COUNCI L

*The Lord Cottesloe, G .B.E. (Chairman) *Wyn Griffith, O.B.E., D.Litt. (Vice-Chairman) T. E. Bean, C.B.E. *Benn W. Levy, M .B.E. Ernest Boden *Professor Anthony Lewi s *Sir William Coldstream, C .B.E. *Sir John McEwen of Marchmont, Bart ., *Joseph Compton, C.B.E. LL.D. Lady Dalton The Viscount Mackintosh of Halifax, D .L., Sir Emrys Evans, LL.D. LL.D. *Professor Gwyn Jones Miss C. V. Wedgwood, C .B.E. Councillor J . D. Kelly, C .B.E., D.L., J.P., Hugh Willatt C.A. *Member of the Executive Committe e SCOTTISH COMMITTE E

Sir John McEwen of Marchmont, Bart ., LL.D. (Chairman) D. K. Baxandall, C .B.E. Councillor J. D. Kelly, C.B.E., D.L., J.P., Ernest Boden C.A. Charles Carter, F .M.A., F.S.A. Mrs. Eric Linklater Colin Chandler The Hon. Mrs. Michael Lyl e 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 Charles Graves William MacTaggart, P .R.S.A ., Hon.R.A. J. A . Henderson Hugh Marshall Miss Violet C. Youn g WELSH COMMITTE E

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

HEADQUARTER S 4 St. James's Square, , S . W.1 (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., I 1 Rothesay Terrace, Edinburgh, 3 (Caledonian 2769) Deputy Director : Donald Mather. WALE S Director : Miss Myra Owen, O.B.E., 29 Park Place, Cardiff, South (Cardiff 23488 ) Deputy Director : David Peters . R2CcAor e COP Y

T H E A R T S C O U N C I L ARTS COUNCI L 'OF GREAT BRITAI N

REFERENCE ONLY

DO NOT REMOVE FROM THE LIBRARY, FIFTEENT H ANNUAL REPORT 1959-I96 0

4 ST . JAM E S' S SQUARE, LONDON, S . W . i

A DESIGNED BY MISS G. DRUMMOND MCKERROW AND PRINTED IN A T THE BAYNARD PRESS

CONTENTS Page 1 . THE PRIORITIES OF PATRONAGE 5

2. MEMBERSHIP OF THE COUNCIL AND COMMITTEES 1 5

3. DRAMA 1 7

4. OPERA AND BALLET 28

5. MUSIC 35

6. ART 47

7. POETRY . 52

8. ARTS FESTIVALS : ARTS ASSOCIATIONS, CENTRES AND CLUBS . 56

9. SCOTLAND 59

10. WALES 70

11 . NOTES ON THE ACCOUNTS 78

APPENDICES :

Appendix A The Arts Council of Great Britain : Audited Accounts 80

Appendix B The Council's Committee in Scotland : Audited Accounts . 96

Appendix C The Council's Committee in Wales : Audited Accounts 102

Appendix D Arts Council Exhibitions held in Great Britain 108

Appendix E Subsidies from Local Authorities and Local Educatio n Authorities 110

Appendix F Help for the Arts from Independent Television and the Calouste Gulbenkian Foundation 120 I

THE PRIORITIES OF PATRONAG E

SEVENPENCE A HEA D In the year 1959-60 the Government grant to the Arts Council* worke d out at slightly less than 6d. a head of the population of Great Britain: For 1960-61 the figure has been increased' to a little more than 7d. a head, an d is thus almost equal to the cost of making four miles of the new motorway, M1 . This is the highest grant the Arts Council has ever received, and it remains one of the lowest of its kind in Europe, even counting such small countries as Sweden, Denmark, Belgium, Holland and Switzerland. In comparison with France, Germany, Italy, Austria or the Soviet Union , Britain's annual expenditure on music, drama, ballet and opera is a ver y meagre item in its budget . The Arts Council grant has, indeed, been steadily though modestly increased year by year since 1946, the year in which the Arts Council was created by Royal Charter, but it has taken fifteen years for the grant to rise, at a gentle gradient, from £235,000 i n 1946 to its present level of £1,500,000 or 7d . per head. These figures and comparisons are offered in no spirit of grievance o r despair. Indeed, it might well be contended that the rate of growth o f public patronage for the arts in this country has been more rapid than our usual pace in adopting such novelties . But in any consideration of what th e Arts Council does, or fails to do, or ought to do, it is necessary to keep constantly in mind that it has only 7d. a head to spend on the job this year, and has had to get along on far less than that in the last few years . Yet, during that time, several national institutions of the arts have been created or developed, and many other providing bodies of the arts have bee n sustained in the Provinces . Without their present subsidies from the Art s Council there would be no Royal Ballet, no Covent Garden Opera, n o Sadler's Wells or Old Vic, and it is more than doubtful whether suc h fruitful experiments as those of the English Stage Company at the Roya l Court Theatre or the Mermaid Theatre at Puddle Dock would have been possible without the support and association of the Arts Council. For * £1,218,000. t £1,500,000. many years now London has enjoyed an international art exhibition o f outstanding quality, organised entirely by the Arts Council . The latest of these is the great Picasso exhibition which packed the Tate Gallery thi s summer. Outside London none of the five permanent symphony orchestras would have survived without Arts Council grants, nor would the thirt y repertory theatres in England and Scotland which are nowadays the thi n red line of defence against the total mechanisation of drama . Since the war many annual Festivals of the arts have been initiated or revived, and again, without the co-operation of the Arts Council it is unlikely tha t Edinburgh, York, Leeds, Norwich, Aldeburgh, Bath, Cheltenham, King' s Lynn and Swansea would continue to mount these exemplary and festiv e demonstrations of the fine arts.

THE NECESSITY FOR PUBLIC PATRONAG E The arts in this country maintain in general a high level of performance , and they are attracting audiences very much larger than those of pre-war years ; yet their economic condition is such that without a national levy o f 7d. a head they would have to put up the shutters tomorrow . The audiences contribute around two million pounds a year to the music , drama, opera, ballet and art exhibitions provided by the bodies the Arts Council supports, yet a contribution of another million and a half fro m public funds is essential to keep those arts alive . This situation is no novelty in principle. Such costly arts as grand opera and ballet and orchestral music have never paid their way in any countr y and have relied, in the past, upon the patronage of royal courts or wealthy benefactors. That kind of individual patronage is nowadays virtuall y extinct outside the U .S .A. (where it is tax-deductible), and the obligation s formerly borne by the people who practised it have become, to an increas - ing extent, the collective responsibility of taxpayers and ratepayers . Collective patronage of this kind is by no means a recent phenomenon of our society . It is more than a century since Public Libraries were accepte d as a charge upon the rates ; art galleries and museums have for decades been provided and subsidised by municipal funds. The evolution of ou r public education system, moreover, is a progressive acceptance of the principle that knowledge should be universally provided at the public expense. There was nothing revolutionary, then, in the Government' s decision, in 1946, to assume a measure of collective responsibility for th e fine arts by creating the Arts Council, or in its further decision, in 1948 , to empower Local Authorities to apply funds to the provision of music and drama. These enactments were, indeed, milestones, but they were se t up on an already well-defined highway of cultural progress .

THE PRIMARY OBLIGATION S The principal instrument of public patronage in Britain is the Art s Council. Its policy has inevitably been governed to a large extent by it s financial resources, a factor which is frequently overlooked by bodie s which fail to secure a grant. With only 7d . a head to spend it is bound to be rigorously selective in its benefactions, and its constant endeavour is , first of all, to identify and sustain its primary obligations, and, that bein g done, to offer what can often be no more than a token acknowledgment o f its secondary obligations . Its basic problem is, in fact, to determine th e priorities among the hundreds of claimants which seek its assistance. It regards its major responsibility as being to maintain in the metropolis a few national institutions : Covent Garden Opera, the Royal Ballet, Sadler' s Wells Opera and the Old Vic . A related obligation is to ensure that thes e national institutions are also seen, as far as possible, outside London . In the current year one or other of Sadler's Wells' two equally stron g companies will go on tour for forty-two weeks ; the Royal Ballet will provide twenty-six weeks jointly with Opera in London and twenty week s outside ; the Old Vic will provide thirteen weeks in the provinces, one wee k in Dublin and four weeks in the U.S.S.R. apart from its usual season at its base in the Waterloo Road ; and even Covent Garden Opera, which is cumbersome and costly to move about, will commence a'four-week tou r in March, 1961 . *

LONDON VERSUS THE RES T Of the grants made by the Arts Council, in the current year, sixty per cent. will be given to bodies based on London and forty per cent . to bodies based outside. But when the figures are adjusted to take into account th e subsidies required to send on tour Covent Garden, the Royal Ballet, Sadler's Wells, the Old Vic and the London Philharmonic Orchestra, the proportions of Arts Council money spent in London and in the rest o f Britain work out approximately at fifty-fifty . Covent Garden is a unique national institution, comparable in its particular field to the National Gallery or the British Museum, maintained not only, or essentially, for Londoners but for a large provincial and cosmopolitan audience o f * See also Opera outside London on p. 28 .

7 visitors as well . To that extent it is in a category of its own, and in the Arts Council's accounts (see Appendix A, Schedule 3) its grant appears as a separate item. If this principle of regarding Covent Garden as a uniqu e responsibility is accepted, it will be found that the Provinces receive nearl y sixty per cent. of the Arts Council's income this year, and Londo n (excluding Covent Garden) a shade over forty per cent . From time to time the Arts Council is criticised for showing a bias in favour of London, and especially for spending a large portion of it s budget upon Covent Garden, Sadler's Wells and the Old Vic . To this contention the first answer is that a capital city is also the metropolis of the nation's arts. Secondly, it was not the Arts Council which establishe d these three central institutions . The Arts Council did not decide to giv e half its money to London ; it resolved to act as patron to certai n institutions already established, and of these the most meritorious an d representative were situated in London. If any provincial city had assumed the responsibility for creating and maintaining, say, Sadler' s Wells, the Arts Council would gladly have become its patron. It is highly improbable, in fact, that any large city in the Provinces could now provid e a continuous home for opera and ballet ; they have insufficient catchment areas (or visitors) to supply the large audience and income an operation o f such magnitude requires . No provincial city at present seems able t o sustain as much as four weeks a year of the major tours, although Si r accomplished sixteen-week seasons of opera in Man- chester during and after the first world war .

PROVINCIAL PRIORITIE S The Arts Council recognises that it has certain primary obligations outside London as well as in London . In the English provinces it endeavours to consolidate a limited number of regional strongholds of music and drama. Thus it makes substantial grants to the four permanen t provincial symphony orchestras - Halle, Royal Liverpool, City of Birmingham and Bournemouth (a total of £115,000 in 1960-61, compare d with £79,000 the previous year). These orchestras perform not only in the towns on which they are based, but they also visit many other place s within their regions, apart from occasional long-distance forays . In the English provinces, again, the Arts Council follows the policy of supportin g a limited number of repertory companies - twenty-five of them at present (at a cost of £100,000 in 1960-61, compared with £50,000 the previou s year). These repertory theatres, like the orchestras, endeavour to serve audiences outside as well as inside the towns on which they are based, an d the Arts Council's scheme of special transport subsidies to bring audience s in from a reasonable radius has proved a valuable instrument of diffusion . Finally, in its list of primary obligations in the English provinces, th e Arts Council includes a group of festivals, some annual, some triennial , which serve as focal points for the occasional presentation of the fin e arts at a level much more ambitious than any which such places coul d normally sustain .

HOME RULE FOR SCOTLAND AND WALE S The Arts Council's duties in Scotland and Wales are discharged by autonomous Scottish and Welsh Committees of the Council. They each receive a block grant from the Arts Council and proceed to apply it o n lines which closely adhere to the Arts Council's own policy. That is to say, the Scottish Committee accepts two primary responsibilities, one fo r the Scottish National Orchestra and the other for the Edinburgh Festival ; while Wales regards the Company as being it s most exemplary and vital national institution . For the rest, these two autonomous committees select from many claimants those which they can afford to assist in the fields of music, theatre, and visual art.

POWER-HOUSES FOR THE ART S The basis of Arts Council grant policy, then, is to maintain a limite d number of power-houses of music, drama, opera and ballet on subsidie s which assure a satisfactory standard of performance . Its function is to nurture the arts, not to provide popular amenities in that field . In a sense this policy has been determined by the Arts Council's modest annua l income, but even if that income were double what it is, the duty of the Arts Council would still be to nourish good standards of production an d performance, rather than attempt a premature and ambitious scale o f diffusion. Public patronage of the arts is a long-term obligation : it must grow like the mustard-seed, not like the beanstalk .

THE PROBLEM OF DIFFUSIO N The foregoing outline of the Arts Council's grant policy reveals in a general way its measure of acceptance of the principle of diffusion . It has had some critics - fewer than there were - who would like diffusion to b e developed much further. Any such extension is in fact impossible anyhow on the sevenpenny poll-tax which constitutes its income at present. Even 9 if a wider diffusion of the living arts were desirable at present it could no t be achieved on the current annual income of the Arts Council, except b y abandoning the inevitably costly but vital national institutions in th e metropolis. A wider diffusion might be feasible (again if it were regarde d as desirable) if Local Authorities would make a bigger contribution tha n they do . The case for further diffusion at present, however, is questionable . Even if the Arts Council had more money to spend it would need to ponder several other questions before deciding upon extended diffusion . There are many towns which have consistently failed to reveal an interest in `live ' plays or concerts, and which have allowed their local repertory theatre t o collapse. Is public money to be used in the long and expensive business of coaxing the cultural appetites of such places? Are seats to be subsidise d whether they are occupied or empty? The Arts Council lacks the means to pursue diffusion on a massive scale, and, since there exist methods mor e apt for diffusion than those it can command or afford, it seems wiser tha t the Arts Council should now concentrate its limited resources primarily , though not exclusively, on the maintenance and enhancement of standards. Standards can best be raised in permanent centres : music and drama mus t have fixed abodes and local habitations where resident companies can develop their skill and 'esprit and sense of purpose. There is no reason to conclude that the Arts Council will diminish its present scale of diffusion , but, faced with the problem of choice, and a limited budget, the Arts Council must seek to consolidate rather than enlarge its own particular responsibilities to the arts in Britain. Financial considerations will continue to impose this necessity in th e current year, especially in the domain of the theatre . Despite the fact that the Arts Council has practically doubled its grant to the theatres in 1960-6 1 there was a further alarming slump in most repertory theatres in the sprin g and summer of this year. By thus doubling its aid to the repertory theatres the Arts Council had hoped, at least, to contain the slump, but it now seems likely that even this Operation Holdfast may not arrest the declin e of the living theatre.

THE AMATEUR INFLUENC E Another factor which bears closely on this problem of diffusion is th e important r6le played by the organised amateur movements in music an d drama. One well-tried way to understand and enjoy the arts is by th e effort to practise them . Participation in a village choir is, of course, a 10 different experience from attending a symphony concert once a week ; but it is a salutary one, and the neatest that the average villager can get t o `live' music. He can no more hope to get `live' music than his urba n kinsman can expect to be provided with bird-watching facilities on hi s own doorstep. The amateur orchestras, choirs and theatricals may be short of high professional competence - although bodies like the Britis h Drama League and the National Federation of Music Societies now giv e them considerable guidance in various ways - but they can certainl y foster an interest in the arts and, within their accepted limits, they are a powerful auxiliary of diffusion . In many parts of the land they will continue, except for the wireless, to provide the only possible kind o f irrigation. For reasons of finance and policy the Arts Council concentrates its aid upon the professional performances of the arts ; yet it recognises the amateur element as being a valuable auxiliary of diffusion and is thi s year distributing nearly £50,000 among amateur music societies and art s clubs of various kinds.

THE IMPACT OF TELEVISIO N Since the Arts Council was set up in 1946 there has been developed th e most potent instrument of diffusion yet to appear - television . It has already notably enlarged the audience which sound radio had secured fo r music and drama, and despite its week-end habit of accepting the lowes t common denominator of taste, it already has to its credit many bold and imaginative experiments in bringing the fine arts home to millions wh o have hitherto enjoyed no more than a marginal acquaintance with them . If TV is to be accepted, however, as the major mode of diffusion in th e future, those who command its resources must be aware of their duty t o replenish the arts they consume on the screen. They must accept thei r share of maintaining those power-houses of the living arts on which they ultimately depend for what they put out . It is in the theatres, opera houses and concert halls of this country that there will continue to be found an d trained the actors, singers, dancers, composers, decorators and producer s on whom TV must so deeply depend for its creators and technicians . It is heartening to observe that this recognition already exists, and that the independent TV companies are now contributing timely and considerabl e grants-in-aid to many providing bodies of the arts .* This logical alliance between the power-houses of the arts and the vast networks of T V transmission is one which needs every encouragement. * See Appendix F. 11 AID FOR THE ARTIS T The Arts Council applies the bulk of its annual income to opera an d ballet companies, repertory theatres and orchestras, all of which are self- governing bodies wholly responsible for their own policies and programmes. But for several years now the Arts Council, recognising its obligations to the individual artist, has set aside money to assist and encourage a numbe r of such artists, and several private benefactors have also entrusted mone y to the Arts Council for the same purpose. Twelve young dramatists have been awarded bursaries to enable them to develop their talent, te n producers and three designers have been given travel grants to visit theatres abroad and observe what is being done in the European play - houses. A further method of giving young and promising talent a chanc e it might not otherwise get is the Council's policy of offering theatre managements limited guarantees to stage productions of new plays whic h would be deemed too speculative a risk in the usual way of business . In music the Council administers funds of about £2,000 a year to assist youn g artists to pursue more advanced studies and to launch themselves in th e professional field. The largest expenditure of this kind occurs on the visual arts . At present the Arts Council is setting aside £5,000 a year for the purchase o f paintings, sculpture and drawings by contemporary artists, and i t nominates a fresh purchasing committee each year, chosen from among the members of its Art Panel . The result of this long-term policy is that the Arts Council now possesses a large and representative collection o f contemporary work, which is divided into five separate sections and i s constantly on tour in the Provinces. These methods of encouraging practitioners in all the arts are at presen t costing the Arts Council some £10,000 a year .

A HERESY OF PATRONAG E A body entrusted with the disbursement of public funds must evidently lay down certain principles for that operation . If those funds are less than the job requires several heresies are liable to develop in the minds o f disappointed beneficiaries . Hence the recent proposal, by Sir and others, that the Arts Council should divide its orchestral grants into exactly equal pieces of cake instead of making grants of different sizes to the various orchestras it assists . The Arts Council rejects this simple arithmetic of equal shares . It applies a means test to all applicants, and calls for estimates of income and expenditure over the 12 trading year before determining what grant or guarantee it will make to an orchestra or a theatre company. It also requires periodic trading returns from these bodies so as to observe the course of business, and appoints an Arts Council officer as an assessor at all meetings of the management committees of the bodies it assists . The Arts Council mus t see all the figures, including the occasional profits a company makes fro m a foreign tour, the income of a rare legacy, or the timely contribution o f a supporters' club. A few of the major organisations of the arts have, fortunately, been able to build up certain reserves in this way, and ar e inclined to charge the Arts Council with `penalising success' when i t insists on taking these earnings into account . But an applicant for national assistance must surely disclose what he has in the bank, mortifying as that necessity may be. The Arts Council could not justify its trusteeship o f public funds on the basis of such an avuncular gesture as carving up th e cake equally; it must continue to allocate its grants and guarantees on th e basis of ascertained need . At the same time, the Arts Council recognises th e anxiety some of its beneficiaries feel about the present system of annua l grants. There would be obvious advantages if the Arts Council wer e enabled to operate, like the University Grants Committee, over a give n period of three or five years, and thus give stronger assurances of suppor t than it can offer at present. A long-term pattern of development is difficult to design on the basis of grants that have to be sought annually and sought, sometimes, in a period of squeeze and restriction .

