 0 2

87

THE ARTS COUNCIL OF GREAT BRITAI N

SCHEDULE 2 GENERAL OPERATING COSTS FOR THE YEAR ENDED 31st MARCH, 196 1 Salaries: Music £11,582 14 8 Drama 8,016 17 1 Art 21,250 15 5 Finance 10,512 0 8 Secretarial and General 22,804 0 5 £74,166 8 3 Superannuatio n 5,232 6 8 £79,398 14 1 1 Travelling and Subsistence 6,166 12 9 Rent, Rates and House Expenses 27,617 6 2 Publicity and Entertainment 4,251 17 1 1 Office and Sundry Expenses 8,274 10 1 1

Transferred to Revenue and Expenditure Account £125,709 2 8

NoTE : Endowment benefits due to members of the Pension Fund are assured by Policies held b y the Council. 88

THE ARTS COUNCIL OF GREAT BRITAI N

SCHEDULE 3 GRANTS AND GUARANTEES FOR THE YEAR ENDED 31st MARCH, 196 1 MUSIC Opera and Ballet Royal Opera House, Covent Garden Limited £500,737 0 0 Sadler's Wells Trust Limited 275,000 0 0 Royal Ballet School Limited (Grant for Capital Expenditure) 15,000 0 0 Mercury Theatre Trust Limited (Ballet Rambert) 16,000 0 0 tEnglish Opera Group Limited 5,000 0 0 tIntimate Opera Society Limited 1,500 0 0 Western Theatre Ballet Limited 3,000 0 0 New Opera Company Limited 2,000 0 0 Handel Opera Society 1,000 0 0 Youth and Music (Opera Performances for young people) 350 0 0 tAmateur Operatic Societies 2,039 7 1 0 £821,626 7 1 0 Symphony Orchestras City of Birmingham Symphony Orchestra 22,000 0 0 tHa116 Concerts Society 25,767 18 1 tLondon Philharmonic Orchestra Limited 9,000 0 0 tLondon Philharmonic Society Limited 6,000 0 0 London Symphony Orchestra Limited 5,000 0 0 tRoyal Liverpool Philharmonic Society 27,000 0 0 tWestern Orchestral Society Limited (Bournemouth Symphon y Orchestra) 30,000 0 0 tNorthern Sinfonia Concert Society 1,500 0 0 126,267 18 1 Other Activities tBrighton Philharmonic Society Limited 1,500 0 0 British Institute of Recorded Sound : Administration £750 0 0 Central Gramophone Library 1,500 0 0 2,250 0 0 Institute of Contemporary Arts (Music Section) 1,000 0 0 Jacques Orchestra Limited 250 0 0 Philomusica of London Limited 2,000 0 0 Royal Musical Association 2,000 0 0 Royal Philharmonic Society 1,750 0 0 Rural Music Schools Association 500 0 0 Society for the Promotion of New Music 1,250 0 0 Finsbury Pageant Committee (see also under Drama) 250 0 0 tPayments to Music Societies and Clubs affiliated to the National Federation of Music Societies in respect of guarantees (includin g Federation Administration 1959160 and 1960/61) 28,924 1 10 tDirect Grants and Guarantees to other Musical Organisations 61385 10 3 48,059 12 1 DRAMA Birmingham Repertory Theatre Limited 10,000 0 0 tBristol: Old Vic Trust Limited 8,000 0 0 *tCambridge Arts Theatre Trust 1,000 0 0 Carried forward £19,000 0 0 £995,953 18 0 *Includes Transport Subsidy. tMaximum commitments are given, not necessarily the amounts paid . 89

SCHEDULE 3-continued

Brought forward £19,000 0 0 £995,953 18 0 DRAMA (continued) *tCanterbury Theatre Trust Limited 2,400 0 0 *tCarlisle Theatre Trust Limited 2,300 0 0 *tCheltenham Everyman Theatre Company Limited 1,650 0 0 Chesterfield Civic Theatre Limited 1,000 0 0 *tColchester Repertory Company Limited 2,000 0 0 Coventry : Belgrade Theatre Trust (Coventry) Limited 9,000 0 0 *tDrerby Playhouse Limited 1,300 0 0 Fanham Repertory Company Limited 500 0 0 Guildford Theatre Club Limited 4,000 0 0 *Harrogate (White Rose) Theatre Trust Limited 11 12 0 Hornchurch Theatre Trust Limited 2,000 0 0 Ipswich Arts Theatre Trust 4,000 0 0 Leatherhead Repertory Company Limited 2,000 0 0 *Lincoln Theatre Association Limited 7,350 18 0 London : English Stage Company Limited 8,000 0 0 Mermaid Theatre Trust 5,000 0 0 Old Vic Trust Limited 40,000 0 0 Pioneer Theatres Limited (Theatre Workshop) 2,000 0 0 Loughborough and District Theatre Association Limited (Stanford Hall) 1,500 0 0 *tMargate Theatre Trust Limited 945 7 0 *tNewcastle Playhouse Trust Limited 950 0 0 *tNorthampton Repertory Players Limited 3,632 9 6 *Nottingham Theatre Trust Limited 10,350 0 0 Oxford: Meadow Players Limited 6,000 0 0 Salisbury Arts Theatre Limited £3,100 0 0 Less: Transfer from Salisbury Maintenance Account 400 0 0 - - 2,700 0 0 Touring : *tArena Theatre Company Limited 550 0 0 tCentury Theatre Limited 2,500 0 0 Mobile Theatre Limited 3,000 0 0 *Studio Theatre Limited (Theatre in the Round) 2,065 15 0 The British Centre of the International Theatre Institute 250 0 0 Council of Repertory Theatres 350 0 0 Finsbury Pageant Committee (see also under Music) 250 0 0 Fashion Research Centre and Museum of Costume Limite d (Langley Moore Collection) 300 0 0 tPromotion of New Drama-Bursaries and Guarantees against loss 4,771 1 4 tRepertory Company Interchanges 404 15 7 Guest Producers and Travel Grants 310 0 0 154,341 18 5 *Includes Transport Subsidy ART tBournemouth Arts Club 100 0 0 Brentwood Art Society 25 0 0 tBromley Art Society 40 0 0 tBruton Art Society 50 0 0 Caterham Art Group 30 0 0

Carried forward £245 0 0 £1,150,295 16 5 tMaximum commitments are given, not necessarily the amounts paid . 90

SCHEDULE 3-continued

Broughtforward £245 0 0 £1,150,295 16 5 ART (continued) Christchurch : Red House Museum and Art Gallery 60 0 0 tCirencester Arts Club 100 0 0 Colchester Art Society 100 0 0 London : Institute of Contemporary Arts 2,500 0 0 The London Group 300 0 0 tYoung Contemporaries : 1960 and 1961 Exhibitions 227 9 8 Manchester : Red Rose Guild of Craftsmen 25 0 0 Newlyn Society of Artists 250 0 0 tNottingham : Midland Group of Artists 700 0 0 Penwith Society of Arts in Cornwall 200 0 0 Petersfield Arts and Crafts Society 25 0 0 tSalisbury Group of Artists 50 0 0 Stroud Religious Drama Festival : Exhibition of Landscapes 40 0 0 Whitechapel Art Gallery : Henry Moore Exhibition 148 0 0 Women's International Art Club 250 0 0 tArt Group of Yeovil 30 0 0 Society for Education Through Art 100 0 0 Society of Mural Painters' Exhibition 500 0 0 United Kingdom National Committee of the International Associatio n of Plastic Arts 50 0 0 Situation : Exhibition of British Art 100 0 0 United Parishes of Saint Vedast alias Foster 100 0 0 Ceri Richards Film : La Cath6drale Engloutie 100 0 0 6,200 9 8 POETR Y Apollo Society 300 0 0 British Institute of Recorded Sound (Recorded Literature Grant) 100 0 0 Cley Women's Institute (Little Festival of Poetry, Cley-next-the-Sea) 9 11 0 Contemporary Poetry and Music Circle 30 0 0 Poetry Book Society Limited : General £432 10 0 Festival of Poetry 1,000 0 0 1,432 10 0 Society of Barrow Poets 12 12 6 Stroud Religious Drama Festival 18 10 0 Trustees and Guardians of Shakespeare's Birthplace (Stratford-upon - Avon Festival of Poetry) 428 7 6 t"Universities' Poetry" 130 0 0 Poetry Magazines : "Delta" 60 0 0 "Extra Verse" 60 0 0 2,581 11 0 FESTIVAL S Aldeburgh Festival of Music and the Arts 1,000 0 0 Cheltenham Arts Festivals Limited : Cheltenham Festival of British Contemporary Music 1,750 0 0 Cheltenham Festival of Art and Literature 350 0 0 Dolmetsch Foundation (Haslemere Festival) 350 0 0

Carried forward £3,450 0 0 £1,159,077 17 1

tMaximum commitments are given, not necessarily the amounts paid .