AID FROM LOCAL AUTHORITIE S Looking back over the fifteen years since the Arts Council was created , it is reasonable to assert that the principle of public patronage of the arts has been accepted in essence, even though the scale of acceptance remain s inadequate. In Parliament and the Press there is now a general recognitio n of the claims of the arts to some modest fraction of the national income . The biggest scope for further advancement seems to lie with the Loca l Authorities. Some of them have most generously accepted the oppor- tunities offered them by the Local Government Act of 1948, which permits an expenditure of up to a 6d . rate on music and drama. Thus Hornchurch (population 122,600) subsidises its thriving Repertory Theatre at a rate of about £6,500 p .a. There are, on the other hand, cities four and five times as big which contribute as little as £250 a year to a simila r theatre. If the 1948 Act were fully applied Local Authorities would be contributing nearly £15,000,000 a year to music, drama, opera and ballet . 13 At present their support amounts to something like £250,000, or one - sixtieth of what they are empowered to spend . If they would collectively settle even for a penny rate for the arts there would be immediately avail- . It will be seen when the second volum e able an annual fund of £ 22 million of the `Housing the Arts' Report is published that several Local Authoritie s have adopted, or soon will adopt, some admirable schemes for building new theatres and concert halls, and there is much to be said for Loca l Authorities settling for the role of benevolent landlord . Many Local Authorities, too, have agreed to participate in regional schemes fo r supporting provincial orchestras. There are, indeed, encouraging sign s that Local Authorities, like Parliament, are increasingly aware of thei r responsibilities to the arts, but that concern needs to be accelerated if the arts are to hold their own against so many hazards and competitors.

A CASE FOR CO-OPERATIVE ACTION There is now a strong case for all concerned to take a long, close loo k at the whole pattern of patronage . The tables in the orchestras chart o n pages 38 and 39 and the theatres chart attached to the end of the Report resemble a patchwork quilt, and if the figures are examined carefully it will be seen how little co-ordination or proportion they reveal . Is it possible for the benefactors of the arts* - the Arts Council, Local Authori - ties, the TV companies, the Trusts, and Industry - to devise between the m a more rational, continuous and secure basis of assistance? Diversity o f patronage is highly desirable, for patronage works best when it has many springs of initiative . Nevertheless, the present system of free-trade patronage reveals a certain lack of liaison and unified purpose. Untidiness has long been a cherished virtue in our national habit of benevolence, an d its merits are familiar to legislators and historians . It would be premature at this stage to propose any kind of slide rules responsibility between al l the partners in patronage, but it is hoped that in the near future thos e partners may come together to examine the implications and assumptions of the situation illustrated in these tables.

W. E . WILLIAMS

s Particulars of the grants from Independent Television and the Gulbenkian Foundatio n will be found in Appendix F .

14 2

MEMBERSHIP OF THE COUNCIL AND COMMITTEE S

CHAIRMAN OF THE COUNCIL : LORD COTTESLOE SUCCEEDS SIR KENNETH CLAR K At the end of April Sir Kenneth Clark, C.H., K.C.B., retired from the Chairmanship of the Council after seven years in office . In 1940 he had been a founder-member of C .E.M.A., the war-time improvisation which in 1946 was transformed by Royal Charter into the Arts Council of Grea t Britain, and thus for a period of twenty years had maintained a continuous association with the development of public patronage of the arts. He brought to the Council's affairs a lustre of mind which invariably illum- inated its discussions ; and although his international reputation, as a scholar and critic, was achieved in the field of the visual arts, his perceptiv e knowledge of literature, music, theatre and opera was a powerful influence in the Council's policies. He became Chairman during a period which, i n many ways, proved the most critical so far in the Council's history, fo r many vital and sometimes unpopular decisions had to be made during those years. All who served with him or under him will remember that exhilarating experience with pleasure and gratitude . To succeed Sir Kenneth Clark, the Chancellor of the Exchequer appointed Lord Cottesloe, G.B.E., whose previous service to the art s includes a term as Chairman of the Tate Gallery Trustees as well as th e Chairmanship of the Advisory Council and Reviewing Committee on th e Export of Works of Art . In this latter office it was his duty to keep a vigilant watch upon the important works of art of all kinds which cam e on the market, and precious works have been retained in this country and secured for public collections. The existing partnership in patronage between the Arts Council and Local Authorities is likely to develop still further in the future, and this closer affiliation is likely to benefit by Lord Cottesloe's long service as a member of the L .C.C.

RETIREMENTS AND APPOINTMENT S Apart from the office of Chairman referred to above, the followin g changes in membership of the Council and Executive Committee have 15 taken place during the year . Dr. Wyn Griffith, O .B.E., Mr. Joseph Compton, C.B.E., and Mr. Robert Kemp retired from the Council . Dr. Griffith and Mr. Compton, as members of the Executive Committee, were eligible for reappointment, and were reappointed to the Council by th e Chancellor for a further term. In addition, the Chancellor appointe d Councillor J. D. Kelly, C.B.E., D.L., J.P., C.A., as a new member of the Council in place of Mr . Robert Kemp. Dr. Wyn Griffith was reappointed Vice-Chairman of the Council an d a member of the Executive Committee . The following were reappointed as members of the Executive Committee for a further period of one year , and, where indicated, as Chairmen of the Panels given against their names : Sir William Coldstream, C .B.E. (Art) Mr. Joseph Compton, C.B.E. (Poetry) Professor Gwyn Jones Mr. Benn W. Levy, M.B.E. (Drama) Professor Anthony Lewis (Music) Sir John McEwen of Marchmont, Bart ., LL.D.

HONOUR S In the Queen's Birthday Honours List for 1960 Lord Cottesloe wa s created a Knight Grand Cross of the Order of the British Empire (G .B.E.), and in the New Year Honours List for the same year the Council's Music Director, Mr. John Denison, was appointed a Commander of the Orde r (C.B.E.), and Mr. Stanley Vigar, the Council's Transport Officer, receive d the British Empire Medal (B .E.M.).

16 3

DRAM A

The present composition of the Drama Panel is as follows- Drama Pane l Benn W. Levy, Esq., M.B.E. (Chairman) Miss M. E. Barber Miss Celia Johnson, C .B.E. Michael Barry, O.B.E. Leo McKern Wynyard Browne Stephen Mitchel l John Bury Derek Salberg Professor Bonamy Dobree, General Sir William Platt , O.B.E., D. de Dijon G.B.E., K.C.B., D.S.O. Richard Findlater Glen Byam Shaw, C .B.E. Wilfred Fox Stephen Thomas Derek Granger John Whiting Sir , C.B.E. Hugh Willatt A fundamental principle of Arts Council policy, in all departments, i s that its grants or guarantees are available only to non-profit-distributin g companies. This does not imply, in the field of drama, any disparagement of the commercial theatre ; it is simply the recognition that certai n essential values in the theatre to-day, especially outside London, usually require a subsidy if they are to survive . In the Metropolis the Arts Counci l supports the Old Vic, which provides a repertory of the English classics , and especially of Shakespeare, at modest prices, and which has to maintai n a company considerably larger than the normal strength of a West En d theatre. The only other London theatres receiving aid from the Art s Council at present are the English Stage Company at the Royal Court Theatre, the Mermaid Theatre at Puddle Dock, and Theatre Worksho p in Stratford East, all three of which are continuous enterprises establishe d in permanent homes and engaged principally in providing new an d experimental work . These are in a very different category from the commercial managements which rent a theatre, hire a company and hop e to have a money-spinner on their hands . In the provinces the Arts Council is endeavouring to sustain a limite d number of repertory theatres, all based in permanent homes ; they are

1 7

creative theatres, in the sense that they present new plays and revivals of merit rather than act as weekly lodging houses for West End hits . How many such power-houses the Arts Council can afford to assist is one of its continuing anxieties, and it is idle to suppose that the current number o f twenty in England, five in Scotland and nil in Wales is capable of an y enlargement at present . The omens, indeed, point in the opposite direction . Several of the companies we assist cannot manage, for various reasons, t o liberate themselves from the bondage of weekly rep . So long as they are compelled to mount a fresh play every week it is very difficult indeed t o achieve an acceptable standard of production and performance . Some mitigation of this state of things is, however, possible, and the Arts Council helps some of the repertory theatres to ease the pressure by giving them extra grants to employ additional actors and producers so that some productions can have two weeks' rehearsal even though the playbill ha s to be changed weekly. Directly One of the activities which the Arts Council took over from C .E.M.A. Managed in 1946 was the provision of play tours to small towns in the isolate d Tours theatreless areas of Great Britain . This provision, however, was clearly intended by the Council to be of an interim nature until the return to normal conditions would enable a more constructive theatre policy to b e adopted. The first report of the Arts Council says : `Broadly speaking the aim has been gradually to replace nationwide touring organised from headquarters by the provision of companies at self-contained centres . . . It will of course be some time before these plans become general . A limited number of small-town tours are being continued in the meantime .' Several tours were accordingly sent out in each year of the immediat e post-war period visiting the North-East, Lancashire, the Midlands, Eas t Anglia, parts of Scotland, and most of Wales, virtually the whole cos t being met by the Arts Council. From 1950 onwards, however, the numbe r of such tours was steadily reduced as the Council withdrew more an d more from direct management and gave priority to its new policy for a `grid' of independently controlled repertory theatres . In recent years , therefore, these directly managed tours have been restricted to a short period of six or seven weeks in Wales and an even shorter one in the North-East. But the theatreless areas have not, by any means, bee n excluded ; such touring is still carried on, with the Council's help, ove r considerable areas of the country by three independent companies : Caryl Jenner Mobile Theatre, Century Theatre and Theatre in the Round . The 18

financial commitments of the Arts Council in respect of these three companies in this current year and last are as follows : 1960-61 1959-60 £ £ Mobile Theatre 3,000 3,000 Century Theatre 2,000 1,000 Studio Theatre (Theatre in the Round) . . 2,000 1,000

£7,000 £5,000 The cost of directly managed tours in the last few years has become exorbitant. Thus a two-week tour in the North-East in the Autumn o f 1959 brought in attendances of less than 5,000 all told and cost £1,000 more than was taken at the door. The Council has therefore decided to drop this costly and evidently unpopular method of diffusion, but the Welsh Committee has resolved t o maintain its customary six-week tour in the Welsh towns and village s which have no local theatre whatever. In the autumn of 1958 the Arts Council submitted to the Chancellor o f The the Exchequer the first part of its Report on Housing the Arts in Great National Britain, and among the recommendations for new buildings first priorit y Theatre was given to the need for a National Theatre . No pronouncement on thi s recommendation has yet been made by the Government, but there is a strong feeling among its most patient and persistent campaigners that a decision on this major project cannot be delayed any longer ; they argue, in effect, that the National Theatre scheme must be approved now o r dropped for good and all . In anticipation of the happier decision the Join t Council of the National Theatre and the Old Vic has now been joined b y representatives of the Shakespeare Memorial Theatre, Stratford-upon - Avon, and has announced that in future it will be known as `The Join t Council of the National Theatre' . A new Executive Committee will have Sir Kenneth Clark as independent Chairman, and its sole objective will b e to press for an immediate Government decision which would enable the National Theatre to be completed and opened in April, 1964 - the 400t h anniversary of the birth of William Shakespeare. The Belgrade Theatre Trust (Coventry), the Meadow Players, Oxford , Associatio n and the Nottingham Theatre Trust were offered association with the Art s Council during the year and have joined the Birmingham Repertory Theatre and the Bristol Old Vic as the only provincial companies with 19

which the Council has established this formal and binding link . Each of these companies is making a valuable and distinctive contribution to the development of the English Theatre, and each is a potential strong point in the planning of a national `grid' of theatres to be closely related eventually, it is hoped, to the National Theatre itself . In London, associa- tion has been continued with the Old Vic Trust and the English Stag e Company. Birmingham At a meeting between representatives of the City Council, the Repertory Repertory Theatre and the Arts Council in February, 1960, it was agreed that the Company City and the Arts Council should jointly use their best endeavours to guarantee the future of the Repertory Theatre, and that a committe e representative of the three interests should meet to consider all aspects of the theatre's future, including the need for the provision of an entirel y new building on a different site . It is interesting to recall that the presen t theatre was the first to be built as the permanent home of a repertor y company which was to have its own distinctive creative policy . Sir Barry Jackson celebrated his eightieth birthday in 1959, and the theatre h e founded is now forty-seven years old - surely the longest living, the mos t famous and the best loved theatrical `double' in the world, well deserving this national and civic endorsement of fine past achievements and assuranc e for the future. The company was invited to play at the Edinburg h Festival in 1959 and took a double bill of two Elizabethan rarities , Fratricide Punished and Gammer Gurton's Needle ; early in 1960 Parts I and II of Shakespeare's Henry IV were produced and played in true repertory for eight weeks . Attendances at the theatre have been at a variable level throughout the year, but for the last four months of the yea r averaged ninety-five per cent. of capacity. Bristol Old Salad Days opened at the Theatre Royal, Bristol, on June 1st, 1954 , Vic as an end-of-season frolic, and when transferred to the West End two months later, it was expected to have no more than a modest run befor e a replacement came along . In the event, theatrical history has been made (and the unpredictability of theatre tastes emphasised) for Salad Days has become the longest running musical in the English theatre, finishing at th e Vaudeville on February 27th, 1960, after 2,329 performances ; it is now successfully on tour in the provinces . Substantial profits have accordingly been made by the Old Vic Trust, and are being held for the eventua l benefit of Bristol's Theatre Royal. The year's work of the Bristol Old Vi c Company has been, since July, 1959, under the direction of John Hale , who has given some vigorous and provocative productions, among them 20 Cyrano de Bergerac, Romeo and Juliet, a new play, The Man Eaters, and the first repertory performance of A Taste of Honey. The University of Bristol has agreed that in future those of the theatre's records which are over seven years old shall be lodged for safe keeping with the university , where they will be available for study and research. It is notoriously difficult to get accurate information about the history of most of our theatres, because in the past so much material has been lost or thought- lessly destroyed ; this arrangement at Bristol serves as a useful pointer to other companies who might well find a local institution willing to house and preserve their more important archives for which they have n o immediate further use or storage space . The whole theatrical world was deeply shocked by the tragic death of Coventry : Bryan Bailey, the first Director of the Belgrade Theatre, in a motor Belgrade accident in March this year . Under his most able direction, the `Belgrade' Theatre had been soundly launched as the first new theatre in Britain for ove r twenty years ; it was constantly in the news for the boldness and freshnes s of its policy, and attracted the attention of distinguished visitors fro m cities all over the world. Though Bailey's death is a most severe loss t o the Belgrade and the whole English theatre, the distinctive work he di d in Coventry to set a pattern for the repertory movement will continue ; the Belgrade, with its exhibitions, concerts, lunch-time poetry readings and lecture courses on drama, is more than just another theatre, it is a lively experiment in theatre-going for a public which is already over-supplied with mass-media entertainment in its home, but for which the `specia l occasion' - the sociable and stimulating night out in good company - i s all too rare. One of the most promising activities at this theatre is the concentration on attracting a new, young audience to the plays -the `Holidays for Children' scheme, for example, in which a series of talk s and demonstrations are given in the theatre during school holidays fo r an audience which is always eager to know `How it Works' . The link with local Education Authorities has also been strengthened and more specia l matinees given for schools. The Gulbenkian Foundation has recognise d the importance of this work for young theatre-goers by making a specia l grant available to the Belgrade Trust for a full year's study and report . During the year no less than eight new plays were given their first pro- fessional production and the Trust continued its policy of `closed circui t interchange' with other selected theatres. It is interesting that with such a varied and adventurous programme of activities the results of trading ar e remarkably true to the budget approved by the Trust at the beginning o f 21

the financial year, and cover eighty-eight per cent. of the total operatin g costs. These costs, it should be noted, include the very heavy rental charg e of £17,000 per annum levied by the Corporation to cover capital and interest charges on the building. By this means the Corporation, in just under forty years' time, will have recouped the whole cost of providin g this splendid new theatre for the citizens of Coventry. Nottingham The decision of the Nottingham City Council, just over a year ago, t o Theatre Trust replace the present obsolete and inconvenient Playhouse with a new theatre, embodying the most up-to-date facilities, was hailed by publi c and profession alike as one which would enhance the reputation of thi s lively City as well as provide conditions for exemplary theatre, which are notably lacking in the repertory movement . The admirable and imaginative plans of the architect, Peter Moro - photographs of the model appeare d in the last Annual Report -and his estimates of cost are now bein g thoroughly examined by both parties in the City Council ; the clearance of the site is under way, and the signal to go ahead is imminent . The most disheartening conditions under which the present Playhouse company ha s presented many distinguished productions in recent months seem, at long last, to be ending . Four premieres of unusually interesting plays wer e given at the Playhouse during the year - Chekhov's Don Juan, The Man with the Golden Arm, adapted from Nelson Algren's novel, Take the Fool Away, by J. B. Priestley, and Concubine Imperial, by Maurice Collis - an d the Director of Productions, Mr . Val May, was invited to produc e Richard H for the Old Vic. A steady improvement in attendances resulte d in the Trust earning over eighty per cent . of its operating costs by it s trading with the public . Oxford: The twenty-first birthday of the Oxford Playhouse was celebrated by Meadow the publication of an illustrated souvenir booklet, outlining the history o f Players this famous theatre . During the year, Meadow Players presented two productions which were transferred directly from Oxford to the West End - Rollo, by Marcel Achard, and A Passage to India, adapted from E. M . Forster's well-known novel. Other notable productions by the company during 1959 were Prince Genji, from Lady Murasaki's thousand- year-old Japanese classic, and a new translation of Euripides's The Bacchae. At the invitation of the , the company undertook a successful sixteen weeks' tour of India, Pakistan and Ceylon with Twelfth Night, The Cocktail Party, and a Shaw double bill, The Man of Destiny with the Hell Scene from Man and Superman . For many years, the University has been considering plans for establishing its own theatre, bu t 22 has finally decided to acquire a long lease of the Playhouse from St . John's College, and to carry out important structural improvements to th e existing building. The University will then lease the modernised theatr e at a concessionary rent to Meadow Players for agreed periods of eac h year ; at other times it will be used for productions by University Dramati c Societies, for lectures and conferences. The Old Vic is experiencing difficulty in securing a sufficiently large and The Old Vic loyal audience in the Waterloo Road for a programme which is not solid Trust Shakespeare. Between April, 1959, and March, 1960, the following ample repertoire has been played - Macbeth, The Magistrate, Tartuffe and Sganarelle, The Cenci, The Enchanted Isle (the Dryden/Davenant/Purcell version of The Tempest), As You Like It, The Importance of Being Earnest , The Double Dealer, Richard II, The Merry Wives of Windsor and Saint Joan. A rich variety indeed, to which What Every Woman Knows and Henry V were added, after April, 1960, to complete the season. Atten- dances during the year averaged sixty-five per cent. of box office capacity when they ought to have been nearer eighty per cent . Yet the name of the Old Vic grows more and more attractive abroad ; invitations during th e year have been received from Israel, the Lebanon, Australia, India, Japan, Mexico, as well as from many European countries, none of which the Trust could accept, because of its prime desire to play in Londo n and the larger provincial cities . During the year, the Governors receive d a generous gift from the Isaac Wolfson Foundation, which enabled the m to purchase the freehold of the land on which the stores and worksho p annex was recently built. The policy of presenting new plays with a certain edge to them has English Stage been courageously continued at the Royal Court and has certainly Company provoked more healthy controversy than the work of any other Londo n management during the year . The reward for the company has bee n steadily improving attendances ; the theatre has played to a much highe r percentage of capacity than in the previous year, with, on many occasions , the `House Full' board in evidence . Eleven plays in all were presented a t the Royal Court during the financial year in review, of which five wer e successfully transferred to the West End : The Long and the Short and th e Tall, Roots, Look after Lulu, Rosmersholm and One Way Pendulum. The other plays were Sugar in the Morning, Orpheus Descending, Cock-a- Doodl e Dandy, Sergeant Musgrave's Dance, The Lily-White Boys and a double bill of The Room and The Dumb Waiter. In addition, there were seven Sunday night productions, without d6cor, one of these being the unusua l 23

documentary improvisation based on the Hola Camp affair . Altogether, the companyhas given the first London productions of new plays bysixtee n contemporary playwrights during the year - a remarkable achievement , which is cheerfully reflected in the chart attached as showing that the ne t trading revenue was ninety per cent . of the costs.

Cheltenham : The Opera House, Cheltenham, was bought by the Corporation a fe w Everyman Theatre years ago, and operated first as a municipal repertory theatre, before bein g leased to a commercial management for a similar purpose. But the com- panies which played there had no great success, and the theatre closed i n 1959. It seemed then as if the last live theatre in Cheltenham was finished , but a new local independent trust, The Cheltenham Theatre Association , came into being as a result of vigorous agitation in the town, and secured enough financial backing to take a three-year lease of the building from the Corporation. The theatre has been renamed `The Everyman' and struc- turally modernised, particularly the entrance foyer and the refreshment room ; the result is an extremely attractive and comfortable building. The new season opened on May 2nd, 1960, with a new play, A Piece of Silver, by N. C. Hunter ; subsequent productions are being presented either by th e Cheltenham company or by companies from other repertory theatres wh o in turn are acting as hosts to Cheltenham . This intricate planning of `close d circuit interchange' has the great advantage of avoiding the limitations o f weekly rehearsals for companies operating in towns where a weekly chang e of programme is unavoidable for economic reasons. Lincoln The Association has two companies, each rehearsing and playing for a Theatre fortnight, either at Lincoln (where a weekly change of play is provided) o Association r at one or other of the regional centres in Loughborough and Scunthorpe, where the need for professional drama is adequately provided for one week in every three . For the 1960 season, the Association has been able to exten d this regional service to the newly opened Civic Theatre in Rotherham, thu s making the whole enterprise more stable and economic . It is a complex an d difficult operation, however, to choose a programme for four differen t audiences at four different theatres, but the reputation of the Lincoln com- pany stands very high in all of them, and the regional centres are maintain- ing a very high average attendance . The Arts Council is very interested in watching the development of this enterprising regional scheme, which ma y offer clues towards solving similar diffusion problems in other scattere d areas. 24 The Mermaid has had a financially most successful first year ; the open- The Mermaid ing production of Lock Up Your Daughters, played twice nightly, com- Theatre manded a very long run, and its success enabled the theatre to install ai r conditioning in the auditorium and to complete other improvement s backstage. The company has since announced its intention to revert to it s declared original policy of limited runs . The gramophone record recital s and short film programmes given twice a week at lunchtime during th e winter have also proved extremely popular . The success of the restauran t and the refreshment counters has exceeded the most optimistic expecta- tions, and there is every sign that this lively theatre has already establishe d itself as a `favourite' among London's theatregoers . For some years the Arts Council have held the lease of the Playhouse, Salisbury Arts Salisbury, which was then sublet to the theatre company . A year or so ago, Theatre Ltd. the owners expressed their willingness to sell the freehold on generous terms, and an appeal was immediately launched to raise the require d amount. This was successful enough to enable the company to complet e the purchase in March, 1960, and to carry out long-overdue improvement s to the building . In the Autumn of 1959, the Arts Council sent out a company with two Touring productions - The Winter's Tale, produced by Toby Robertson, and Peer Gynt, produced by Colin George, with settings for both plays designed b y John Bury . Both productions maintained the highest standards establishe d over the years by these directly , managed tours to theatreless areas, but although the plays were well received by the public, the increasingly hig h costs of production and touring resulted once again in a heavy loss to th e Arts Council. The company played one week at the Littl e Theatre, and the following week in touring one- and two-night stands in the North-East ; after a third week at the Arts Theatre, Cambridge, th e company moved into Wales for six more weeks of one- and two-night stands. During the three weeks in England, the company played to 9,00 0 people, representing seventy-five per cent . of capacity and at a net cost t o the Arts Council of £1,120, of which more than half was lost in the on e week of short stands. A report on the result of the company's tour in Wale s will be found on page 73 . These specially mounted tours are, in future, to be discontinued in England (see page 19). The Council continued its New Drama Schemes in 1959-60 and has since Ale", Drama extended them for the year 1960-61 to enable guarantees to be offered fo r the second production of certain plays . Between April, 1959, and March, 1960, forty-five new plays were submitted and of these twenty-one were 25

offered limited guarantees against loss ; in three cases the guarantees were not claimed - The Edwardian (Theatre Royal, Windsor), A Passage to India (The Playhouse, Oxford), and Never Had It So Good (Belgrade Theatre, Coventry) . During the same period seventeen authors were recommended for consideration under the bursary scheme and awards were made to Morris Brown and James Saunders . In addition, the English Stage Company was enabled to commission a play from George Hulme , and the late Mr. E. C. Packham's gift of £100 (which was referred to in ou r last Report) was awarded to John Heath Stubbs . When a new play is launched with help under the New Drama Scheme and subsequently be- comes a financial success, the Arts Council, by prior agreement with th e management concerned, is entitled to claim up to ten per cent . of the management's profits, after all expenses have been met . This money is the n paid back into the Fund to help other plays and authors ; and so the scheme is being continuously refreshed, fountain-wise, from its own output . In the year in question refreshment came principally from two successes - Theatre Workshop's A Taste of Honey and Nottingham's The Long and the Short and the Tall. Travel Grants The Council has continued its policy of awarding small travel grants to producers and designers to allow them to widen their experience b y visiting continental theatres, and during 1959-60 grants were awarded to Graham Barlow, Jordan Lawrence and Toby Robertson. Pattern of There are now fifty-one repertory theatres in Great Britain, i .e. theatres Patronage which serve for the greater part of each year as the home of a resident professional company of players ; fourteen of these operate on a profit- distributing basis and therefore don't qualify for aid from public funds ; of the remaining thirty-seven non-profit-distributing theatres eleven `get by' without subsidy . The other twenty-six have been successful in thei r appeals either to the Arts Council or to their Local Authority (or both ) for financial support to carry out a special service of drama to thei r provincial audiences; special in quality of play selection and presentation as at Nottingham, Oxford, Birmingham, Bristol and Coventry ; or in the diffusion of good drama to widely dispersed audiences as is Lincoln' s network of Scunthorpe, Rotherham and Loughborough ; or in just being the beacon light of the living theatre in places where all else seems to be buried under a forest of television aerials, as at Northampton, Ipswich , Salisbury and Hornchurch. For these and other similar good reasons, twenty-five provincial repertory theatres have been selected by the Art s Council to be stanchions of its grid plan of repertory theatres, and the 26 chart which is attached at the end of this Report shows over a period o f three years how these theatres, together with ten other companies assiste d by the Arts Council, have been able to survive . The left-hand columns of the chart show how much it costs to keep each one of these theatres going and how far each of them is able to earn its living by its tradin g with the public ; the right-hand columns show how each of them relies in varying degree upon subsidy from public funds or upon benefactions from Independent Television, Commerce, Industry, the big Trusts and the local supporters' club. What is immediately observable in this three-year pattern of patronage is the patchwork nature of the whole operation. There is little enough evidence of intelligent collusion among the benefactors or of consisten t policy within any one group of them. How is it to be explained, fo r example, that the Bristol Old Vic qualified last year for a grant from the City Corporation of £250 (the value of a rate of 1/120th of a penny ) whereas the Urban District Council of Hornchurch contributed £6,25 0 (the value of a penny rate) to its local repertory theatre? Why is th e adventurous Oxford Playhouse supported by the Arts Council bu t neglected by all other patrons ? There are many other similar irrationalities , not the least of which is the light thrown on the limited extent to whic h these theatres have, or have not, succeeded in securing recognition from local authorities which for the last twelve years have been empowered t o spend up to the equivalent of a sixpenny rate on the provision of enter- tainment in their areas. With what result? Of the twenty-four provincial repertory theatres on the list five get nothing from their local authority , two get less than the value of a rate of 1/100th of a penny, and thirteen less than that of a halfpenny rate ; the maximum among the remaining four is equivalent to a twopenny rate. The repertory theatre movement i s obviously not finding much favour, as yet, among local authorities , though it should not be overlooked that a number of these same authoritie s can show that they are spending considerable amounts on the maintenanc e of permanent symphony orchestras . (See chart on pages 38 and 39.) The answer to the vital question of survival, however, turns mainly on how far these theatres can be sufficiently attractive to audiences wee k after week throughout the year to narrow the gap between net tradin g income and total operating costs . It has become more and more unlikely , as costs steadily rise and higher standards are demanded, that theatres o f this quality can ever close the gap entirely ; but the chart shows that th e gap is much smaller than the gloomier prophets would have us believe . 27 A number of the companies listed earn over eighty-five per cent . of their needs by trading ; and the average over the whole list is as high as eighty per cent. These figures compare very favourably indeed with those of the subsidised theatres abroad ; in France the budget for such theatres i s worked out on the basis of forty per cent. anticipated earnings and sixty per cent. subsidy ; in certain other countries (Jugoslavia for example) the subsidy is as high as seventy per cent. of their total estimated costs.

OPERA AND BALLET

OPERA OUTSIDE LONDON The provision of opera in the Provinces has presented the Arts Council with many problems and dilemmas in recent years, and has involve d disappointments for certain companies which formerly flourished in this field. The Council's current policy on touring opera is summarise d below. On several occasions the Arts Council has sought the opinion of theatre managers and booking managers on the question of how many weeks o f opera the Provinces can reasonably support at the present time, and their answers have ranged from thirty weeks a year to round about forty . Our own Music Panel has expressed the opinion that, for the time being, thirt y weeks should be regarded as a minimum . Few theatres outside London have prospered in recent years ; touring companies are much less in demand than they were ; and the costs of touring full-scale opera have risen dis- proportionately to receipts from admissions . Seat prices in the Provinces are at least twenty-five per cent. lower than they are at Sadler's Wells, and provincial theatre managements are still reluctant to raise their prices . These are all-important factors in our effort to determine how much of touring opera the Provinces can support . 28 Last year the Arts Council approved a new policy at Sadler's Wells whic h enabled Sadler's Wells to run two permanent companies of equal strength , and to provide twenty-six weeks' touring outside London in the season 1959-60. This policy proved highly acceptable in the Provinces and attracted, during the spring tour of fourteen weeks, an average weeklygros s return of £3,651. This, according to our records, is the highest average o f box office takings for touring operations, since the war, of any compan y except Covent Garden. In the year 1960-61 Sadler's Wells proposes to us e both its companies to provide between them no less than forty-three weeks of opera and operetta outside London. The Arts Council, after consultatio n with its Music Panel, is satisfied that Sadler's Wells, with its augmente d numbers, and its arrangements for interchange with London activities, ca n provide virtually all the opera which the Provinces can effectively suppor t in the coming year. It is a company in being, with two permanent units o f singers and musicians, a permanent base, and all the resources of a permanent theatre and workshops . Sadler's Wells is, in the Council's opinion, fully equipped, under present conditions, to provide the bes t available service of opera in the Provinces . The Welsh National Opera Company has for many years provided fiv e or six weeks of opera in Welsh cities such as Cardiff and Swansea, and ha s also made an annual summer visit to Sadler's Wells . The Welsh National Opera Company has latterly sought from the Arts Council a very sub- stantial increase in its grant of £ 18,000 to enable it to professionalise part o f its chorus and to undertake a series of tours outside Wales . The Arts Council has declined to finance an expansion on this scale, for the reason s set out above, but has decided to offer the Welsh National Opera Compan y additional funds to professionalise its administration, to professionalise a small group of specially selected singers, and to enable it to visit one or tw o towns in England . It will, of course, continue its excellent work o f presenting opera in Wales for five or six weeks in each year . The Arts Council is aware that current economic conditions and lack o f suitable buildings make it impossible for full-scale opera companies to visi t the smaller towns. For many years it has mitigated this situation by organising and maintaining a miniature company called `Opera for All' . This mobile ensemble produces abridged versions of well-known opera s presented by first-rate young artists, and is extremely popular . Last year it played over 100 performances, and next year it will be duplicated in a similar group. By providing `Opera for All' and subsidising a comparable miniature ensemble called `Intimate Opera', as well as assisting a numbe r 29 of enterprising amateur societies, the Arts Council believes it is offering a realistic and economical solution to the problem of introducing opera t o the smaller communities. In addition to these smaller ventures, House, Coven t Garden, has undertaken to provide four weeks of opera in the Provinces i n the spring of 1961. Altogether, then, on this basis the Provinces wil l receive in that year something between forty and fifty weeks of opera an d operetta, and a further 250 performances by the two miniature companies , `Opera for All' and `Intimate Opera' . Finally, the Council has given much thought to a long-term plan fo r opera in the Provinces . Possibly the right course would be the establish- ment of an opera company based on one of the provincial cities ; but at present local support would not seem to justify such a costly plan . To sum up : the Covent Garden grant for 1960-61, based on the forty - three per cent. formula* already approved by the Treasury, will be of th e order of £495,000. To this expenditure must be added total grants from th e Arts Council amounting to about £350,000 for other opera and balle t activities, including those of Sadler's Wells, and this figure of £350,00 0 will be expended roughly in the proportion of four-sevenths in the Province s and three-sevenths in London. This expenditure on opera and ballet appears to the Council the maximum amount that it is justified in spending in this particular field at the present time . Opera in this country at present owes an incalculable debt to Glynde- bourne, where Mr. John Christie continues to demonstrate what privat e patronage can still accomplish, against all the economic odds, over a limited season, when it is led by men of vision, taste and determination. The Arts Council contributed a single grant of £25,000 to Glyndebourne i n in the festival year of 1951, but has lacked the means to offer furthe r subsidies. Fortunately Glyndebourne continues to have many privat e benefactors to consolidate its financial position, but the Arts Council i s glad to reaffirm its admiration of what is accomplished by this uniqu e institution. It is an agreeable and heartening paradox that such a ventur e should have succeeded in the economic conditions of the last twenty-five years. Covent Garden now publishes a comprehensive annual report in which its activities are fully described and its accounts analysed in detail . Sadler's Wells Trust will publish a full report for the year 1959-60 ; this will deal

• For details, see pp. 16, 17, Fourteenth Annual Report, 1958-59 . 30 with its work in both London and the Provinces and readers who are interested will be able to study both these reports in due course. *

During 1959-60 the following new opera and ballet productions wer e presented :- COVENT GARDEN OPERA Covent Garden Parsifal. May 15th, 1959 Medea. June 17th, 1959 and Sadler's Music : Wagner Music : Cherubini Wells Producer : Herbert Graf Producer : Alexis Minotis Scenery and costumes : Scenery and costumes : Paul Walter John Tsarouchis Conductor : Rudolf Kemp e Conductor : Nicola Rescigno

Cavalleria Rusticana. December 16th, . December 16th, 1959 1959 Music : Leoncavallo Music : Mascagni Producer : Producer : Franco Zeffirelli Scenery and costumes : Scenery and costumes : Franco Zeffirelli Franco Zeffirelli Conductor : Bryan Balkwill Conductor :

Macbeth. March 31st, 1960 Il Barbiere di Siviglia . May 16th, Music : Verdi 1960 Producer : Michael Benthall Music : Rossini Scenery and costumes : Producer : Maurice Sarrazin Georges Wakhevitch Scenery and costumes : Conductor : Jean-Denis Malcle s Francesco Molinari-Pradelli Conductor : Carlo Maria Giulini

THE ROYAL BALLET *Les Rendezvous. May 7th, 1959 La Belle Dame sans Merci. Music : Daniel Auber September 2nd, 1959 Choreography : Frederick Ashton Music : Alexander Goeh r Costumes : William Chappell Choreography : Andr6e Howard Scenery and costumes : Andr6e Howard • First production at the . 31

Antigone. October 19th, 1959 * Sweeney Todd. December 10th, Music : Mikis Theodorakis 1959 Choreography : John Cranko Music : Malcolm Arnold Scenery and costumes : Choreography : John Cranko Rufino Tamayo Scenery and costumes : Alix Stone

La Fille mal Gardee . January 28th, 1960 Music : Ferdinand H6rold, arr. John Lanchbery Choreography : Frederick Ashton Scenery and costumes :

SADLER 'S WELLS Andrea Chenier. October 13th, 1959 Cinderella. October 29th, 1959 Music : Giordano Music : Rossini Producer : Anthony Besch Producer : Douglas Craig Designer : Leslie Hurry Designer: Carl Toms Conductor : Vilem Tausky Conductor : Bryan Balkwill

Tannhduser. December 9th, 195 9 Oedipus Rex. January 15th, 196 0 Music : Wagner Music: Stravinsky Producer : Anthony Besch Producer : Michel Saint-Denis Designer : Motley Designer : Abdul Kader Farrah Conductor : Conductor : Colin Davis