9 1

SCHEDULE 3-continued

FESTIVALS (continued) Brought forward £3,450 0 0 £1,159,077 17 1 Ludlow Festival Society 350 0 0 Orchestral Concerts Society Limited (Bath Festival) 1,500 0 0 St. George's Guildhall Limited (King's Lynn Festival) 750 0 0 tThree Choirs Festival Association Limited (Three Choirs Festival, Worcester) 750 0 0 York Festival Society Limited 3,500 0 0 10,300 0 0 ARTS CENTRES AND ARTS CLUBS tAlfreton and District Arts Association 300 0 0 Basingstoke Theatre Association Limited 100 0 0 tBillingham Association of the Arts 100 0 0 Coventry : The Umbrella Club 20 0 0 tCamberwell Arts Council 50 0 0 Cowes and District Arts Association 30 0 0 tCrewe and District Music and Arts Society 15 0 0 tCromer Society 50 0 0 Dudley Arts Council 100 0 0 tEston and Ormesby Guild of Arts 35 0 0 tFrodsham Music and Arts Club 35 0 0 tHartlepools Arts Association 230 6 4 Hastings : Stables Trust Limited 300 0 0 tHuntingdonshire Music and Arts Society 50 0 0 tKettering and District Three Arts Club 50 0 0 tKing's Lynn : St. George's Guildhall Limited 250 0 0 tLeek and District Arts Club 451 8 5 tLincoln Society of Arts 45 0 0 tManchester Institute of Contemporary Arts 250 0 0 tMarple Arts Group 20 0 0 Middlesbrough Little Theatre Limited 200 0 0 Newcastle-upon-Tyne : People's Theatre Art Group 250 0 0 tNewmarket and District Arts League 40 0 0 Newport Arts Association 50 0 0 tSolihull Society of Arts 20 0 0 tSpalding Arts Council 30 0 0 tStafford and District Arts Council 100 0 0 tTamworth Arts Club 40 0 0 tTring Arts Society 40 0 0 Wednesbury Society of Arts 30 0 0 tWest Wight Arts Association 20 0 0 tWhitby : Three Arts Club 75 0 0 Wolverhampton Civic Hall Arts Society 20 0 0 tWorcester S.A.M .A. 90 0 0 Worsley Art and Music Society 42 18 10 3,529 1 3 Midlands Arts Association (Administration) 219 14 ] South Western Arts Association : Administration 1,750 0 0 Arts Centres and Clubs : tBlandford Arts Club 60 0 0 Bridgwater Arts Centre 275 0 0 Chippenham and District Society of Arts 35 0 0 Carried forward £2,120 0 0 £1,173,127 4 S

tMaximum commitments are given, not necessarily the amounts paid . 92

SCHEDULE 3-continued

ARTS CENTRES AND ARTS CLUBS (cont .) Brought forward £2,120 0 0 £1,173,127 4 9 South Western Arts Association (continued) Crewkerne Arts Club 40 0 tGuild of Devon Craftsme n 40 0 Exeter : Arts Group 75 0 Falmouth : Royal Cornwall Polytechnic Societ y 275 0 Isle of Purbeck Arts Club 50 0 Kingsbridge Music Club 30 0 tLaunceston Society of Arts 70 0 tNewton Abbot and District Society of Art s 40 0 Plymouth Arts Centre 275 0 tSt. Austell Society of Art s 899 5 tSt. Ives : S .A.M .A. 75 0 tShaftesbury and District Arts Club 275 0 Street Society of Arts 189 1 0 Taunton Deane Arts Societ y 50 0 Truro Three Arts Societ y 30 0 Warminster Society of Arts 50 0 Weston-Super-Mare Society of Arts 20 0 Weymouth and South Dorset Arts Centre 275 0 4,878 15 0 £1,178,005 19 9

f Maximum commitments are given, not necessarily the amounts paid .

93 .

THE ARTS COUNCIL OF GREAT BRITAI N SCHEDULE 4 LOANS TO ASSOCIATED AND OTHER ORGANISATION S Loans secured by mortgage £3,250 0 0 Less repaid during year 125 0 0 £3,125 0 0 Loan secured by investment £3,330 0 0 Loans unsecured and only conditionally recoverable 12,585 0 0 Less repayment during year of loans previously reserved 3,195 0 0 £9,390 0 0

SCHEDULE 5-SPECIAL FUND S PILGRIM TRUST SPECIAL FUND As at 31st March, 1960 £1,590 4 0 Add Income during year 45 10 0 1,635 14 0 Less Payments during year 83 14 9 £1,551 19 3 H. A. THEW FUND Capital Account 9,094 10 9 Income Account Balance at 31st March, 1960 £487 10 1 0 Add Income during year 304 12 1 0 792 3 8 Less Payments during year 515 2 0 277 1 8 9,371 12 5 MRS. THORNTON FUN D Capital Account 5,426 14 1 Income Account Balance at 31st March, 1960 916 9 5 Add Income during year 207 14 8 1,124 4 1 Less Payments during year 783 12 4 340 11 9 5,767 5 10 ARTS COUNCIL : THEATRE ROYAL BRISTOL RESERVE FUND As at 31st March, 1960 1,850 2 3 Add Income during year 2,242 9 3 4,092 11 6 Less Payments and commitments during year 884 7 3 3,208 4 3 Total Special Funds as per Balance Sheet £19,899 1 9

94

THE ARTS COUNCIL OF GREAT BRITAI N

SCHEDULE 6 SPECIAL FUND INVESTMENTS AS AT 31st MARCH, 196 1

Nominal Book Marke t Value Value Value PILGRIM TRUST SPECIAL FUND 3I per cent. Defence Bonds (Conversion Issue) £1,300 0 0 £1,297 0 0 £1,300 0 0

H. A. THEW FUN D 3 per cent . British Transport Stock 1978/88 6,876 16 11 6,326 13 11 4,160 9 10 31 per cent. Conversion Stock 2,809 19 10 2,767 16 10 11573 11 1 1