English Opera Although it falls outside the year 1959-60, the Group's most importan t Group recent achievement has been the first production of Britten's A Midsummer Night's Dream at the . The composer, in conjunctio n with , prepared the libretto, John Cranko produced, and Joh n Piper was responsible for the sets and costumes . A `trial' performance o f Thomas Eastwood's Christopher Sly was given at the Royal Court Theatre on January 24th, 1960. The Group collaborated with Associated- Rediffusion in producing 's The Turn of the Screw, the first full-length opera to be shown on commercial television . Handel Opera The large-scale Purcell-Handel Festival in 1959 gave this company an Society opportunity to extend both the scale of its productions and length of season. With the fortunate collaboration of in Alcina and * At the Shakespeare Memorial Theatre, Stratford-upon-Avon . 32 a well-received revival of Semele, the week of festival performance s attracted full houses at Sadler's Wells. Encouraged by this success and a gratifying interest in Handel's dramati c works, the Society returned for another week to Sadler's Wells in 1960 and presented Hercules and Radamisto. The latter had not been staged in England since 1728. Seventy-four appearances were made during the season, includin g Intimate school tours, engagements at Festival centres and television and radi o Opera broadcasts, and during the coming season the Society will celebrate it s thirtieth birthday . This company courageously adhered to its policy despite the financia l New Opera hazards that beset the presentation of unfamiliar operas. The new produc- Company tions at Sadler's Wells were Erwartung, by Arnold Schoenberg, The Nightingale, by Igor Strawinsky, and Humphrey Searle's The Diary of a Madman. The 1958 production of Strawinsky's The Soldier's Tale was also revived. The company gave the second of its `workshop' productions and presented John Joubert's In the Drought and The Sofa, by Elizabeth Maconchy. The intention of the Workshop is to permit hearings of work s which, for various reasons, are not considered immediately suitable for the company's main season. Young conductors, producers and singers are used whenever possible for these productions . Some six months of the year were taken up with touring outside London Ballet during which time two new ballets were introduced : Hazana, by the resident Rambert choreographer, Norman Morrice, with music by Carlos Surinach and set s designed by Ralph Koltai ; La Reja, by John Cranko, to music by Scarlatti, was presented in sets designed by Carl Toms . The company appeared i n the United States for the first time when it participated in the Jacob's Pillow Dance Festival, and at the Baalbek Festival it was the first balle t company to appear in the Lebanon. Two Brothers, a ballet in the current repertory, was filmed in its entirety for B .B .C. television . It was produce d by Christian Simpson and transmitted with great success . An invitation from the Theatre de la Monnaie in Brussels led to a pro - Western longed engagement in that theatre during the autumn season 1959 . The Theatre Ballet company, working in conjunction with the theatre's own troupe of dancers and other groups, consolidated its artistic reputation befor e returning to tour in Scotland and the English provinces . Invitations to perform abroad continue to be received and while these will not be wholl y rejected the company hopes to secure more engagements in this country and, in particular, to provide a regular annual tour in the South-West region . 33 Opera for All The Opera for All Group started its eleventh tour on October 19th , 1959, during which it covered over 6,000 miles on a tour lasting twenty- two weeks. The 900th performance took place at Trealaw on March 7th , 1960. The new production was La Boheme ; was revived from the 1953-55 tours, and two operas were retained from the previous season : and The Beggar's Opera (Dent's edition) . The itinerary followed the usual pattern : a fortnight's tour was arranged in Scotland and, in Wales, where the population is becoming increasingl y opera-conscious, twenty-four performances were given . As foreshadowed in the previous Report, so many requests for performances had to b e refused, that in the 1960-61 season Opera for All will have two groups on the road, thereby satisfying demands and providing a wider field of work for young artists. The production of the repertoire and musical and dramatic preparations remain in the hands of Bryan Balkwill and Douglas Craig, who also visit the groups during their tours . Three members of the group have recently joined the Sadler's Well s Opera, namely, Catherine Wilson, mezzo-soprano, Julian Moyle, , and Rhoslyn Davies, pianist ; the first-named is now sharing the role o f La Cenerentola with Patricia Kern, who also gained her first experience of this taxing role with Opera for All . Among others who may be mentioned as having started their operatic careers with the group are Josephin e Veasey, Mary Illing, Edward Byles, William McAlpine, Dermot Troy and Brychan Powell . The group has also been fortunate in having pianists of the calibre of Gerald Gover, Geoffrey Parsons and Martin Isepp an d Rhoslyn Davies to provide `orchestral' support, sometimes on rathe r indifferent pianos, on these arduous tours. Amateuropera A total of £2,545 was offered in grants and guarantees to ninetee n and other amateur opera societies towards the cost of professional assistance i n operatic activities twenty-one productions, the total number of performances being eighty - eight. These included Macbeth, Orlando, The Poaching Schoolmaster , School for Fathers, Der Freischutz, Ernani, Noyes Fludde (two produc- tions) and L'Elisir d'Amore. The Chester Opera Group gave The Jacobin and Madam Butterfly in neighbouring towns ; at Orpington the Kentish Opera Group alternated performances of with a triple-bill consisting of The Devil Take Her, The Night Bell and Richard Arnell's Moonflowers (first performance) . Oxford University Opera Club scored a noteworthy success with Khovanshchina ; Cambridge staged The Damnation of Faust, in an unortho- 34 dox production which drew large and enthusiastic audiences, though i t provoked some critics to anger. Rarities were also given by amateur societies in London, where the Philopera Circle performed Lucrezia Borgia and the University College of London Music Society broke all thei r attendance records with a notable production of Beatrice and Benedict. A new company consisting of professionals and a children's group was assembled to stage a new work by Wilfrid Mellers, The Borderline; three performances were given in London with the Council's support. Another new group, known as Group Eight Productions, made its debut at th e eighth St. Pancras Arts Festival in March, with first performances in thi s country of Blacher's The Tide and Milhaud's The Sorrows of Orpheus (in a double-bill) and of Haydn's Il Mondo della Luna . These were given with special financial aid from the Council and from the St. Pancras Borough Council Libraries Committee .

5

MUSI C

The present composition of the Music Panel, whose advice is 'sought Music Panel by the Council on opera and ballet policy as well, is as follows :- Professor Anthony Lewis (Chairman) Dennis Arundell Geraint Jones John Cruft Professor Ivor Keys, D .Mus . Watson Forbe s Norman del Mar John Gardner Sir William McKie, M .V.O., D.Mus. William Gloc k Ivor Newton The Countess of Harewood Robert Noble Roy Henderso n Alec Robertson John Horton Professor J. A. Westrup Gordon Jacob, D.Mus. David Willcocks, M .C. Symphony In the final weeks of the year covered by the Report, agreement wa s Orchestras reached between the Musicians' Union and the Orchestral Employers ' Association for increased rates of pay to all players in the permanent symphony orchestras . Although these increases represent some improve - 35

ment on the old rates (fixed in 1957), they still compare unfavourably wit h those rates now payable in BBC orchestras and, indeed, with those payable under present conditions in other skilled occupations . Neverthe- less, the effect of the increase will be to add a sum of £6,000 - £7,000 pe r annum to the wages bill of each orchestra, which cannot be recovered a t once from box office receipts . The new rates became effective on April 1 st 1960, and the Council has been able to make special provision for the orchestras in the current year which will cover about half the cost of thi s increase as well as affording a modest increase in the overall grants . The trading results of the past year follow the line of previous years an d there are indications that, taken as a whole, public support at the bo x office has stabilised in recent years despite marked fluctuations in th e response to particular concerts or series of concerts. The numbers of concerts given in the last two years by the five permanen t symphony orchestras associated with the Arts Council are these :- 1958-59t 1959-60 t City of Birmingham Symphony 201 199 Bournemouth Symphony 210* 229* Halle . . 238* 244 Royal Liverpool Philharmonic 190 186 Scottish National 151 155* Orchestras associated with the Council for specific concert pro- motions :- London Philharmonic 64** London Symphony . . 10 The season opened with a programme under Sir Adrian Boult, th e City of Orchestra's Musical Director, including the first performance of Symphony Birmingham No. 2, by Alan Rawsthorne. The work, which was commissioned for th e Symphony Orchestra Orchestra by the Feeney Trust, was subsequently performed in the Roya l Festival Hall and in a number of Midland cities . Sir Adrian also intro- duced in his programmes Robert Simpson's Violin Concerto, which was played by Ernest Element, for whom the work was written . Public rehearsal concerts, in which new works by Midland composers were given to Birmingham audiences for the first time, will be continue d in the forthcoming season. * including performances abroad and engagements with opera companies . t excluding television and sound broadcasting. **includes fifty concerts presented in centres outside London, seven Industrial Concerts and seven in the Series "Music of the Twentieth Century' presented by th e London Philarmonic Society . 36 During the year it was announced that Mr. had been appointed Musical Director and Chief Conductor . He will commenc e work with the Orchestra in September, assisted by Mr . Harold Gray, wh o remains as Associate Conductor . The growth of support from the Western Authorities Orchestral Asso- Bournemouth ciation facilitated some expansion of the Orchestra and its services to the Symphony South-West, where a number of towns were able to hear live performances Orchestra for the first time by a professional Symphony Orchestra . Together with th e Bournemouth Municipal Choir the Orchestra had the honour of perform- ing before H.M . Queen Elizabeth the Queen Mother at the Royal Concert in the Royal Festival Hall . An earlier visit to London, to appear for th e first time in the L.C.C.'s series of Lakeside Concerts at Kenwood, resulted in a record attendance . The normal season included eleven works which were new to Bourne- mouth audiences as well as first performances of Graham Whettam's Clarinet Concerto, the overture Empusa, by Denis Harbinson, and Peter Hodgson's Sinfonia Breve . The last-named work was commissioned by th e Junior Section of the Western Orchestral Society . Mr. , who has directed the musical affairs of the Society and who has been the Orchestra's conductor for nine years, announce d his resignation. He will leave at the end of the forthcoming winter season . Mr. Groves will be sadly missed both in Bournemouth and elsewhere in th e South-West ; his untiring energy since the formation of the Orchestra ha s contributed in no small measure to its remarkable growth and increasin g repute among British Symphony Orchestras . The pattern of work during the year followed the traditional features of Halle a Halle season : 224 performances embraced fortnightly concerts in Orchestra with regular visits to Sheffield and Bradford . A number of new works were introduced to Northern audiences and these included Piano Concerto No. 2, by Humphrey Searle, played by Clive Lythgoe, Boris Blacher's Variations on a Theme of Paganini, Ernest Bloch's Scherzo Fantasque, in which the soloist was the distinguished Canadian pianist Id a K.rehm, as well as music by Bartok, Britten and Hindemith . Programmes also included performances of a number of Haydn Symphonies, to mar k the 150th anniversary of that composer's death . Touring, television and radio broadcasts completed a very busy annual schedule of work. The Orchestra is fortunate in the support it receives from Associated - Rediffusion, whose sponsorship of some twenty-seven concet .s during the year constitutes a valuable addition to the Orchestra's revenues . 37

PATTERN OF

PERMANENT SYMPHONY ORCHESTRAS ASSISTED

Total Total As Year Operating Trading Percentage ORCHESTRAS Ended Cost Revenue of Cost

City of Birmingham 31 .3.61 * 120,697 59,652 49% Symphony Orchestra 31 .3.60 104,415 56,313 54% 31 .3.59 100,265 54,795 54%

Bournemouth 31 .3.61* 116,515 62,500 54% Symphony Orchestra 31 .3.60 100,775 59,187 57% 31 .3.59 95,495 55,761 58%

Halle Orchestra 31 .7.61* 188,650 133,131 70% 31 .7.60* 168,450 122,500 74% 31 .7.59 167,365 130,361 78%

Royal Liverpool 31 .3.61 * 136,492 77,350 57% Philharmonic Orchestra 31 .3.60 124,227 67,029 54% 31 .3.59 124,797 75,356 60%

Scottish National 30.6.61 * 130,390 51,460 39% Orchestra 30.6.60* 124,833 55,908 45% 30.6.59 125,159 54,914 44% NOTE * Estimated figures

38

PATRONAGE

ON AN ANNUAL BASIS BY THE ARTS COUNCI L

Donations towards operating cost from :

Trusts and Arts All Local I. T. V. Other Council* Authoritiest Grants Supportersll ORCHESTRA S

£ £ 26,000 36,230 500 1,950 City of Birmingham 20,000 31,12 5 250 97 7 Symphony Orchestra 17,00 0 31,29 7 1,000 959

30,000 22,000 1,000 1 3,000 Bournemouth 20,000 19,15 1 4,35 3 Symphony Orchestra 20,000 16,23 0 5,232

26,700 22,000 § 4,550 Halle Orchestr a 15,000 19,000 § 4,850 12,000 19,35 9 § 4,660

27,000 31,692$ 45 0 Royal Liverpool 20,000 36,691 $ 507 Philharmonic Orchestr a 20,000 28,931$ 510

32,000 33,000 - 2,000 Scottish National 21,500 38,400 525 1,653 Orchestr a 24,500 38,628 - 2,179 NOTES * The amounts shown in this column are for the financial years ending 31st March and represen t the total grants offered by the Arts Council together with guarantees against loss still outstandin g at that date . t For details for 1959/60 see Appendix E . $ For the free use of the Philharmonic Hall and offices, the Liverpool Corporation's contribution is estimated at a further £10,000 p .a. § Each season includes concerts given with financial support from Associated-Rediffusion (27 wil l be presented during 1960-61) . Assistance offered for these performances is included with th e figure shown under total trading revenue . II Includes members' subscriptions . 39

Royal It was announced recently that the Society had secured the services ofits Liverpool Musical Director, Mr. John Pritchard, for a further period . He will now Philharmonic Orchestra remain with the Orchestra until September, 1963 . The third International Competition - in 1960, for singers - was hel d during June and the value of this important annual event has been under - lined in the later successes of previous prizewinners. Both winners in the 1958 competition for conductors now hold the post of Assistant Conductor, with important orchestras in the U.S.A. Mr. Zubin Mehta is with the New York Philharmonic Orchestra and Mr. Haig Jaghjian is with the Cincinnati Symphony Orchestra . The winners of the Piano Competition, held th e following year, continue to be greatly in demand as recitalists and soloists with Symphony Orchestras at home and abroad . The policy of presenting contemporary music has been fully justified b y the rapid increase in audiences, both for the programmes in the Musica Viva series and for those concerts which included performances of unfamiliar music. A successful experiment in staging a simplified operati c production - Donizetti's Il Maestro di Cappella, with Geraint Evans - augurs well for future presentations of a similar kind . The Orchestra's services are in increasing demand both in London an d in the Festival centres. It reflects the success of the Society's policy whic h has been to concentrate on raising the standard of the Orchestra's playin g and to highlight a good proportion of new and unusual works in it s general repertoire . London The London Philharmonic Society, a newly formed concert-promotin g Philharmonic body, which engaged the Orchestra for the three series of concerts i Orchestra t presented at the Royal Festival Hall, completed its first season . The Society took over the series devoted to Twentieth Century Music which continued to receive the Council's support. A seventy-per-cent . average attendance was maintained. Outstanding among the works presented was a concer t performance, conducted by Sir Adrian Boult, of Busoni's Doktor Faust and the British premiere of Strawinsky's Threni under the Orchestra's Music Director, Dr. William Steinberg. The Orchestra continued its presentation of some fifty concerts in th e Home Counties and the South-East region, while its series of Industrial Concerts at the Royal Albert Hall attracted growing support from a number of large business organisations. Both these concert schemes received assistance from the Council . The Orchestra was acclaimed by both press and public for the twenty-one performances in Western Germany and Switzerland during March, 1960. 40

. The Council continued to support the concerts in the Orchestra's annual London series at the Royal Festival Hall . The first part of an `International Series' Symphony Orchestra has already taken place, a particular feature being the presentation o f contemporary works under the composer's direction . A rare opportunity was afforded London audiences when the veteran Conductor M. Pierre Monteux conducted a concert version of Debussy's Pelleas et Melisande . A short concert tour in Holland under Hugo Rignold and Colin Davie s was well received by both the public and press . The season of six concerts included two first performances : Henk Royal Badings' Concerto for Two Violins and Orchestra, and Karl-Birger Philharmonic Society Blomdahl's Third Symphony. The Mahler centenary was marked by the inclusion, in two programmes, of his Fourth and Ninth Symphonies. The opening concert of the season was conducted by Sir , wh o received the Gold Medal of the Society . The Society promoted twelve concerts between September and May, of Brighton which seven were given by the Brighton Philharmonic Orchestra and the Philharmonic Society remainder by visiting English and foreign orchestras . The last programme marked the close of the thirty-fifth season under Mr. Herbert Menges, who has been the Society's Music Director since its inception . A new venture was the three Saturday popular concerts which were given, i n association with the Society, by the B.B.C. Concert Orchestra . In north-eastern England, concerts were given by two Orchestras, the Regional Lemare Orchestra conducted by Iris Lemare, and the Northern Sinfonia Orchestras in the North-East Orchestra conducted by Michael Hall . The Lemare Orchestra is now sponsored by a new organisation, the Northern Counties Concerts Society , who arranged a number of performances in Newcastle and Yorkshire . The Northern Sinfonia Orchestra presented an ambitious scheme of concerts i n each month from October to April ; the Orchestra assembled for one wee k in each monthly period and the weekly plan included two concerts i n Newcastle and two shared among other towns - Middlesbrough, Darling - ton, Sunderland and Carlisle - as well as a number of television an d schools performances . Most of the concerts given by both these Orchestras received municipal as well as Arts Council aid ; but the subsidies afforded were not enough t o bridge the gap between the ticket-income and the high cost of assemblin g the players and promoting the concerts . A conference of representatives o f Local Authorities was held in Newcastle on March 31st to discuss th e possibility of wider support for the Northern Sinfonia Orchestra ; as a result, every Authority in Northumberland and County Durham is being 41 asked to add its contribution to those already made by certain towns in the two counties (and by Middlesbrough and Carlisle) . If the scheme proves as fruitful as others already operating elsewhere (e.g. the Western Authorities Orchestral Association, in support of the Bournemouth Symphony Orchestra), the prospects for this Orchestra's future will be greatly improved. Chamber The season has seen the Philomusica of London firmly established unde Orchestras r its new name and both press and public have acclaimed the Orchestra' s quality and style of performance based on historical research . Provincial tours, concerts in University and Cathedral cities, and further participation in the L.C.C.'s early evening concerts constituted the principal activity o f the season, which closed with two concerts of J . S. Bach's orchestral music at the Royal Festival Hall . The latter represented the culmination of thre e years' work under the guidance of Mr. Thurston Dart, who directed the performances from the harpsichord. His relinquishment of the Orchestra' s artistic direction in favour of Mr. Granville Jones has led to some modi- fication of the repertory which has now expanded so as to take in work s by contemporary composers. We record with regret that the activities of the Jacques Orchestra are t o cease as a result of Dr . Jacques' withdrawal, on medical grounds, from further conducting activities. His inspiring leadership in performance an d his personality have meant as much to those playing for him as they did to audiences who have, for so many years, enjoyed the fruits of his music-making. Contemporary An important and successful season of concerts was given by the Music Institute of Contemporary Arts (Music Section) Societies . The programmes were representative not only of twentieth-century masterpieces and Britis h composers but of those current trends, including electronic music, that are being at present explored with such vigour on the Continent . An experi- ment, in collaboration with the London Philharmonic Society, resulted i n the first London performance of the Sonata for Seventeen Wind Instruments, by Peter Maxwell Davies ; unfortunately Dallapiccola's Requiescant, not yet heard in this country, which was to have been performed in the sam e programme, had to be abandoned at the last moment through circum - stances outside the control of the I .C.A. An approach to the Committee o f the Society for the Promotion of New Music, with a scheme for collabora - tion between the two Societies, will result in closer administrative an d artistic co-operation, while preserving the identity and complete autonomy of both bodies . 42 The Society for the Promotion of New Music gave ten chamber music recitals during the year and mounted two Experimental Rehearsals at th e Royal Festival Hall. There was an enthusiastic audience for the Society' s recital at the Cheltenham Festival in which it participated for the thir d year in succession. Three programmes of works selected by the Societ y have been recorded by the B.B.C. for their Transcription Service . Seven programmes were presented in the Macnaghten Concerts series which, in the twenty-eighth year of its existence, claims the honour of bein g London's oldest contemporary music society . Dr. John Ireland's eightieth birthday was celebrated with a programme of his works which wa s affectionately received by a large audience in the presence of the composer . The season included English premieres of large-scale chamber works b y Bloch, Copland and Shostakovitch . English composers were well repre- sented in all programmes and nine works received first performances. Several small towns in the Lake District which are without halls large `Lake District ' h Orchestral enough to accommodate a symphony orchestra have co-operated throug Concerts their arts clubs or music societies in planning a season of events to includ e a concert by a chamber orchestra . Even by arranging concerts on consecutive evenings of the week, so as to provide the orchestra of their choice with a compact tour, they find that the costs are far beyond the box office income, which has therefore to be supplemented from their ow n funds and other sources. The Council has given some assistance to this annual project b y Ico-ordinating arrangements for the orchestra and coming to a special financial arrangement with each of the clubs concerned. In one or two cases clubs have also received a financial contribution from the Local Authority, and it is hoped that others will succeed in getting their Local Authority to bear some of the burden . In 1958 and again in 1959 th e ensemble of players which undertook this `Lake District' tour was provide d by Philomusica of London, and the places visited were Kendal, Keswick , Ulverston, Whitehaven and Workington . The same places, with the addition of Seascale, will have a concert in October, 1960, by a section o f the Northern Sinfonia Orchestra . The National Federation of Music Societies continued to expand ; National during the year the number of affiliated societies rose to 800 . These fall into Federation of Music two main classes : chamber music clubs presenting seasons of professiona l Societies recitals, and choral and orchestral societies based on an amateur performin g membership . The latter class is the larger ; and within it, the choral societies preponderate over the orchestral . Under the Federation's scheme 43

of financial assistance, which is available to both classes and is directe d towards the professional aspects of concerts, limited guarantees agains t loss were offered to 491 applicants, twenty more than in the previous year. Assistance was also offered (under a subsidiary scheme) to forty-seve n small societies in England for their occasional concerts . The amount of the grant made by the Arts Council to the Federation for disbursement among its applicants was increased by about eight per cent . over the figure for the previous year. The following is a summary of the 491 offers made under the Federa- tion's main scheme of financial aid ; for administrative convenience, the choral and orchestral societies are divided into `A' (the largest) and `B' (th e remainder), but no such division is made in the figures quoted :-

ENGLAND 218 Choral and Orchestral Societies were offered £18,95 5 124 Chamber Music Clubs were offered £4,140

SCOTLAND 20 Choral and Orchestral Societies were offered £ 1,190 14 Chamber Music Clubs were offered . £~45

WALES 15 Choral and Orchestral Societies were offered £585

The following summarises the final results of the 471 guarantees offere d for the previous season (1958-59) :-

ENGLAND 198 Choral and Orchestral Societie s offered £17,715 ; claimed £16,107 91 per cent. 121 Chamber Music Club s offered £3,875 ; claimed £3,300 85 per cent.

SCOTLAND 22 Choral and Orchestral Societies offered £1,420 ; claimed £1,344 95 per cent. 14 Chamber Music Clubs offered £870 ; claimed £774 89 per cent. WALES 16 Choral and Orchestral Societies offered £490; claimed £380 78 per cent. 44 Included in these statistics are thirteen Societies and eighteen Clubs in England, two Societies and one Club in Scotland, and two Welsh Societie s (thirty-six in all), which made no claim against their guarantees . Special consideration is always given to the inclusion of recitals b y string quartets of national or international status in the programmes submitted by chamber music clubs . In England, this aspect is reflected i n the amount of the guarantee which is offered ; in Scotland, separate grant s are made, and these represent £230 of the total of £945 offered to Scottis h music clubs for 1959-60. The Federation's second Award for the purpose of stimulating enterpris e in the choice of works proposed by choral societies was (as announced i n the last Annual Report) won by the Great Yarmouth Musical Society , which submitted Kenneth Leighton's suite The Birds. This work, scored for soprano solo, mixed chorus, strings and piano, was performed by th e Society at its Choral Award concert in April ; it was conducted by the composer. The audience included the Chairman and members of th e Council of the N.F.M .S., and representatives came from societies in al l parts of Britain. The next special award will probably be offered t o chamber music clubs, and a scheme is now under consideration . Other works of interest given by choral societies during the 1959-6 0 season included John Gardner's Seven Songs for mixed chorus and smal l orchestra (or piano duet), Malcolm Arnold's John Clare Cantata, Charpentier's Te Deum, a Mass by Bellini and John Blow's Awake, Awake, My Lyre. Since 1959 was the year in which the tercentenary of Purcell' s birth and the bicentenary of Handel's death were honoured, a large number of choral societies laid emphasis on these two composers i n planning their 1959-60 programmes . Apart from Messiah, which always leads the field in any, season, the next most popular works of Handel wer e Samson and Acis and Galatea. Purcell was represented by thirteen differen t choral works, including Come ye Sons of Art, Away . Otherwise, th e pattern was much the same as in previous years . Bach's St. Matthew Passion was a close runner-up to Messiah, and his Mass in B Minor and St. John Passion were performed more often than ever before . Eighteen o f the Cantatas were among other works by Bach which appeared in the 1959-60 programmes. Sixteen works by Vaughan Williams received a tota l of fifty performances, the most frequent choices being Benedicite, A Sea Symphony and Towards the Unknown Region. The sixteen Regional Committees in England continued to play thei r important part in the Federation's work. At many of the Annual General 45

Meetings held in the early part of the year, the Regional Committe e arranged a musical programme, in some cases a recital of chamber music , in others a rehearsal of a choral work under an eminent authority . Planning Conferences to discuss next season's chamber concerts were als o held in a number of Regions, sometimes being combined with the A .G.M. The Yorkshire Region held its own Annual Meeting in mid-October, a t Leeds. The Federation's Annual Conference is held alternately in London and elsewhere. At the invitation of the Welsh Committee, the 1959 Conference took place at the end of October in Swansea, the first time that this even t has been held in Wales . Stimulating addresses were given by distinguished speakers, followed by discussion ; in the evening the Conference attended a concert given in the Brangwyn Hall by a special choir drawn from Wels h choral societies together with the B .B.C. Welsh Orchestra. Dr. Reginald Jacques remained as President of the Federation, for the sixth successive year. His resignation has now been regretfully accepted , and the President during the Federation's Twenty-fifth Birthday year wil l be Sir George Dyson, who was the first President and held that office fro m 1935 to 1940. Captain T. A. K. Maunsell, R.N. (Retd.), J.P., was appointed Secretary in March, 1960, in place of Mr. R. B. Elwin, B.A. , who resigned after ten years' service in October, 1959 . Other Musical The Council continued to assist a variety of other organisations through- Activities out the country - some for a series of concerts spread over the season o r confined to a `festival' period, others for occasional events or projects o f special interest . The smaller festivals included those at Warwick, Dawlish, St . Bees, Tilford, Mickleham and, in London, the Redcliffe Festival of Britis h Music. Concerts were presented by the Paragon Orchestra in Bristol an d the Orchestra da Camera in Birmingham, and in various centres by the Newbury String Players and the Southern String Orchestra . The twenty- first birthday concerts of the Riddick Orchestra, certain concerts given b y the London Mozart Players and the Haydn Orchestra, and orchestra l concert-promoting societies at Ipswich and Sutton Coldfield, were al l supported by the Council with grants or guarantees . Performances in London were given with the Council's support b y Musica Antica e Nuova, the Renaissance Society, the Elizabethan Singers , the Plainsong and Mediaeval Music Society, the English Folk Dance an d Song Society, and the Sunday Ballet Club. Assistance was also given to the Chelsea Opera Group, which made its usual three Sunday appearances at 46

Oxford and Cambridge in concert versions of opera. The staged perform- ances of opera societies are referred to in the preceding chapter. Two old-established chamber music societies continued to receive direc t aid from the Council : the Manchester Tuesday Mid-day Concerts Society (forty-fifth season) and the South Place Sunday Concerts given in Londo n (sixty-ninth season) . The total number of the organisations of all kinds referred to in the preceding paragraphs, which received aid from the Council, was sixty-two , and the total number of performances was 311 . A large number of these performances also attracted financial support from the Local Authority ; indeed, the Council was encouraged to find that more and more Authoritie s were willing, despite rumours to the contrary, to give favourable considera - tion to an application for financial aid formally submitted to them under the terms of Section 132 of the Local Government Act of 1948 .

6

ART

The present composition of the Art Panel is as follows :- Art Panel Professor Sir William Coldstream, C.B.E. (Chairman) Alan Bowness Roland Penrose Reg Butler, A.R.I.B.A. Dr. Nikolaus Pevsner, C.B.E. Trenchard Cox, C.B.E. Bryan Robertson Lawrence Gowing, C.B.E. Claude Rogers, O .B.E. Basil Gray, C.B.E. Robert Rowe F. E. McWilliam, A.R.A. John Russell H. D. Molesworth Hugh Scrutto n Henry Moore, C .H., D.Litt., Mrs. K. L. Somerville, O.B .E. A.R.I.B.A. Keith Vaughan Benedict Nicolson, M.V.O . During the past ten years of the Council's work there has been a rapi d growth in the nation's appetite for visual satisfaction . This may be regretted by some as a symptom of declining literacy, or welcomed by others as a relaxation of our native suspicion of the pleasures of the eye ; but the 47 increase in gallery attendances and sales of fine art literature, the mountin g price of pictures and the popularity of news and broadcasts about archi- tecture, design and the arts, point undeniably to the strength of thi s movement. In London this public demand is reinforced by pressure from oversea s visitors who are accustomed to a diet of lavish temporary exhibitions ; but the Greater London public alone, representing as it does nearly a third of the whole population of England, must inevitably command a high propor- tion of what is available. One of the first duties of the Arts Council is t o bring from overseas a succession of important exhibitions both of old an d modern works of art . The cost of moving and insuring these exhibitions , quite apart from the expense of mounting them, makes it essential t o attract the largest possible attendances . This alone often forbids th e showing of a major exhibition outside London ; but it also frequently happens that the responsible overseas authorities will have made thei r exhibition available only on the express condition of its showing being restricted to the metropolis. Gone are the days when one or two profit-making exhibitions in a yea r helped to finance others very expensive . We are fortunate if an ocasional exhibition can be made to pay for itself, thus enabling funds to be availabl e for costly ventures such as (among others) important internationa l sculpture exhibitions. The Council also finds it its duty to promot e exhibitions on subjects ignored by contemporary fashions in taste an d which whilst they may have only a limited appeal will remedy an un- justified neglect. Apart from the mounting of major overseas exhibitions, it is the policy of the Arts Council to provide major and secondary exhibitions both o f English and foreign works of art from the resources of this country . Such exhibitions, though normally opened in London, are intended mainly a s travelling exhibitions, visiting as many centres as possible outside th e capital. An indication of the volume of this work can be gained from th e fact that during the year the Arts Council's vehicles, working to very close schedules and covering almost 130,000 miles, enabled 343 exhibitio n showings to be held in 154 places, of which 151 were outside London . The total insurance value of works of art handled by the Art Departmen t exceeded three million pounds . These figures may give some indication of the Arts Council's work for the provinces in the face of high transport and insurance costs . Further difficulties, however, attend the work of organising travelling exhibitions 48 r,Tlltph : DoWiLAS GLASS

PABLO PICASSO, 1960 ANY, 99

am

0

Ir 1

11X 7"

ABOVE A view of the Duveen Gallery at the Tate during the Arts Council' s Picasso exhibition . In the background is the large drop-curtain for th e ballet Parade ; the pictures in the foreground are from the series based o n Velasquex ' s Las lbfeninas.

LEFT TOP Pictures of the artist's `Blue' and `Rose' period on show at the Picass o exhibition, Tate Gallery, 1960. On the left is the self-portrait of 190 1 lent by the artist .

LEFT BOTTOM Pictures of Picasso ' s'neo-classical ' period (1917-24) at the Tate Gallery

Phaingraphs : CORRY n EViNGTON l4~~~t,~grnpir' GORDON GUUUe

A view of the Contemporary British Sculpture I \hihition, 1960, in Avonbank Gardens, Stratford-upon-Avon . I'llurn ru7>h ~ Coker eEVIN45TO .

A fetish figure from the Bakongo tribe (Congo), shown at th e Arts Council's exhibition of primitive and exotic sculpture fro m the collection of the late Sir Jacob Epstein, 1960 . Ph0f0g?4Fk CORRY IEYING7O N

West AIT .t q ,ulpture from the ~c lE~ ti .,n of the late Sir Jacob Epstein . Arts CULlrl, II (Pinery, 1960 . f 'jll •4+r1Jrh : CORBY BEVINO7o1

\ncicnt American sculpture from the exhibition of the collectio n ref 1 he late Sir Jacob Epstein, held at the Arts Council g allery in 1960 . YhW,,Mrnph ; iAMks MEVRI94kR

Plate-glass panel designed by Lynton Lamb, commissioned by the Arts Council and the L .C .C, and erected at the Royal Festival Hall during the 1959 Purcell-Handel Festival t o commemorate the tercentenary of Henry Purcell's birth . The resources of provincial art galleries vary considerably, and yet every exhibition has to be skilfully unpacked, framed and hung, after which i t must be supplied with catalogues, publicity material and staff and even- tually repacked. These costs are rarely covered, even at the most crowded exhibitions, especially as the public in Great Britain normally expect bot h exhibition and catalogue for rather less than the cost of twenty cigarettes . A final obstacle to the supply of exhibitions to centres outside Londo n is the understandable reluctance of collectors to lend their possessions for long periods for showing at four, six or more galleries . British as well a s overseas lenders, though willing for their pictures to be seen in London, ar e not always easily persuaded to allow them to go further - a fact not to b e overlooked by those who press the Arts Council for more exhibition s outside London. Though the organising of exhibitions absorbs a large share of the Art Department's energies, its obligations to the public are certainly not more important than its duties to the artists themselves. For this reason it employs nearly one-sixth of its available funds in helping exhibiting societies, and, when it can, arranges for group exhibitions to be circulate d as widely as possible. For obvious reasons it can organise one-man exhi- bitions only where national or international reputations can justify such a choice; but in the year under review group exhibitions such as The London Group 1959, Six Young Painters, Contemporary British Sculpture, the Penwith Society of Arts and Young Contemporaries 1959 show the extent of its support. A further exhibition, Contemporary Painting and Sculpture for Leicestershire Schools, was arranged mainly to encourage further patronage by county education authorities . In the course of its day-to-day work the Art Department is frequentl y called upon to recommend suitable artists for public or private com- missions. Whilst the Council does not consider it desirable to recommen d a single artist in such cases it is willing to offer several candidates of differing styles, leaving the final choice to the enquirer . The special sub - committee of the Arts Council's Art Panel formed to advise the Londo n County Council on the choice of sculptors for the numerous sites associated with their building schemes has continued its work. The role of the Arts Council as a direct patron of the visual arts is referred to elsewhere in this Report. Since the close of the Romantic Movement exhibition in September, 1959, The year's the Art Department has devoted much of its energy to the art of the exhibitions twentieth century, and since six of its decades have now run their course, 49 D it has become possible to extract from it an increasingly diversified serie s of exhibitions embracing at least three generations of artists from a wid e geographical field . Two Arts Council exhibitions, Modern Swiss Art (Tate Gallery) and Austrian Painting and Sculpture, 1900-1960 (St. James's Square), provided, in compact form, a survey of the development over thi s period of two related but distinct national schools, while the centenar y exhibition of the work of Sickert (Tate Gallery) reaffirmed the strengt h and durability of this master of the British school . An important restrospective exhibition, again covering half a century, of the sculpture of Jacques Lipchit_ (Tate Gallery) was held in the autumn of 1959, while during the summer of 1960 an open-air travelling exhibitio n of some forty major works of Contemporary British Sculpture has been visiting important provincial centres and has contributed to the season' s Festival activities at Stratford, Edinburgh and Cheltenham . The organisa- tion of any open-air exhibition of sculpture is a formidable task, and th e planning and physical effort required in moving one to five or six differen t places is easily overlooked . Retrospective exhibitions of the paintings of Duncan Grant and of watercolours and engravings by Dunoyer de Segonzac provided a most interesting contrast between the work of distinguishe d artists of the British and French schools . The latter of these exhibition s was held at Burlington House in conjunction with the Royal Academy, and the former, organised by the Tate Gallery, was shown by the Art s Council at three galleries outside London . Further and equally diversified exhibitions of twentieth-century art have included Modern Italian Paintings from the Damiano Collection, which has provoked a surprising variety of comment in the provincial Press ; an exhibition of collages and constructions by the neglected Kurt Schwitters ; an exhibition of the designs of Reynolds Stone, a retrospective exhibitio n of the work of the Penwith Society; Landscape for Living, an exhibition organised by the Institute of Landscape Architects, and a popular exhi- bition of Scottish Crafts by members of the Scottish Craft Centre . All these exhibitions were given extensive tours outside London, all but one havin g been taken over by the Arts Council entirely for this purpose . Two of the most attractive exhibitions of the year were provided for u s from their own collections by celebrated museums in Manchester and i n Paris. One of these, French Eighteenth-century Furniture Design, whose contents ranged from designs for a supper buffet to elevations for th e pavilions at Marly, came from the Mus6e des Arts D6coratifs in Paris ; the second, Drawings from the Whitworth Art Gallery, Manchester, was 50 specially lent as a tribute to Sir Kenneth Clark on his retirement as Chair- man. Both were held at No . 4 St. James's Square early in 1960, where, in March, we were fortunate in being able to show almost the whole of th e late Sir Jacob Epstein's astonishing collection of African, early American , Oceanic, oriental and early classical sculpture . This exhibition was made possible by the generosity of Lady Epstein, and was well received by th e press and public. For the 1959 Edinburgh Festival, and afterwards at Leeds, an exhibitio n of Masterpieces of Czech Art from the fourteenth century to the present day was provided by the National Gallery in Prague . We were fortunate in obtaining a group of some fifty of the best work s from the Bowes Museum, Barnard Castle, for a tour of major provincial galleries during the winter of 1959-60, while at the Gate Tallery i n January, 1960, a centenary exhibition of the work of James Ward (1769- 1859), containing a number of little-known works by this artist, was held ; it afterwards visited Plymouth, Newcastle-upon-Tyne, Leeds an d Cardiff. This report goes to press on the eve of the Arts Council's major exhi- bition illustrating, with some 280 works, Picasso's entire career as a painte r from his boyhood in Spain to his newly painted series based on Velazquez' s Las Meninas. The exhibition, organised by Mr . Roland Penrose, contains loans of first-class importance from the United States, major European collections, and from as far afield as Brisbane, Australia . It includes such famous works as The Artist's Sister, painted in 1899 ; La Vie (Cleveland , Ohio) ; Les Demoiselles d'Avignon (Museum of Modern Art, New York) ; Girl with Mandolin (U.S.A.) and The Charnel House (W. P. Chrysler, Jr.), and it is not only the largest one-man exhibition held at the Tate, but th e largest ever held of Picasso's paintings . In conclusion mention should be made of the less conspicuous activitie s of the Art Department . It has continued to administer the Loan Schemes by which pictures from the reserve collections of the Tate and Nationa l Galleries are lent to galleries outside London. It has also continued to circulate a growing series of exhibitions of reproductions of works of art , and has maintained in collaboration with the British Film Institute th e service of art films which have been increasingly welcomed by art galleries , schools and art societies.