MRS. THORNTON FUND 2j per cent . Consolidated Stock 665 1 9 488 16 10 282 13 3 3 per cent . Funding Stock 1959/6 9 2,097 2 1 2,099 15 0 1,709 2 1 0 3 per cent . Funding Stock 1959/69 (P .O. Issue) 250 0 0 249 7 6 203 15 0 51 per cent. Conversion Stock 1974 (P .O. Issue) 200 0 0 203 7 6 190 0 0 3 per cent . Defence Bonds (Conversion Issue) 30 0 0 30 0 9 30 0 0 31 per cent. City of Birmingham Stock 100 0 0 102 0 0 97 10 0 3 per cent . British Transport Stock 1978/88 355 5 10 337 10 6 214 19 0 31 per cent. Defence Bonds (Conversion Issue) 740 0 0 739 5 6 740 0 0 3j per cent . Defence Bonds ' 1,000 0 0 1,000 0 0 1,000 0 0 4j per cent . Conversion Stock 1962 100 0 0 102 16 3 100 0 0

Total Special Fund Investments as per Balance Sheet £16,524 6 5 £15,744 10 7 £11,602 1 1 0

95

THE COUNCIL' S APPENDIX B REVENUE AND EXPENDITURE ACCOUN T

1959/60 £69,687 GENERAL EXPENDITURE ON THE ARTS (See Schedule 1) £93,932 8 14,275 GENERAL OPERATING COSTS (See Schedule 2) 16,156 8 787 CAPITAL EXPENDITURE TRANSFERRED TO CAPITAL ACCOUNT 1,663 0

- RESERVE FOR LOANS 1,000 0 1,284 BALANCE carried down -

£86,033 £112,751 17 S

- BALANCE brought down 1,454 8 1 5,455 BALANCE carried down 4,000 7 E

£5,455 k,5,454 1 6

96

COMMITTEE IN SCOTLAN D

FOR THE YEAR ENDED 31st MARCH, 196 1

195960 £84,850 GRANT FROM THE ARTS COUNCIL OF GREAT BRITAIN £110,393 13 4 400 REPAYMENT OF LOAN - 656 CANCELLATION OF GRANTS AND GUARANTEE S in previous year not required 366 16 0 SPECIFIC RESERVE-ROBERT BURNS BICENTENAR Y - not now required 74 6 3 RESERVE FOR OFFICE EQUIPMENT - not now required 109 16 1 0 SUNDRY RECEIPT S Interest on Deposit Accounts £126 16 8 Dundee Repertory Theatre-Rent of Electrical Equipment 1 0 0 Proceeds of Sale of Assets 225 0 0 127 352 16 8 - BALANCE carried down 1,454 8 8

£86,033 £112,751 17 9

4,171 BALANCE as at 1st April, 1960 £5,454 16 2 1,284 BALANCE brought down -

£5,455 £5,454 16 2

97 G

THE COUNCIL' S BALANCE SHEET A S LIABILITIES 1959160 CAPITAL ACCOUNT Balance as at 31st March, 1960 £25,448 16 0 Add Capital Expenditure during year transferre d from Revenue and Expenditure Account 1,663 0 5 27,111 16 5 Less Office Equipment Reserve no longer required £109 16 1 0 Book value of Motor Car sold 550 0 0 659 16 1 0 25,449 £26,451 19 7 5,810 GRANTS AND GUARANTEES OUTSTANDIN G 6,706 15 6 CREDIT BALANCES Sundry Creditors 2,372 8 1 1 Due to Headquarters 105 0 0 1,664 2,477 8 1 1 SPECIFIC RESERVE-ROBERT BURNS BICENTENARY 102 4 4 Less Net Expenditure during year £27 18 1 Balance transferred to Revenue and Expenditure Account 74 6 3 102 4 4 102 REVENUE AND EXPENDITURE ACCOUN T 5,455 Balance as at 31st March, 196 1 4,000 7 6

NoTE : No provision has been made for depreciation of Assets : renewals are charged to Revenue .

08,480 £39,636 11 6

Chairman of the Scottish Committee : JOHN McEWEN. Secretary-General : W. E. WILLIAMS .

I have examined the foregoing Account and Balance Sheet . I have obtained all the information and explanations that I have required and I certify, as the result of my audit, that in my opinion this Account and Balance Sheet are properly drawn up so as to exhibit a true and fair view of the trans - action of the Arts Council's Committee in Scotland and of the state of their affairs . (Signed) E. G . COMPTON, Comptroller and Auditor General. Exchequer and Audit Department , 14th August, 1961 . 98

COMMITTEE IN SCOTLAN D AT 31st MARCH, 1961 ASSETS 1959/60 PROPERT Y £8,307 11 Rothesay Terrace, Edinburgh £8,307 4 2 OFFICE EQUIPMENT At valuation as at 31st March, 1955, and additions at cos t to 31st March, 196 0 £3,182 14 7 Additions during year 16 9 5 3,199 4 0 Less reserve no longer require d 109. 16 10 3,183 3,089 7 2 MOTOR CARS At cost as at 31st March, 1960 1,934 8 3 Additions during year 900 10 6 2,834 18 9 Less Items sold during year 550 0 0 1,934 2,284 18 9 PIANO ACCOUN T 200 At valuation as at 31st March, 195 5 200 0 0 THEATRE AND CONCERT HALL EQUIPMENT At cost as at 31st March, 1960 3,725 19 9 Additions during year at cos t 380 0 0 3,726 4,105 19 9 PICTURES, SCULPTURES AND TAPESTRY At cost as at 31st March, 1960 7,008 1 3 Additions during year at cos t 360 15 6 7,008 7,368 16 9 REPRODUCTIONS 672 At cost as at 31st March, 1960 671 10 0 LITHOGRAPHS At cost as at 31st March, 1960 418 18 0 Additions during year at cost 5 5 0 419 424 3 0 LOANS Unsecured and only conditionally recoverable 17,000 0 0 Payments during year 1,000 0 0 18,000 0 0 Less Reserve 18,000 0 0 DEBIT BALANCES Sundry Debtor s 1,842 11 7 - Due from Headquarters 8 2 0 1,904 1,850 13 7 CASH On Deposit Account 8,000 0 0 On Current Account 3,196 0 4 In Transit 72 18 0 In Han d 65 0 0 11,127 11,333 18 4 £38,480 £39,636 11 6 99

THE COUNCIL'S COMMITTEE IN SCOTLAN D SCHEDULE I GENERAL EXPENDITURE ON THE ARTS FOR THE YEAR ENDED 31st MARCH, 1961 MUSI C Grants and Guarantees (See Schedule 3) Scottish National Orchestra £32,000 0 0 Music Societies 5,153 6 8 £37,153 6 8 Directly Provided Concerts 10,316 5 3 Less Receipts 3,947 7 6 6,368 17 9 £43,522 4 5 DRAMA Grants and Guarantees (See Schedule 3) 23,975 13 0 Tours 6,57019 7 Less Receipts 2,862 17 3 3,708 2 4 27,683 15 4 BALLET Tours 2,445 8 0 Less Receipts 9 8 2 9 1,457 5 3 ART Grants (See Schedule 3) 5i6 0 0 Exhibition Expenses 3,827 10 5 Less Fees and Catalogue Sales 831 17 0 2,995 13 5 Art Films 1,018 7 6 Less Art Film Fees and Catalogue Sales 43 18 6 974 9 0 Guide Lecturers' Fees and Expenses 992 17 9 Less Fees received 239 6 2 753 11 7 5,268 14 0 FESTIVALS Edinburgh Festival Society 15,000 0 0 ARTS CENTRES AND CLUBS Grants (See Schedule 3) 1,000 9 10 zy~,ys~ a iu SCHEDULE 2 GENERAL OPERATING COSTS FOR THE YEAR ENDED 31st MARCH, 196 1 Salaries and Wages £10,931 2 1 1 Superannuation 751 13 4 Travelling and Subsistence 1,349 10 8 Rates, and House Expenses 1,380 18 0 Publicity and Entertainment 345 5 3 Office and Sundry Expenses 1,397 18 4 £16,156 8 6

100

THE COUNCIL'S COMMITTEE IN SCOTLAN D SCHEDULE 3 GRANTS AND GUARANTEES FOR THE YEAR ENDED 31st MARCH, 196 1 MUSIC Scottish National Orchestra Society Ltd . £28,500 0 0 Scottish National Orchestra Society Ltd . (Amortisation Fund) 3,500 0 0 £32,000 0 0 tNational Federation of Music Societies 2,750 0 0 tGlasgow Grand Opera Society 800 0 0 tEdinburgh Lunch Hour Concerts 275 0 0 tEdinburgh Opera Company 275 0 0 tSaltire Society 263 6 8 tCollege of Piping 175 0 0 tEdinburgh University Singers 170 0 0 tDrawing Room Music Society 100 0 0 tGlasgow Churches' Oratorio Society 75 0 0 tDumfries Municipal Orchestra Society 65 0 0 Edinburgh Organ Recitals Committee 60 0 0 Direct Grants and Guarantees to Music Clubs (£50 and under) 145 0 0 £37,153 6 8 DRAMA Perth Repertory Theatre .Limited £4,000 0 0 Perth Repertory Theatre Limited (Tours) £3,000 0 0 7,000 0 0 tDundee Repertory Theatre Limited 4,000 0 0 tGlasgow : Citizens' Theatre Limited 5,250 0 0 Edinburgh Gateway Company Limited 3,500 0 0 Pitlochry Festival Society Limited 1,250 0 0 Approved Plays Scheme 1,900 0 0 Travel Grants and Play Commissions 350 0 0 tTransport Subsidies 356 15 6 t"Creative Leisure in Great Britain"-Scheme in Scotland 300 0 0 tDirect Grants and Guarantees 68 17 6 23,975 13 0 ART Society of Scottish Artists 150 0 0 Helensburgh & District Art Club 75 0 0 Stirling-Smith Art Institute and Museum 75 0 0 tEdinburgh-`57 Gallery 75 0 0 tArt Committee of St . Andrews 75 0 0 tGlasgow-Citizens' Theatre Limited 70 0 0 Aberdeen-A .B.B.O. Group 25 0 0 545 0 0 FESTIVALS Edinburgh Festival Society 15,000 0 0 ART CENTRES AND CLUB S Dumfries Guild of Players 250 0 0 tTroon Arts Guild 200 0 0 tGreenock Arts Guild 150 0 0 tInverness Arts Centre 140 0 0 tRoss and Cromarty County Music Committee 100 0 0 Forfar Arts Guild 93 18 0 Stornoway Art Club 66 11 10 1,000 9 1 0 £77,674 9 6 t Maximum commitments are given, not necessarily the amounts paid.