51

7

POETRY

Poetry Panel The present composition of the Poetry Panel is as follows :- Joseph Compton, C .B .E. (Chairman) Thomas Blackburn Louis MacNeice, C .B.E. Patric Dickinson Miss Kathleen Nott Miss Rumer Godden William Plomer, D .Litt. John C. Hall Miss Helen Spalding Christopher Hassall Terence Tiller John Holloway, D.Phil., D.Litt. Professor Constantine Trypani s Policy In a Note on the Reading and Study of Poetry, John Holloway has written :- 'Poetry . . . is made with what we all use all the time : words. The poet's problems are the plain man's problems, at a more intricate level. All day long, we are all of us gaining our ends by a neat turn of phrase, a word well chosen and exactly used, a telling metaphor, or some overtone, some suggestion of meaning, which we get int o what to say although we do not put it into so many words . These are the things that poets do, and the poet's problems, the problems tha t he has to solve in the writing of his poems, are of the same kind (though no doubt more intricate) as those of anyone who uses words .' This Note was drawn up as a result of a meeting between members o f the Poetry Panel and representatives of the Advanced Technologica l Colleges to discuss liberal education in Technical Colleges ; but the wider implications of this statement are just as true in so far as they affect poet s and their general audience to-day. To encourage contact, communicatio n and understanding between the poet and his audience is the underlyin g motive of the Council's poetry policy as it has been evolved over the las t twelve years, and this has been carried out through both the spoken word and the printed word . The reading of poetry both by poets themselves and skilled readers i s helped either by direct promotion of such readings in London and on tou r in the provinces or by subsidising the work of a festival like the Stratford- upon-Avon Festival of Poetry or a company like the Apollo Society . In 52

the case of published poetry, judges are appointed to advise the Council o n the books to be chosen for the two Triennial Poetry Prizes (given for th e best book of original English verse and the best first or second book of English verse), and different selectors are appointed annually by the Poetry Book Society to choose four books a year for distribution to the Society's members. Approved magazines that specialise in poetry are als o entitled to receive help from the Arts Council since they provide one of th e few ways (apart from book publication) in which a poet can reach his public . During the last three years, the Council's annual allocation to poetr y How do poets has averaged about £2,000 . It is interesting to ask how far this expenditure benefit ? actually benefits the poets themselves . Over a three-year period it is estimated that the following direct or indirect payments have been mad e to poets : Spoken Poetry Fees to Poets taking part in Recitals . . £150 Fees for Copyright Poems read at publi c recitals (paid to poets or their agents) . . £450 Printed Poetry Poetry Prizes (awarded to two poets) £250 Poetry Book Society : Royalties to poets on Book Choices (calculated at ten per cent . of the pub- lished price) £450 Fees to poets for poems printed in the Bulletin or Supplement £100

£1,400 In addition, some of the fees paid to judges for the Prize Poems and to the Selectors of the Poetry Book Society (amounting to about £500 in the three-year period), may go to poets when they are chosen to serve in thes e capacities ; and a small part of the subsidies to magazines, etc . (amounting to about £450 in the three-year period), also goes to poets in fees . The Poetry Book Society completed its sixth year in 1959 . Its member- Poetry Boo k ship of 743 was just below the average for the previous five years . The Societv Selectors were John Holloway, Naomi Lewis and James Reeves ; and the following books were chosen : Loss of the Magyar Patricia Beer The Guinness Book of Poetry, 1957158 The Forests of Lithuania Donald Davie 53

Recommendations were given to : Domestic Interior Laurence Lerner One and One P. J. Kavanagh Songs Christopher Logue The Bulletins that accompanied each Choice included specially written contributions by the poets concerned, and poems by Laurence Lerner, P. J. Kavanagh, Christopher Logue and the late Edwin Muir . The Society also published a special Christmas poetry supplement edited by Jame s Reeves under the title The Personal Vision, a Check List of New Verse , 1958, and A Hong Kong House, by Edmund Blunden, being the second o f the Society's special series of facsimile holograph poems . The Selectors for 1960 are John C . Hall and David Wright . Arts Council The third edition of the short-title catalogue of the Arts Council Poetry Poetry Library Library was issued early in 1960 and covers a wide selection of contem - porary English verse and verse drama published since 1930. Each of th e 526 titles is represented by two volumes, one for reference and one fo r loan. The library is housed at the National Book League ; and it is hoped that the Arts Council's example in setting it up will be followed in other parts of the country, particularly by universities. The cost of acquiring an identical collection of books (with one copy only of each title) would amount to just over £300, and not more than £15 to £20 need be spent o n annual accessions. Magazines, The Council continued its policy of supporting a limited number o f etc. magazines concerned with the printing and reviewing of poetry and `Listen' and `Delta' received help accordingly . It also agreed to contribute towards the cost of Universities' Poetry 2, an inter-university poetry anthology edited by Zulfikar A . Ghose, Anthony Smith, John Fuller and Bryan Johnson and published at the University College of Nort h Staffordshire. Poetry as a On the Poetry Panel's suggestion, a conference was held with repre - Liberal Study sentatives of some of the colleges of advanced technology in the spring in Colleges of Advanced of 1960 to discuss the part poetry might play in liberal studies in thes e Technology colleges. It was generally agreed that there were various ways in which technical students might be profitably interested in poetry; and the representatives of the colleges also made it clear that they would welcome information regarding current services connected with poetry and the other arts. It is hoped that the contact made will be followed up and consolidated. 54 The Apollo Society promoted eighteen recitals during the year includin g Poetry a series of six in the Recital Room of the Royal Festival Hall, London. Readings On behalf of the Arts Council, Patric Dickinson and Sheila Shanno n carried out a fortnight's tour of the Lake District, the North-Easto f England and the Midlands in the autumn ; and the South Western Arts Association engaged Jill Balcon and C . Day Lewis for a week's tour of the South-West in the winter . The 150th anniversary of Tennyson's birth was commemorated by a Festivals special festival in Lincolnshire (August 2nd-9th, 1959) which included a reading of poems by Tennyson by Marius Goring, C . Day Lewis and Jill Balcon in Lincoln. The main item in the programme of the Eighth Little Festival of Poetr y at Cley-next-the-Sea (May 26th-31st) was a talk with readings by Si r George Rostrevor Hamilton. The Cheltenham Festival of Art and Literature (September 28th- October 2nd) had the misfortune to clash with the General Election , which meant that the second week's programme, including several of th e lectures on literary subjects and the Writers' Workshop, had to be cancelled. For the Poetry Competition (with prizes of £75, £50 and £2 5 provided by Messrs . Arthur Guinness Son & Co .) there were over 500 entries, which were judged by Charles Causley, Patric Dickinson an d Kathleen Nott . The prize-winners were Laurence Whistler, Hele n Spalding and William Younger . The Sixth Stratford-upon-Avon Poetry Festival followed the patter n laid down the previous year and consisted of eight readings at Hall's Croft on consecutive Sundays (July 12th to August 30th) with a final recital i n the Shakespeare Memorial Theatre (September 6th). The poet of the year was Laurie Lee; and many of the readers were drawn from the company at the Theatre . The final recital was given by Peggy Ashcroft and Pau l Robeson, with Osian Ellis (harp), and the programme included spiritual s and harp solos as well as poetry. The Festival was directed by John Carroll, who was also responsible for selecting and arranging an Exhibition of Great and Rare Books of the 17th Century, which was opened by Miss C. V. Wedgwood. These included a copy of the Shakespeare Firs t Folio of 1623, lent by the Shakespeare Memorial Library, and a copy of the Second Folio, lent by H.M. The Queen, with Charles I's autograph and the words `Dum Spiro Spero' on the end-paper . The 1959 English Festival of Spoken Poetry was held at Bedfor d College, University of London (July 21st to 24th), and included the usual 55

classes for solo reading and choral speaking . On one of the evenings a lecture was given by John Holloway on the poetry of Edwin Muir . No similar Festival is being held in 1960, but plans are being made to organis e a new-style Festival of Poetry under the auspices of the Poetry Book Society in London in the summer of 1961 .

8

ARTS FESTIVALS : ARTS ASSOCIATIONS, CENTRES AND CLUB S

Festivals Details of the subsidies given by the Arts Council to Festivals of th e Arts in 1959-60 appear in the Accounts (Appendices A, B and Q . In the summer of 1960, the following festivals were associated with th e Council : Bath (May 18th-28th) Aldeburgh (June 10th-26th) York (Triennial) Festival (June 12th-July 2nd) Cheltenham : British Contemporary Music (July 3rd-15th) Royal National Eisteddfod for Wales (August 1st-6th) Ludlow (July 6th-17th) Haslemere (July 16th-23rd) Edinburgh International Festival (August 21st-September 10th) Three Choirs : Worcester (September 4th-9th) Cheltenham : Art and Literature (September 26th-October 7th ) Swansea Festival of Music and the Arts (October 9th-29th) There is special reference to the Scottish and Welsh Festivals in the Scottish and Welsh sections of this Annual Report . The remaining festivals follow a fairly uniform pattern from year to year. While no major changes of policy need to be chronicled, the following points deserve special comment . Once again, Yehudi Menuhin was associated with the direction of th e Bath Festival . Of special interest in the programme was the productio n by the New York Pro Musics Ensemble (in Wells Cathedral) of The Play of Daniel. This liturgical drama, originally written in the twelfth century b y students of the Abbey of Beauvais, was directed by Noah Greenberg an d 56 produced by E . Martin Browne with narration by W . H. Auden. Subse-• quently, performances of it were given by the Pro Musica Ensembl e elsewhere, including Merton Chapel (Oxford), , St . Alban's Abbey, and St. Nicholas' Chapel (King's Lynn) during the King' s Lynn Festival. Improvements to the auditorium, orchestral pit and backstage of th e Jubilee Hall made it possible for the Aldeburgh Festival to mount larger- scale opera than before. Benjamin Britten composed his operatic version of A Midsummer Night's Dream specially for the reopening of the Hall a t the beginning of the Festival ; and the also pre- sented in it a revival of The Rape of Lucretia . In York, a new production by David Giles of the Cycle of Myster y Plays was presented in the ruins of St . Mary's Abbey . Britten's Noyes Fludde was produced in the Minster ; and the programme of concert s ended (as in previous years) with a performance of Monteverdi's Vesper s of 1610 conducted by Walter Goehr. At the Theatre Royal, students fro m R.A.D.A. played in Brecht's The Good Woman of Setzuan ; and late night performances were given of the New Opera Company's production o f Stravinsky's The Soldier's Tale . Four different orchestras took part in the Cheltenham Festival o f British Contemporary Music ; and no fewer than twenty different new works received their first performance . These British works were presented in a context of contemporary music by other composers including Schoenberg, Stravinsky, Boulez, etc. The open-air production of A Midsummer Night's Dream by David William mounted in the Inner Bailey of Ludlow Castle was the central feature of the Ludlow Festival. This has been established partly as a result of the interest aroused by recent revivals of Milton's Comus which was originally written for performance in the Banqueting Hall of the Castl e in 1634. Special Festival Exhibitions in England included Drawings by Joh n Ruskin (Aldeburgh), Oil Paintings by Jack B . Yeats (York), and Painting s and Drawings by Rubens (King's Lynn). To turn from Arts Festivals to Arts Associations-in the fourth year South Western of its existence, the South Western Arts Association was gratified to find Arts that the importance of its work was recognised by the Gulbenkian Association Foundation, which made available two substantial grants. The first was a grant of £1,000 per annum for three years towards the cost of administra- tion ; and the second, a grant of £1,000 per annum for five years fo r 57 activities . (See Appendix F .) While the Association realises that at the en d of the three-year period it will have to see that funds from other sources are raised to fill the gap left by the withdrawal of the administration grant, there is the possibility that if at the end ofthe five -year period a satisfactor y account of the use of the activities grant can be rendered it may b e continued for a further period . One of the first purposes to which thi s activities grant was put was to underwrite the cost of touring an Exhibitio n of African and Oceanic Sculpture from the Royal Albert Memoria l Museum, Exeter. Other special projects for poetry, music and drama ar e under consideration . The South Western Arts Association Annual Report for 1959-60 shows that at the end of March 1960 there were twenty-nine membe r societies, twenty-seven associate societies and 214 individual jnembers. Midlands Arts The Midlands Arts Association completed the second year of it s Association existence with a membership of eighteen arts centres or clubs and three art societies. An exhibition of members' paintings was held at the Northampton Art Gallery in May-June 1959 . Exhibitors were drawn fro m affiliated societies all over the Midlands. About 4,000 visitors attended ; and eight pictures were sold . It is hoped to make this exhibition an annua l event. The 1959 Assembly was held at Ragley Hall, near Alcester. About 300 persons were present ; and the main feature was a poetry recital given by Gwen Frangcon-Davies . Arts Centres In addition to the forty-six arts centres and clubs in the South-West an d and Clubs in other parts of Midlands that are members of the South Western Arts Association or the England Midlands Arts Association, there are twenty-two centres and clubs i n other parts of England that look direct to the Arts Council for advice and financial help towards the cost of professional activities in their season' s programmes. As will be seen from Appendix E, a number of these centres and club s are also in receipt of subsidies from their local authorities, and in some cases the local education authorities also recognise their contribution t o cultural training and recreative activities .

58 9

SCOTLAN D

THE CRISIS IN THE THEATR E The most disturbing feature of the 1959/60 season in Scotland has been Declining the very serious decline in audiences at the four repertory theatres which Audiences work in association with the Arts Council's Scottish Committee . Atten- dances at the theatres in Edinburgh and Perth had already begun to fal l off in 1958 ; in 1959 these two theatres suffered further decreases in th e number of seats sold, the average weekly drop being fifteen per cent . at Perth Theatre and ten per cent . at the Gateway Theatre in Edinburgh. In the spring of 1959 the `epidemic' spread to Dundee and Glasgow . For the year which ended on March 31st, 1960, audiences at the Dunde e Repertory Theatre fell by twelve per cent . of the previous year's average , while at Glasgow the Citizens' Theatre showed a drop of nine per cent. in attendances at their plays. The position at the Citizens' is, however , obscured by the enormous success of their Christmas Revue which played to capacity houses for eleven weeks, as against an eight-week run for a similar revue in 1958/59 . If these song and dance shows are included i n the reckoning the figures show an increase of two and a half per cent. over the previous year. This decline in theatre audiences is probably the most serious crisis that has overtaken artistic endeavour in Scotland since the principle of Government subsidy for the Arts was first accepted . What is to be done about it? Should the theatre managements play for safety by putting o n more and more popular farces, `tea-cup' comedies and old war-horses of the London stage? This expedient has been tried by some of them but it has failed to attract enough of the older patrons to stop the rot, and ha s clearly alienated the new young audiences which might be built up if the y were offered new and exciting plays on serious themes . At a recent conference of representatives from these four theatres it wa s generally agreed that the present crisis was largely due to this difficulty of choosing plays which would appeal to youth and at the same time not drive away the older regular patrons . Most of those present felt that no effective compromise was possible and that the repertory theatres ' essential task was to concentrate on attracting more young people . 59

Bonus Scheme The Scottish Committee of the Arts Council supports this view and ha s this year given practical expression to it in the form of a new scheme o f bonus grants for plays of good quality . Each of the theatres taking par t in the scheme is expected to put on at least one worth-while play in thre e before receiving any bonus ; each worth-while play in excess of thi s proportion will qualify for a bonus of £100 to be paid at the end of the current financial year. The scheme is in effect a form of insurance against the risks involved in such a policy and it has been welcomed whole- heartedly by the four repertory managements . A special panel has been appointed to decide borderline cases . Successful Happily there are two exceptions to this trend of declining theatr e Exceptions : audiences Pitlochry : the Pitlochry Festival Theatre and the Scottish Committee' s tours of theatre-less areas. At Pitlochry there are presented annually si x plays in `true repertory' (i.e. a different play each night) repeated weekl y throughout the spring, summer and early autumn for the entertainment o f holiday makers in the district and coach parties from more distant part s of Scotland . This theatre does not, of course, have to face the heavy competition which operates in the cities, but even so its achievement i s remarkable. Attendances at this theatre have in fact increased each yea r since the first season nine years ago, and the figures for 1959 show an improvement of one and a half per cent . over the 1958 season . Tours of In the places visited by the Scottish Committee's tours on the basis of Theatre-less direct provision, an audience peak was reached in 1956/57, since whe Areas n there has, until this year, been a gradual decline except in the case of a few particularly well-run organisations . In the year under review, however , there have been signs that this trend has, in part, been arrested. Indeed, no definite overall results can be noted this year ; while some of the smaller places still have dwindling audiences, a surprising number show a definite increase and some have had their best season since 1952 . In a country so subject to the vagaries of the weather and other unpredictable factors it would be dangerous to say that the tide ha s turned or is even turning, but the fact that (with several notable exceptions ) it is the northern places which generally show the decline and the souther n ones which show the increase seems to indicate that the first impact o f television is perhaps wearing off. The greater coverage of television whic h is fairly new to the north, may be, in part at least, responsible for th e pattern. If this is so, then the long-term prospects appear hopeful. Are Civic To return to the city theatres, it would seem that high standards o f Theatres the acting and decor are no longer sufficient in themselves to retain th Remedy? e 60 necessary numbers ; -nor do good plays appear to have had much effect in the past year or so . Something more is clearly needed if the repertor y theatres are to be saved ; audiences must be attracted by some means o r other, and the view is gaining ground that one answer is to make theatre- going more exciting than it is at present . A visit to the theatre should b e a special occasion . The real need is for better amenities, which means, i n most cases, new theatre buildings in central positions with restaurants and spacious foyers on the lines of the Belgrade Theatre in Coventry . Glasgow, Edinburgh and Dundee all need new civic theatres and every effort shoul d be made to persuade both the Government and Local Authorities t o accept this view.

FINANC E The Scottish Committee's grant for the financial year 1959/60 remained at £84,850 - the same figure as the previous year . Nearly two-thirds of this amount was disbursed in grants and guarantees to independent bodies, the chief recipients being the Scottish National Orchestra, th e Edinburgh Festival Society, the National Federation of Music Societie s and the Repertory Theatres . Just over one-sixth was spent on the direct provision of concerts, plays, opera and ballet performances, art exhibition s and lectures, and films on art . The Committee also continued its policy of buying contemporary Scottish paintings.