THE COUNCIL' S APPENDIX C REVENUE AND EXPENDITURE ACCOUN T

1959/60 £38,863 GENERAL EXPENDITURE ON THE ARTS (See Schedule 1) £52,187 19 7 10,820 GENERAL OPERATING COSTS (See Schedule 2) 12,026 5 3 888 CAPITAL EXPENDITURE TRANSFERRED TO CAPITAL ACCOUNT 890 18 10

£50,571 £65,105 3 8 mim

5,985 BALANCE brought down 3,041 7 4 3,304 BALANCE carried forward 262 4 4

£9,289 £3,303 11 8

102

COMMITTEE IN WALE S

FOR THE YEAR ENDED 31st MARCH, 196 1

1959/60 £43,950 GRANT FROM THE ARTS COUNCIL OF GREAT BRITAIN £60,823 0 0 CANCELLATION OF GUARANTEES and Provisions for fees and Expense s 281 in previous years not required 648 11 3 SUNDRY RECEIPTS Interest on Deposit Account £407 7 9 Miscellaneous 177 17 4 Proceeds of sale of Assets 7 0 0 355 592 5 1 5,985 BALANCE carried down 3,041 7 4

£50,571 £65,105 3 8

9,289 BALANCE as at 1st April, 1960 3,303 11 8

£9,289 £3,303 11 8

103

THE COUNCIL' S BALANCE SHEET A S

LIABILITIES 1959/60 CAPITAL ACCOUNT Balance as at 31st March, 1960 £7,950 15 1 Add Capital Expenditure during the year transferred from Revenue and Expenditure Account 890 18 1 0

8,841 13 1 1 Less Book value of: Office Equipment sold £22 0 0 Reproductions damaged by flood 75 0 0 97 0 0 £7,951 £8,744 13 1 1 3,103 GRANTS AND GUARANTEES OUTSTANDING 4,159 17 1 CREDIT BALANCES Sundry Creditors 6,474 13 4 Due to Headquarters 4,118 6 2 4,004 10,592 19 6 REVENUE AND EXPENDITURE ACCOUNT 3,304 Balance as at 31st March, 1961 262 4 4

NoTe : No provision has been made for depreciation of Assets : renewals are charged to Revenue.

£18,362 £23,759 14 1 0

I have examined the foregoing Account and Balance Sheet . I have obtained all the information this Account and Balance Sheet are properly drawn up so as to exhibit a true and fair view of the

104

COMMITTEE IN WALE S AT 31st MARCH, 1961

ASSETS 1959160 OFFICE EQUIPMEN T At cost as at 31st March, 1960 £1,115 4 2 Additions at cost during year 182 3 1 0 1,297 8 0 Less items sold during year 22 0 0 £1,115 £1,275 8 0 MOTOR CARS 1,580 At cost as at 31st March, 1960 1,580 8 3 PICTURES AND SCULPTURE S At cost as at 31st March, 1960 5,089 12 0 Additions at cost during year 708 15 0 5,090 5,798 7 0 REPRODUCTION S At cost as at 31st March, 1960 165 10 8 Less Loss caused by Flood Damage 75 0 0 166 - 90 10 8 DEBIT BALANCE S Sundry Debtors 1,638 0 1 1 Due from Headquarters 2,848 0 0 542 4,486 0 1 1 CASH On Deposit Account '10,461 14 1 1 On Current Account 17 5 1 In Hand 50 0 0 9,869 10,529 0 0

118,362 £23,759 1 4 1 0

Chairman of the Welsh Committee : GWYN JONE S Secretary-General: W . E. WILLIAMS and explanations that I have required and I certify, as the result of my audit, that in my opinio n transactions of the Arts Council's Committee in Wales and of the state of their affairs . (Signed) E. G . COMPTON , Comptroller and Auditor General. Exchequer and Audit Department, 14th August, 1961 .

105

THE COUNCIL'S COMMITTEE IN WALES SCHEDULE I GENERAL EXPENDITURE ON THE ARTS FOR THE YEAR ENDED 31st MARCH, 196 1 OPERA Grants and Guarantees (See Schedule 3) £25,228 0 0 Opera for All £3,695 4 4 Less Revenue 1,971 10 1 1,723 14 3 £26,951 14 3 MUSIC Grants and Guarantees (See Schedule 3) Music and Arts Clubs 2,071 13 1 Societie s 1,000 0 0 Commissions 180 0 0 Orchestral Concert s 691 10 11 3,943 4 0 Directly Provided Concerts Gross Expenditure 5,055 4 2 Less Revenue 1,412 10 9 3,642 13 5 Travel Bursary 50 0 0 3,692 13 5 DRAMA Grants and Guarantees (See Schedule 3) 1,215 0 ,0 English Tours 9,506 0 5 Less Revenue 3,063 6 9 6,442 13 8 Welsh Tours 2,722 7 1 0 Less Revenue 365 10 0 2,356 17 1 0 Prize : Playwriting Competitio n 100 0 0 10,114 11 6 ART Grants and Guarantees (See Schedule 3) 993 8 1 0 Exhibition Expenses 3,215 15 7 Less Exhibition Fees and Catalogue Sales 1,009 4 1 2,206 11 6 Art Films 270 12 2 Less Art Film Fees and Catalogue Sale s 243 14 3 26 17 1 1 Guide Lecturers' Fees and Expenses 71 15 0 3,298 13 3 FESTIVALS Grants and Guarantees (See Schedule 3) 3,651 18 1 POETRY AND LITERATURE Grants and Awards (See Schedule 3) 200 0 0 Recitals and Competition Awards 135 5 0 Commissions 200 0 0 535 5 C