AR T The Committee is proud to have presented in Scotland this year the Two French large exhibition of water-colours, drawings and engravings by Dunoyer Artists de Segonzac and a small exhibition of lithographs by Marc Chagall . The Segonzac exhibition which was arranged by the Arts Council first i n London, was shown to advantage in the spacious Diploma Galleries o f the Royal Scottish Academy. The delight of the exhibition of lithographs by Chagall was increased by the presence of the artist who attended th e private view, along with his wife, in the Committee's Gallery in Edinburgh . Two unusual memorial exhibitions were arranged of works by artists Two Memorial who were hardly known : the first, in Glasgow, of 135 paintings and Exhibition s drawings by Alan Fletcher who was killed in an accident in Italy in 195 8 at the age of twenty-eight; the second, in Edinburgh, of oil paintings by Frances McCracken who had been a recluse for many years and died i n 1959 at the age of eighty . A number of works was sold from both thes e exhibitions, including four purchased by the Committee . 61

Festival During the Edinburgh Festival, when the Exhibition of Czech Art wa s Exhibitions presented in the Royal Scottish Academy, the Committee showed a small exhibition of Contemporary Florentine Paintings in its own Gallery and an exhibition of Renaissance Decorative Arts in Scotland in the Scottish National Portrait Gallery . This latter exhibition was arranged by the staff of the Gallery, and the quality and richness, particularly of the woo d carving, impressed visitors. Two While the Committee does all it can to make the work of Scottish Exhibitions in painters as widely known as possible in Scotland it is always ready to tak England e any opportunity to send them further afield. This year it was happy to arrange, at the request of the Fine Art Department of Nottingha m University, an exhibition of sixty works by six of the established Scottish artists, for a showing in the Nottingham University Art Gallery. The opportunity was also taken to arrange, along with other bodies, a selection of oil and water-colour paintings and drawings by contemporary Scottish artists for the West Riding of Yorkshire Education Committee . The exhibition was shown in the Cooper Art Gallery, Barnsley, and th e West Riding bought twenty-four works from it . Support to Once more support was given to the Society of Scottish Artists to enabl e Other Bodies it to arrange a loan section in its annual exhibition which, this year, was o f a group of paintings by Leonard Rosoman . A grant was also given to the Trustees of the Smith Art Gallery, Stirling, to enable them to arrange i n their gallery, during the Stirling Festival fortnight in May, 1960, an exhibitio n of Old Master paintings from public and private collections in the area . Touring The Committee continues to tour exhibitions extensively, frequently Exhibitions, with the addition of the services of a guide lecturer, and to maintain th Lectures and e Films interest between exhibitions by arranging series of lectures and demon- stration lectures, and showings of films on art . This year thirty lectures were arranged in the smaller centres and twenty-one programmes of films . Purchases Twenty-two paintings were purchased during the year, and the Committee now owns 133 paintings and drawings by contemporary Scottish artists and fifty-four original lithographs by contemporary artists , both English and Scottish.

EDINBURGH INTERNATIONAL FESTIVA L The highlight of the 1959 Edinburgh Festival was the season of Swedish Opera at the King's Theatre. The Royal Opera from Stockholm presented a programme of immense interest and stimulus which included the firs t performance in Britain of their own version of Verdi's Un Ballo in 62 Maschera (in Swedish) and the first performance outside Sweden of Blomdahl's Aniara ; Die Walkure and were sung in German and in Italian. Orchestral concerts were given by the Royal Philharmonic Orchestra , the Lucerne Festival Strings, the London Mozart Players and the Scottis h National Orchestra ; the eagerly awaited visit of the Czech Philharmonic Orchestra was cancelled at the last moment owing to circumstance s beyond the control of the Society or the orchestra itself, and, at shor t notice, the Royal Philharmonic Orchestra agreed to give the last thre e concerts of the Festival . Conductors appearing with these orchestras wer e Sir (in a concert of his own works), Sir Adrian Boult , Rudolf Kempe, Harry Blech, Colin Davis and Alexander Gibson . Chamber music included recitals by the Amadeus, Loewenguth, Stros s and New Edinburgh Quartets, the Leppard and Prometheus Ensembles , and the Sextet Luca Marenzio ; in addition recitals were given by Seefried , Fischer-Dieskau, Fournier and Kempff, Lewis and Moore, Vronsky an d Babin, Rampal and Veyron-Lacroix, Schneiderhahn and Seeman. Notable events in the drama programme were the Old Vic's stylis h presentation of Congreve's The Double Dealer, the English Stage Compan y in Cock-a-Doodle Dandy, by Sean O'Casey, and the Glasgow Citizens ' Theatre company in Bridie's The Baikie Charivari. The Perth Theatre company was seen in the world premiere of Eric Linklater's Breakspear in Gascony and Dundee Repertory Theatre presented Candida. The Thrie Estaites was given its third production at the Assembly Hall, directed a s in former years by Tyrone Guthrie. Three Ballet companies appeared at the Empire Theatre : Les Ballets Jean Babilee, the National Ballet of Finland and the Jerome Robbin s Ballet, the last of which received the unanimous acclaim of the critics . Michael Flanders and Donald Swann were outstanding among the Lat e Night Entertainments, which included Anna Russell and six programmes in celebration of the Robert Burns Bicentenary . This year's Art Exhibitio n at the Royal Scottish Academy was Masterpieces of Czech Art. The Scottish Committee's grant to the Festival Society was increased from £10,000 to £12,000, and private donors gave £15,000, an increase of £2,500 over the previous year. In spite of this and a very substantial reduction in gross expenditure the Festival showed a net deficiency of over seven thousand pounds . The Society accepted with regret the resignation of Mr. Robert Ponsonby as Artistic Director . Mr. Ponsonby has been associated with the 63 Festival since 1951 . He was Artistic Administrator in 1956 and for the last four years he has been Artistic Director . He will be responsible for planning the 1960 Festival. The Right Honourable the Earl of Harewoo d has been appointed to succeed Mr . Ponsonby.

MUSI C Scottish In contrast to the depressing tale of declining audiences in the theatr e National the tally of attendances at symphony concerts shows an exhilarating Orchestra improvement. At the series of concerts given by the Scottish National Orchestra in Edinburgh and Glasgow, audiences increased substantiall y over the previous season . The Aberdeen concerts were also better attended, though there was a slight decrease in Dundee . The larger concert audiences in Edinburgh, Glasgow and Aberdeen were undoubtedly due to the great interest caused by the appointment a s Musical Director and Principal Conductor of Mr . Alexander Gibson, the Scottish musician . Mr. Gibson's enterprising programme planning and dynamic direction of the orchestra created a most favourable impression on the music-loving public, and the management is to be congratulate d on his appointment. The orchestra performed on over 180 occasions during the year, including a number of special concerts for children, the Glasgow Grand Opera Society's performances, ballet performances and broadcasts . Three concerts were given by the orchestra at the Edinburgh Festival and three at the Stirling Festival. Mr. Sam Bor succeeded Mr . Thomas Matthews as leader. National Guarantees against loss were offered to thirty-four music societie s Federation of through the Scottish Committee of the N .F.M.S. ; among the works Music performed by more than one of the fifteen choral societies were Messiah Societ i es (six performances), St Matthew Passion (four), The Creation (two), and Brahm's Requiem (two). Other important works which received single performances were the St. John Passion, The Seasons, Judas Maccabeus, Verdi's Stabat Mater, FauWs Requiem and Britten's St. Nicholas. The fourteen music clubs receiving help from the Committee gave a total of seventy concerts among them, of which twenty-three were strin g quartet recitals . A further ten concerts were provided by the five amateu r orchestral societies. Other Concert Help was also given to the following organisations : The Saltire Society, Societies the Edinburgh Lunch-Hour Concerts in the National Gallery of Scotland, Connoisseur Concerts (String Orchestra), the College of Piping for their 64 Easter tour and general work in the Highlands, and two series of organ recitals in Edinburgh and Glasgow. In addition a number of smaller guarantees and grants was given for single concerts . Owing to financial restrictions and increased costs the Scottish Directly Committee presented rather fewer concerts this year than usual . The total Provided of 116 included twenty-seven operatic concerts which are mentioned later music in the Report under the heading of Opera . Forty-eight concerts of chamber music were given, the visiting ensembles including the London Piano Quartet, the Melos Ensemble (clarinet quintet), Musica da Camera and the Osian Ellis Harp Trio. Artists normally resident in Scotland provided the following chamber- music ensembles : piano trio and tenor ; soprano, flute, violin and piano ; and a string quartet. To celebrate the various centenaries falling during 1959 a special group was formed entitled Saltire Serenade ; the programme, containing music b y Purcell, Handel and Haydn and poems by Robert Burns, was performe d by an ensemble consisting of a soprano (interchanging with a contralto) , tenor, violinist, pianist and verse speaker . The tour of sixteen concerts ranged from Orkney and Caithness to Wigtownshire .

OPERA The Sadler's Wells Opera visited Aberdeen, Edinburgh and Glasgow in Sadler's Wells April, 1959, and again in February and March, 1960 . Operas given during the latter visit were Die Fledermaus, La Cenerentola, Tannhauser, and La Boheme. The Arts Council's directly managed `Opera for All' Group in a fairly Tours widespread tour of the smaller towns gave three performances of La Cenerentola, two of The Beggar's Opera, four of La Boheme and two of The Barber of Seville. Once again the average attendance in Scotland brok e all previous records. The Intimate Opera Company, whose repertoire this year include d Thomas and Sally and The Cooper by Arne, Jacques and Jacqueline and The Lottery by Offenbach, Gentleman's Island (Horovitz), Three's Company (Hopkins) and True Blue (Carey), gave sixteen performances scattered over a wide area. Four amateur opera societies were given financial assistance towards the Amateur cost of engaging professional musicians. The Glasgow Grand Opera Opera Society, accompanied by the Scottish National Orchestra, presented and Nabucco on alternate evenings for one week in the Alhambr a 65

Theatre, Glasgow; the Scottish National Opera Company gave thre e performances each of and Faust at the Gateway Theatre in Edinburgh ; the Edinburgh Opera Company performed Mozart's Thamos, King of Egypt and Purcell's Dido and Aeneas, also at the Gateway ; and Glasgow's Drawing Room Music Society gave five performances o f Mozart's Don Giovanni. BALLET Interest in ballet, nurtured over many years by the Scottish Committe e and now, perhaps, given a particular stimulus by television, remains at a high pitch in Scotland. The Royal In October, a section of the Royal Ballet performed to packed houses in Ballet Aberdeen, Edinburgh and Glasgow, spending a week in each city . The repertoire included Swan Lake, Coppelia, Les Sylphides and La Belle Dame sans Merci, which was first seen at the Edinburgh Festival in 1958 . Tours The Ballet Rambert, in a short visit consisting of one week at the Pert h Repertory Theatre and one week of touring, undertook with outstandin g success the valiant task of travelling full presentations of Giselle and Coppelia as well as a programme of mixed ballets. Both artistically and from the box office viewpoint the tour was one of the best ever undertaken in Scotland by this company. The performances were seen by 6,366 people, an average audience of 584 . Newcomers to Scotland who attracted a great deal of favourable comment during their fortnight's tour were the Western Theatre Ballet . A fairly extensive repertoire was carried to meet the limitations of the ver y varied stages which they encountered and the freshness and originality o f their programmes were warmly approved . In Stornoway an audience of almost 400 welcomed the first full-scale ballet company ever to visit th e Isle of Lewis. The average audience for this tour was 228, a remarkably good figure for a new company which visited a number of comparativel y small places. The company was seen by a total audience of 2,507 . DRAMA Repertory Enough has already been written in the opening chapter, `Crisis in the Theatres Theatre,' to show what difficulties the repertory theatres are up against in maintaining audiences. In addition, certain suggestions have been pu t forward and it simply remains to give a brief survey of the work done by these theatres during the year 1959-60. Dundee None of the new plays submitted to the Dundee Repertory Theatr e during the year was considered by the management to be of a sufficientl y 66 high standard for presentation, this for the first time for some years. To counteract this deficiency, and with the aid of the Scottish Repertor y Theatre Trust, a well-known author has been commissioned to write a pla y and the theatre has arranged that a good deal of his time in preparatory study will be spent in and around the theatre . Notable productions of 1959 were J . B. Priestley's I Have Been Here Before, a modern dress Importance of Being Earnest and Shaw's Candida, in which play the company appeared at the Edinburgh Festival . But the peak event of the season was a brilliant production of Henry IV, Part I, in May, 1960, which filled the theatre at four matinees for schools, but unhappily failed to draw the general public . The winter ended adversely for the Edinburgh Gateway Company, Edinburgh which had to close its season at the end of January instead of March as in former years. Financial losses in a short season undertaken experimentall y in the previous summer and absence from the Edinburgh Festival (in whic h members of the company were engaged in The Thrie Estaites) meant that the winter season began with smaller reserves than in the past . The situation did not improve and it was decided to close down rather than to risk th e future existence of the company which begins a new season at this year' s Edinburgh Festival. The company included during the autumn a new play , The Keys of Paradise, by Ronald Mavor . The Glasgow Citizens' Theatre opened the 1959-60 season with a revival Glasgow of James Bridie's The Baikie Charivari, which was taken to Glasgow after first being seen at the Edinburgh Festival . The play was given an original treatment by the Citizens' producer, Peter Duguid, and was acclaimed by the critics as one of the finest dramatic presentations of this year's Festival . An interesting and varied programme followed, including Gigi, The Kidders, Othello (which topped the poll of the Young Citizens' Club) , You Never Can Tell, and The Great Sebastian (a British premiere) . The Christmas revue was followed by The Alchemist and One More River. J. M. Barrie's centenary was honoured by the production of his first three- act play, Walker, London, which signally failed to draw the public . Perth Repertory Theatre ran two companies as usual, playing in Perth Perth Theatre and visiting Arbroath, Kirkcaldy and Stirling at regular interval s during the season . They also visited Dunfermline, Troon and Greenock. In the summer months the two companies toured the Highlands and Borders. In August the company made its first appearance in the officia l programme of the Edinburgh International Festival in a new play by Eri c Linklater, Breakspear in Gascony. 67

In January, 1960, it became apparent that the theatre's financial situation would not allow the completion of the year's touring programm e and the company was forced to curtail its activities for the rest of the financial year and to confine its performances to Perth. Help was given to the theatre by Perth Town Council and Perth Count y Council, and the newly formed Playgoers Club raised over £1,000 ; the club's activities will undoubtedly provide a most useful addition to the company's finances in the future. Outstanding productions were A View From the Bridge, Picnic, Dinner With the Family, Flowering Cherry, The Wandering Jew, All My Sons and The Shifting Heart. Pitlochry The ninth annual Pitlochry Festival (April 25th to October 3rd, 1959 ) Festival succeeded in bringing the theatre `out of the red' despite the exceptionally Season hot summer. Revivals of Wilde's An Ideal Husband, Maugham's The Constant Wife and Garrick's adaptation of Susannah Centlivre's The Wonder averaged seventy per cent. of capacity, but James Bridie's The Switchback and Howard Lockhart's play on Madeleine Smith appealed somewhat less. The premiere of Rosemary Anne Sisson's drama of the Borgias, The Splendid Outcasts, was directed by Jo Dua of the Belgian National Theatre. At the end of the season the company undertook a three- week tour of Northern Ireland under the auspices of C.E.M.A. in which two plays were performed in Belfast and eleven provincial centres . Drama Tours This year the Scottish Committee's New Scottish Touring Theatre brok e fresh ground by taking a modern play on tour, The Chalk Garden, by Enid Bagnold. The company toured for three weeks in the north (opening i n Stornoway and also playing for two nights in Shetland) and a further week in the central area. The total audience of 4,417 was slightly down on las t year, partly due, possibly, to the choice of play, but mainly to the unfortu- nate coincidence of the General Election which effectively reduced the houses for one week to about fifty per cent. of normal. The Edinburgh Gateway Company chose Robert Kemp's A Trump for Jericho for their spring tour in the southern counties. Puppets Welcome visitors to Scotland after an absence of many years were Joh n Wright's Marionettes, which played to an average audience of 237 in a tour which opened in Caithness and ended in Greenock . Several schools en route took the opportunity of booking matin6e performances. The Lee Puppet Theatre returned to Scotland from India and undertoo k a tour of eighteen performances which included Argyllshire and the Isle s of Islay and Mull. 68 The Scottish Repertory Theatre Trust, which was inaugurated in 1958 Scottish with a gift of £5,000 from Scottish Television, received a further donation Repertory Theatre Trus t of £2,000 from the same source. The Trust made grants of £350 each to the theatres in Dundee, Edinburgh, Glasgow, Perth and Pitlochry . A new trust deed was drawn up widening the scope of the Trust to include `the promotion and encouragement of dramatic art in all its forms in the Repertory Theatres in Scotland .' Two travel grants were awarded during the year to a producer and a Travel Grants designer working in the Scottish Theatre to enable them to study stage design and methods of production abroad . The recipients were Neil Curnow, Assistant Producer at Dundee Repertory Theatre and David Jones, Designer at the Citizens' . The grant of £150, offered last year to the Edinburgh Gateway Company Play for the commissioning of a play by a chosen author, was returned as the Commissions author concerned regretfully felt unable to accept the commission . Happily the Pitlochry Festival Society had agreed to accept a similar offer, and the y have commissioned Alexander Reid to write a play for their 1961 Festival .

POETR Y Honour'd Shade, the anthology of new Scottish poetry compiled by Robert Burns Norman MacCaig for the Scottish Committee to mark the bicentenary Bicentenary of the birth of Robert Burns, was published by W . and R. Chambers Ltd. in November, 1959. Twenty-seven authors contributed between them a total of seventy-nine poems in Scots, English and Gaelic . At the time of writing over one thousand copies of the anthology have been sold . Guarantees against loss were offered to the Scottish Association for the Poetry Speaking of Verse for a Shakespeare reading in Edinburgh and a Readings Memorial Recital of Edwin Muir's poems in Glasgow .