Net Expenditure transferred to Revenue and Expenditure Account £52,187 19 i

106 THE COUNCIL'S COMMITTEE IN WALES SCHEDULE 2 GENERAL OPERATING COSTS FOR THE YEAR ENDED 31st MARCH, 196 1

Salaries £7,235 3 2 Superannuation 506 5 0 Travelling and Subsistence 1,728 12 7 Rent, Rates and House Expenses 797 9 1 Publicity and Entertainment 752 13 8 Office and Sundry Expenses 1,006 1 9

Transferred to Revenue and Expenditure Account £12,026 5 3

107

THE COUNCIL'S COMMITTEE IN WALES SCHEDULE 3 GRANTS AND GUARANTEES FOR THE YEAR ENDED 31st MARCH, 1961 OPERA tWelsh National Opera Company Limited £25,228 0 0 MUSIC tDirect Grants and Guarantees to Music and Arts Clubs for Concerts £2,071 13 1 tNational Federation of Music Societies £875 0 0 Royal National Eisteddfod, Cardiff : Chamber Music Concerts 50 0 0 Guild for the Promotion of Welsh Music 75 0 0 1,000 0 0 tPromotion of New Music : Commission Fees 180 0 0 tBarry and District Concerts Committee 365 0 0 Pembrokeshire Joint Orchestral Committee 326 10 11 691 10 11 3,943 4 0

DRAMA Guild of Welsh Playwrights 35 0 0 Llangefni Dramatic Society 200 0 0 Arena Theatre Company 680 0 0 Swansea Welsh Drama Society 300 0 0 1,215 0 0

ART Society for Education through Art 83 8 1 0 North Wales Group 50 0 0 Powys Fine Arts Association 100 0 0 South Wales Group 50 0 0 Contemporary Art Society for Wales 200 0 0 Federation of Anglesey Art Societies 50 0 0 Neuadd Idris Art Committee, Dolgellau 60 0 0 tDudley Shaw Ashton (Film : Cathedrale Engloutie) 400 0 0 993 8 1 0

FESTIVALS Llandaff Festival 848 4 7 Dee and Clwyd Festival 200 0 0 Brecknock County Music Festival 150 0 0 Montgomery County Music Festival 600 0 0 Swansea Festival of Music and the Arts 1,250 0 0 Denbighshire and Flintshire Drama Festival 25 0 0 Anglesey Welsh Drama Festival 400 0 0 Drama Council for Wales (1960 Festival) 50 0 0 Garthewin Welsh Drama Festival 128 13 7 3,651 18

POETRY AND LITERATURE Anglo Welsh Review 200 0 0 £35,231 11 0

tMaximum commitments are given, not necessarily the amounts paid . 108

APPENDIX D

ARTS COUNCIL EXHIBITIONS HELD IN GREAT BRITAIN DURING THE PERIOD APRIL 1960-MARCH 196 1

ENGLAND Paintings, Drawings and Sculpture, etc .

NI Arts Council Collection, Part I-The Nigerian Tribal Ar t Impressionist Traditio n Northern Artists, 196 0 rnw Arts Council Collection, Part 11 - W Portrait Groups from National Trus t After Impressionis m Collection s taisw Arts Council Collection, Part III- W The Penwith Society of Arts i n Romantic and Abstract Cornwall (10th anniversary exhibi- Nis Arts Council Collection, Part IV- tion) Since the War Picasso : Retrospective Exhibitio n Nis Arts Council Collection, Part V- w Modern British Portraits Recent Acquisitions Drawings by John Ruski n Arts Council Collection Sculpture an d s Kurt Schwitters Sculptors' Drawings s Contemporary British Sculpture Austrian Contemporary Art : Painting Sickert : an Exhibition of Paintings and Sculpture, 1900-1960 and Drawings s The Blue Rider Group Six Young Painters, 195 9 W Designs for Opera and Ballet at w Six Young Painters, 196 0 Covent Garde n W Modern Stained Glass The Epstein Collection of Primitive w Wilson Steer, 1860-1942 and Exotic Sculpture The Arts of the Sung Dynasty : An Lyonel Feininger exhibition organised by the Oriental W French XVIII Century Furniture Ceramic Society and the Art s Design Counci l sw Gainsborough Drawing s Toulouse-Lautre c s Modern Italian Pictures from the w James Ward Damiano Collection James McNeill Whistler : Painting s sw Contemporary British Landscape and Other Works Bernard Leach : 50 Years a Potter Rex Whistler W Contemporary Paintings and Sculp - Zadkine ture for Leicestershire Schools Zoffany Manziu : Sculpture and Drawings National Art Treasures from Korea sw Modern Paintings from the Margulies Collection

Graphic Arts, Books, Design, etc.

W Contemporary British Graphic Art W Contemporary Polish Graphic Art W Contemporary British Lithographs French Bookbindings by Members of Contemporary Foreign Lithographs the Societe de la Reliure Originale Contemporary Prints from the Arts Reynolds Stone : Engraving s Council Collection W Splendid Occasions 109

Reproductions and Photographs

W One Hundred Years of Architecture in Art of Landscape Americ a W Matisse Reproductions w Georges Braque : Paintings Fifty Years of Picass o C6zanne Reproductions W Pablo Picasso, Part 1 : 1900-1925 w Art of Drawing, Part 1 : Italian School W Pablo Picasso, Part 2 : 1925-1960 Art of Drawing, Part 2 : French School W Reproductions of Portraits W Art of Drawing, Part 3 : English , Photographs of the Royal Tombs at Dutch, Flemish and German Schools Westminster Abbey w Gauguin Reproductions W The Art of the Sculptor Modern German Painting, 1900-1960 W Toulouse-Lautrec Reproductions Wassily Kandinsky : Oils and Water- W Van Gogh Reproductions colours W Vincent van Gogh : Paintings Klee Reproductions sw Landscape for Living : An exhibition of Landscape Architecture NOTE: Ni Also exhibited in Northern Ireland s Also exhibited in Scotlan d w Also exhibited in Wales

71 exhibitions were held in 197 separate buildings in 154 different centres (382 showings , including 18 exhibitions held in the Arts Council, Tate and Victoria and Albert Museu m galleries) . Included in the above are 16 showings held in Scotland, in 13 separate buildings, in 8 different centres (11 exhibitions) ; 38 showings held in 17 separate buildings in 15 different centres in Wales, and 1 showing (of Parts I-V of the Arts Council Collection) held in 1 building i n Northern Ireland.

SCOTLAND A Selection from the 1959 Exhibition of th e Robert Sivell Memorial Exhibition Society of Scottish Artist s Contemporary Scottish Painting s The Artist at Work Original Lithographs Pictorial Embroidery Watercolour Paintings by John Maxwell , • Watercolours and Gouaches by Carmichael , R.S.A. McNeish, Park and Redmond Francis McCracken Memorial Exhibition The Painter and the Canvas 'Shown also in 4 centres in England.

21 exhibitions (including 11 from England) were held in 45 buildings in 35 centres (65 showings in all) .

WALE S Contemporary Welsh Painting, Drawing Industrial Wale s and Sculpture How Impressionism Bega n Fifty-Six Group Paintings from the Arts Council's Welsh Homage to Music and Poetry Collectio n

Thirty-five exhibitions, including 29 from England, were held in 22 different buildings in 1 9 centres-49 showings in all. Four of these showings took place in England .

110

Also published by the Arts Council

HOUSING THE ARTS I N GREAT BRITAIN

Report by the Arts Council of Great Britai n Part One: London, Scotland, Wales 134 pp . 3 Illustrations 5s. Od . (postage 9d.)

Part Two: The Needs of the English Provinces 102 pp . 5s. Od . (postage 7d.)

ARCHITECTURE TODAY 196 1 Catalogue of an exhibition arranged by the Arts Council an d the Royal Institute of British Architects 134 pp . 24 Plates 5s. Od . (postage 6d.)

DAUMIE R PAINTINGS AND DRAWING S An Exhibition organised by the Arts Council of Great Britain at the Tate Gallery. Introduction, Daumier the Painter, by Alan Bowness 70 pp. 38 Plates 6s. Od. (postage 9d .)

Copies of the above and of other Arts Council publications (including previous Annual Reports, price 2s. 6d . each, postage 7d .), may be obtained from the Publications Officer, The Arts Council of Great Britain, 4 St . James's Square, London, S . W.1

Exhibition Catalogues published by the Arts Council

MASTERPIECES OF FRENCH PAINTIN G from the Buhrle Collection From Ingres to Picass o Introduction and Notes by Douglas Coope r

34 plates (including 2 in colour) 5s. Postage 9d .

MODERN FRENCH BOOK BINDING S by Members of the Soci6t6 de la Reliure Originale Foreword by Gabriel White Introduction by Professor J . Millot, President of the Societe de la Reliure Original e

27 pp. 16 ill. 5s. Postage 6d.

PICASS O Foreword by Gabriel White Introduction and Notes by Roland Penros e Short Bibliography. Supplement on the Paintings from Moscow and Leningra d 62 pp. 60 ill . (including 2 in colour) 7s. 6d . Postage 9d.

NIGERIAN TRIBAL AR T Foreword by Gabriel White Introduction by William Fagg, Director, Department of Antiquities in Nigeria

36 pp. 32 ill. 6s. Postage 7d .

ZADKINE Introduction by Jean Cassou Biographical Notes. Bibliography. List of Exhibition s 13 pp . 12 ill . 3s. Postage 6d .

Orders for the above should be sent to the Publications Department , The Arts Council of Great Britain, 4 St. James's Square, London, S . W.1