MEMBERSHIP OF THE SCOTTISH COMMITTE E The following retired from the Committee during the year : Mr. Robert Kemp, Mr. John M . Playfair and the Hon . Mrs. Michael Lyle . Mrs. Lyle was reappointed by the Council for a further term . In addition the following new members were appointed to serve on the Scottish Committee : Mr. Esme Gordon, A.R.S.A., F.R.I.A.S., F.R.I.B.A., Councillor J . D. Kelly, C.B.E., D.L., J.P., and Mr. C. H. Mackenzie, C.M.G. Councillor Kelly was also appointed by the Chancellor as a new member of th e Council. During the year Mr. William MacTaggart was elected President of th e Royal Scottish Academy and an Honorary Royal Academician. 69

10 WALES

Finance The Welsh Committee's grant from the Arts Council for 1959-60 was £43,950. In Appendix C details of the distribution are given, and it will b e seen that expenditure exceeded revenue by £5,985 . As a result the Com- mittee's reserves at March 31 st,1960, were reduced to £3,303 . The increase of £7,616 in general expenditure on the arts benefited all branches of th e Committee's activities (see Schedule 1) ; the increase of £1,668 in general operating costs reflects the general tendency of higher costs of adminis- tration. (See Schedule 2 .) A Review of Four years ago, in the Eleventh Annual Report, the work of the Art s the Work Council during its first ten years and the development of its main policies were reviewed. At that time the Council's Committee in Wales was in its third year of self-government. Since then there has been apparent a n increasing recognition of the place the arts can take in the life of the community. The Welsh Committee, within the means at its disposal, has helped to foster this increasing interest, and ready support for the project s it has assisted or promoted has come from many kinds of audiences, fro m local government authorities and local education authorities. Some com- parative figures of local government authority support for projects in musi c and drama between 1954 and 1959 bear this out . In 1954-55 Welsh local authorities provided grants and guarantees totalling £4,800 ; in 1956-57 the figure had risen to £9,200 ; in 1958-59 to £12,000. There have been set-backs of course, and it would be misleading to pretend that all is well with th e arts in Wales in 1960 . In any case a second look at Arts Council policy may prove a stimulating as well as an interesting experience just now . In an earlier Report (`The First Ten Years,' page 30) these words occur . `The Arts Council's policies, then, can be simply summarised . Its trustee- ship for the arts in Great Britain lays upon it the obligation to assist an d encourage (a) the improvement of professional standards of performance ; (b) selective diffusion ; (c) local responsibility; (d) the provision of buildings.' 70 How closely has the Welsh Committee been able to apply these policies The Welsh to its work in Wales? The question can be answered only after looking at Problem the problem which is Wales . The arts are not alone in facing this problem : it confronts us in every sphere of modern life, whether it be sport, publi c transport, the siting of new industry, rural depopulation, or the adminis- tration of the health services . By English standards Wales has no long- established metropolitan centre, no provincial centres of large population . It is a country of small towns, of strong national feelings, nowhere stronge r than in these small towns . It is salutary to remember that the populatio n of Leeds exceeds the combined populations of Cardiff, Port Talbot an d Swansea, and yet Swansea has had a Festival of Music and the Arts fo r twelve years. Outside the industrial south the biggest town in Wales i s with a population of 32,000. In rural Wales the isolation of the small towns sharpens the problem. Mountain barriers prevent social intercourse, and of no place in these areas can it be said, this is the centre to which people will come habitually, t o seek entertainment or the refreshment that music and drama can give . Because of the smallness of the towns and the limited resources of loca l government authorities there was nothing in Wales to compare with the provincial orchestras and repertory theatres of England. Exhibitions of great paintings could only be seen in Cardiff, Swansea and Aberystwyt h - there were no other galleries spacious enough for the purpose . But the changes have been rapid and in some part they have come about with th e assistance and encouragement of the Arts Council through its Wels h Committee, which has sought diligently to apply in Wales these basic national policies . To improve professional standards of performance has always been considered of first importance, and the results of the Com- mittee's insistence are to be seen throughout Wales : in the splendid per- formances of the Welsh National Opera Company for instance, in the high standard of programmes presented by music clubs in the smallest of town s and in the performances of drama both Welsh and English promoted by the Welsh Committee. Local responsibility for the well-being of the arts has been accepted, at least in part, by a large number of local governmen t authorities, as the figures quoted earlier show . To encourage selective diffusion and the provision of buildings has bee n and continues to be a more difficult matter . It is here that the lack of centres of population throughout most of Wales is keenly felt. The Welsh Com- mittee sends out drama companies to tour the theatreless towns . These are costly to operate, and the results may not always seem to justify th e 71

expenditure, but they do bring the live professional theatre to Wales. It is expensive as well as selective diffusion, but this is an activity which the Welsh Committee feels it must pursue. The lack of suitable accommodation for the practice and enjoyment of the arts in Wales was emphasised strongly in the `Housing of the Arts' Report, the Welsh section of which was published in April, 1959 . Here again the provision of new buildings for the Arts has not been possible on any scale because of the meagre financial resources of Welsh local authorities and the scattered population of the rural areas. ART Welsh Two major exhibitions were arranged by the Welsh Committee durin g Committee the year Exhibitions . `Seven British Painters' reviewed the work of a group of leadin g British painters - Davie, Frost, Heron, Hilton, Passmore, Richards an d Vaughan. The exhibition opened at the National Museum of Wales an d was later shown in the Gregynog Gallery of the National Library of Wale s and at the Glynn Vivian Gallery, Swansea . Most of the work shown was non-representational in character and aroused a great deal of interes t and comment. For the Seventh Annual Exhibition of Contemporary Welsh Painting , Drawing and Sculpture the theme of `Industrial Wales' was chosen . Ninety-four paintings and pieces of sculpture representing the work o f sixty-seven artists were chosen to be hung by Josef Herman, Bernard Meadows, John Piper, Ceri Richards, Claude Rogers, and William Townsend. Mr. S. Kenneth Davies opened the exhibition in the National Museum of Wales and later it visited Swansea, Bangor, Aberystwyth and Wrexham. An outstanding feature of the exhibition was the great interes t shown in it by industry, the potential (and more and more active) patro n of today. Facilities were readily granted by thirty industrial organisation s to artists who wished to visit their premises to prepare drawings . Prizes totalling £250 were offered by :- British Nylon Spinners Ltd. The Owen Organisation Aberthaw and Bristol Channel Richard Thomas & Baldwins Ltd . Portland Cement Company Ltd . South Wales Argu s James Howell & Company Ltd. Western Mail The Metal Box Company Ltd . The De Havilland Aircraft Company Ltd. Purchases totalling £428 were made by :- Guest Keen & Nettlefolds Ltd . Monsanto Chemicals Ltd . Richard Thomas & Baldwins Ltd . D. Morgan Rees & Sons Ltd. The Steel Company of Wales John Morgan (Builders) Ltd . 72

George Elliot & Co . Ltd. Saunders-Roe (Anglesey) Ltd . Courtaulds Ltd . Wales Gas Board British Resin Products Ltd . Standard Telephone & Cables Ltd . Western Mail The Metal Box Company Ltd . Cambrian Airways In addition to the two major exhibitions the Welsh Committee gave Exhibitions . They supported by financial support to five organisations to arrange exhibitions the Welsh were :- Committee 1 . The Society for Education through Art for the Pictures for Wels h Schools Exhibition shown in Cardiff; 2. the South Wales Group annual exhibition shown in Cardiff, Swansea and Newport ; 3. the Contemporary Art Society for Wales exhibition of recent acquisitions which toured Wales ; 4. Anglesey Rural Community Council exhibition of Welsh Contemporar y Painters assembled by the Howard Roberts Gallery and shown i n Llangefni ; 5. the Fifty-Six Group for its annual exhibition in Cardiff. During the year, thirty-six Arts Council exhibitions were shown in Wales, details of which are given in Appendix D . Art Films continue to be in demand and two tours were arranged fo r Art Films Wales. A total attendance of 4,142 was recorded and special showing s were arranged for school audiences . Purchases of pictures for the Welsh Committee's collection included Purchase of works from the National Eisteddfod Exhibition, Caernarvon, the South Pictures Wales Group Exhibition and the Industrial Wales Exhibition . The collection now totals 156 works and plans are being prepared to mount it as a travelling exhibition, in one or more parts . Local educatio n authorities in Wales continued their practice of purchasing pictures fro m the Pictures for Welsh Schools Exhibition and sales totalled £845 . Pur- chases were made by the Education Authorities of Cardiff, Glamorgan , Merthyr Tydfil, Denbighshire and Monmouthshire, and by the National Museum Schools Service and Pembroke Dock Secondary Modern School . In April of last year a replica of the Design Centre was mounted in the The Design . Sir Gordon Russell, Director of Centre Comes premises of David Morgan Ltd., Cardiff to Wales the Council of Industrial Design, inaugurated its appearance in Wale s with a lecture in the Reardon Smith Lecture Theatre. The Centr e attracted many visitors and remained open until June 13th.

DRAM A In the autumn of 1959 the Arts Council's Theatre Company toured English Tou r Wales with productions of The Winter's Tale, by William Shakespeare, and Peer Gynt, by Henrik Ibsen, in a translation by Norman Ginsbury. The 73

company visited twenty-four centres ; it gave twenty-three performances ofPeer Gynt and twenty-two performances of The Winter's Tale, including fourteen school performances. The Winter's Tale was being studied by the majority of secondary schools in Wales, and the production by Tob y Robertson was attended by large numbers of school children . By presenting Peer Gynt the Welsh Committee gave many people their first experience of this classic of European drama . The producer, Colin George, achieved a marked success. The designer of the sets for both plays was John Bury. Once again the company appeared in Swansea for a week in conjunction with the Swansea Festival of Music and the Arts . Welsh Tours The Welsh Committee undertook short tours with two Welsh drama companies during the year. The 1958 Welsh Theatre Company gave thre e more performances of Brad (`Treason'), by , produced by Herbert Davies, in Swansea and Dolgellau . An earlier Welsh Theatre Company directed by Emlyn James revived the production of Y Cymro Cyffredin, by Tom Richards, for performance in Ystradgynlais, Tycroes , and the Anglesey Drama Festival at Llangefni . The sets of both plays were designed by David Tinker . Welsh Drama During the autumn of 1959 Welsh Drama Festivals were held in Festivals Llangefni and Swansea and both were supported by the Welsh Committee. The Anglesey Drama Festival presented a new play, Esther, by Saunders Lewis. The other festival productions were of Y Cymro Cyffredin, by Tom Richards, and of a translation by Gruffydd Parry of Arms and the Man, by Bernard Shaw . In the Swansea Welsh Drama Festival performances were given of Y Doctor er ei Waethaf, a translation by Saunders Lewis of Moliere' s Le MJdecin Malgre Lui ; Y Tad a'r Mab, by John Gwilym Jones, and Gwyliwch y Paent, by Emlyn Williams, translated by T . Rowland Hughes . The Welsh Committee again supported the Drama Council of Wales wit h its festival of one-act plays in Welsh and English held at the Coliseum Theatre, Trecynon, in June. Arena Theatre The Arena Theatrepresented its tenth summer Theatre Festival in Cardiff during May and June and was supported by the Welsh Committee . The Festival has been presented for some years in association with the City o f Cardiff who provide an ideal setting for the theatre in the castle grounds . The plays performed were Summer of the Seventeenth,Doll, by Ray Lawler, Pygmalion, by Bernard Shaw, The Entertainer, by John Osborne, and The Silver Shilling, a play specially written for school audiences by John English. 74 POETR Y Voices of the Century was the title given to a programme of poetry, Welsh and devised by Glyn Jones, which was presented in Cardiff, Swansea and English Newport by Heather Black and William Squire . The readings were Recitals received with enthusiasm and there was a high proportion of young peopl e in the audiences. The programme was the most effective yet offered by th e Welsh Committee. The programme of Welsh poetry was devised by John Gwilym Jone s and read by Wenna Thomas, Alun Evans and W . H. Roberts at per- formances in Bangor (in conjunction with the Students' Arts Festival) , Aberystwyth and Wrexham . This Welsh programme was a successfu l attempt to give a brief review of the growth of Welsh literature from th e ninth century to the present day. All six recitals gave much pleasure, and although audiences were small , the Welsh Committee has been much encouraged by the interest shown . MUSIC The period May to October has been for some years the Festival season Festivals of in Wales. Some well-established festivals like the National Eisteddfod, the Music Swansea Festival of Music and the Arts and the International Eisteddfod present a week's programme. Others like the Montgomery County Festival, the Dee and Clwyd and Brecknock County are one-da y festivals that provide a festive occasion for the combined choirs of thei r localities to present choral works with major orchestras . All make an important contribution to the musical life of Wales. The Festivals held in May were the Dee and Clwyd at Corwen with the Royal Liverpool Philharmonic Orchestra conducted by Morgan Nicholas ; the Brecknock County at Ystradgynlais with the B .B.C. Welsh Orchestra conducted by Arwel Hughes, and the Montgomery County at Newtown with the Halle Orchestra conducted by Sir John Barbirolli. In June the second Llandaff Festival of Music was held, with th e London Symphony Orchestra conducted by Antal Dorati, the Philomusica of London conducted by Granville Jones and Robert Joyce, and th e distinguished pianist Claudio Arrau . During the week a commissioned anthem by Daniel Jones received its first performance and also the Strin g Quartet by Robert Smith which won the Chamber Award in the Welsh Committee's musical competition in 1958 . In July and August the two Eisteddfodau, the International at Llan- gollen and the National at Caernarvon, attracted large audiences, with their varied programmes of competitions and concerts . 75

To end the season, Swansea presented its Twelfth Festival of Music an d the Arts. In addition to the Brangwyn Hall concerts, two were given in St. Mary's Church by the Philomusica of London and Francis Jackson o f York Minster. The extension of the Festival into a second week, which included performances of Peer Gynt and The Winter's Tale by the Arts Council's theatre company, was a successful addition to the first week o f music given by the Halle Orchestra and Sir John Barbirolli with inter - national artists . National The year 1959 was an important one for the choral societies of the Federation of National Federation of Music Societies for they were honoured by havin g music Societies the Annual General Meetingg and Conference of the Federation in Wale s for the first time. The meetings were held in Swansea where the Corpora - tion offered the splendid facilities available in the Guildhall. The Confer- ence ended with a concert given by the Combined Choirs and the B .B.C. Welsh Orchestra in the Brangwyn Hall, and delegates from all parts of the United Kingdom were unanimous that Swansea and the fine organisatio n of the Welsh Regional Committee of the Federation had fulfilled all thei r expectations of Welsh hospitality . During the year affiliated choral and orchestral societies gave thirty concerts . The Welsh Committee supported all these activities of the National Federation of Music Societies in Wale s by guarantees and also made a grant to the headquarters of the Federatio n for administration purposes. Orchestral Orchestral concerts arranged by the Welsh Committee during the year Concerts were given by the Philomusica of London, conductor Granville Jones, at Wrexham, Bangor and Rhyl in December, 1959 . In February, 1960, the Bournemouth Symphony Orchestra, conductor Charles Groves, visite d Aberystwyth, Fishguard, Port Talbot, Ferndale and Newport . Of these five concerts the Welsh Committee financed three, the Borough of Rhondda promoted the Ferndale concert, and the County Borough of Newport supported the last concert of the tour . Special mention should be made her e of the Barry and District Concerts Committee, set up during the year . Formed on the initiative of members of the Rotary Club of Barry, th e Committee, with the support of the Corporation and the Welsh Committee , sponsored with much success a concert by the Bournemouth Symphon y Orchestra in September . The Committee has won the good will of the loca l authority and industry in Barry and district and will continue to present orchestral concerts in the Memorial Hall, one of the few fine halls i n South Wales. Music and Music and Arts Clubs supported by the Welsh Committee continue to b e Arts Clubs 76 the most important link small towns and villages have with the liv e performance. During the year 123 concerts were arranged, including twenty-two by the Arts Council's `Opera for All' Company . This company has visited Wales for eleven seasons, in most cases returning year by year to the same place t o play to audiences that never tire of their performances . But new audiences are being won as well : during the Welsh tour the company gave si x performances which were promoted, by the Wrexham Rural District Council in Cefn, Coedpoeth, Llay, Broughton and Rhosllanerchrugog . The year 1959-60 was one of difficulty and crisis for the Welsh National Opera Opera Company, but seasons were given in Swansea, Llandudno an d Cardiff. The City of Birmingham Symphony Orchestra, conducted b y Warwick Braithwaite and Ivor John, joined the company for th e Llandudno season of a week . In Cardiff the Bournemouth Symphony Orchestra, conducted by Warwick Braithwaite, Charles Groves and Ivor - John, supported the company in fourteen performances . Anew production, May Night, by Rimsky-Korsakov, produced by John Moody with set s designed by Sally Halke, was given its first performance during the season . During the year the Welsh Committee provided increased support for th e Welsh National Opera Company, thereby affirming its faith in this organisation which has brought much prestige to Wales with its perfor - mances. Some reorganisation of the company is being planned and it is hoped that with the support it receives from the Arts Council, the Wels h Committee of the Arts Council and Local Authorities in Wales, its difficulties will be overcome and Wales can look forward to more opera from her National Opera Company . The Most Hon. the Marquess of Anglesey, Dr. D. Dilwyn John, Mr . Welsh Robert E. Presswood, Miss Frances Rees and Mr . Ceri Richards were Committee members of the Welsh Committee due to retire on December 31st, 1959 . New members appointed were Mrs . Llewellyn Jones, Mr . Alan Pryce-Jone s and Mr. Iolo Aneirin Williams. Members reappointed for a further period of service were Dr. D. Dilwyn John, Mr. Robert E. Presswood, Mis s Frances Rees and Mr . Ceri Richards. The Queen's Honours List included Mr. Ceri Richards, a member of Honours the Welsh Committee, who was made a Commander of the Order of th e British Empire. During the year Mr. Philip Jones, Art Assistant Director, left to join the Welsh headquarters staff. His place was taken by Mr . Thomas Cross, who was Office appointed to the post in July, 1959 . 77 11

NOTES ON THE ACCOUNT S

These notes are given in amplification of the Annual Accounts whic h are contained in Appendices A, B and C following . The Three Choirs Festival Association Limited was offered a guarante e cumulative over a cycle of three years so that any part of the guarante e uncalled in the first year falls to be carried forward and added to guarantee s offered in the following two years. Owing to the fact that the 1959 Festival at Gloucester showed a surplus there was no claim in 1959-60, but £75 0 has been charged in the 1959-60 Revenue and Expenditure Account an d included in Schedule 3 under Festivals . This will be carried forward to 1960-61 as an outstanding guarantee . The grant of £583 for the Newlyn Society of Artists shown in Schedule 3 comprises a grant for the year of £200 together with a gift of exhibitio n screens originally included in the Balance Sheet at the cost price of £383 . Included in Schedule 3 for the Cambridge Arts Theatre Trust is a Drama Transport Subsidy of £550 and a contribution of £1,000 to an endowment fund which is being set up as a memorial to the late Lord Keynes who founded the theatre . The gift of £100, made to the Council by the late Mr . E. C. Packham, has been awarded as a bursary to John Heath Stubbs and is included in Schedule 3 under Promotion of New Drama . During the year ended 31st March, 1960, the Council accepted a gift o f a 'cello from the executors of the late Mrs . Watson. This 'cello, valued at £100, is included in the Piano and 'Cello Account on the Balance Sheet . Mrs. Watson had, in her lifetime, lent the 'cello to the Trustees of the Suggia Gift for the use of young students, and the Council has continue d to use it in this way . The Accounts for Scotland distinguish in the year 1959-60 between the collections of `Reproductions' and `Lithographs' and these Assets appear as separate items in the Balance Sheet at 31st March, 1960 . Advance payments of £126 5s . Od. have been made against lithographs still to b e delivered and this sum has been transferred from the Lithograph Account to Sundry Debtors . 78 APPENDICE S

79

THE ARTS COUNCI L APPENDIX A REVENUE AND EXPENDITURE ACCOUN T

1958/59 £867,244 GENERAL EXPENDITURE ON THE ARTS IN ENGLAN D (See Schedule 1) £985,771 4 5 93,940 GENERAL OPERATING COSTS IN ENGLAND (See Schedule 2) 99,817 18 1 1 TRANSFER TO CAPITAL ACCOUNT REPRESENTING CAPITA L 3,638 EXPENDITURE FOR THE YEAR 5,876 5 8 750 RESERVE FOR CAPITAL PURCHASE 2,072 5 0 4,000 RESERVE FOR LOANS TO ASSOCIATED ORGANISATIONS - - - SPECIFIC RESERVE-PURCELL TERCENTENARY AND 3,500 HANDEL BICENTENARY - - - 84,850 GRANT TO SCOTTISH COMMITTEE 84,850 0 0 43,950 GRANT TO WELSH COMMITTEE 43,950 0 0 725 NET LOSS ON SALE OF ASSETS 216 4 3 7,037 BALANCE carried down 2,906 3 4

£1,109,634 £1,225,460 1 7

19,325 BALANCE carried forward 22,231 8

£19,325 £22,231 8 1

80

OF GREAT BRITAI N

FOR THE YEAR ENDED 31st MARCH, 196 0

1958/5 9 £1,100,000 GRANT IN AID : H.M . Treasury £1,218,000 0 0 1,120 REPAYMENT OF LOANS 2,195 0 0 CANCELLATION OF GRANTS and provision for expenses i n 5,325 previous year not required 3,411 9 0 - AMOUNT TRANSFERRED FROM RESERVE FOR CAPITAL PURCHASE 750 0 0 SUNDRY RECEIPT S Interest : Bank and Investment £787 13 7 Miscellaneous 315 19 0 3,189 1,103 12 7

£1,109,634 £1,225,460 1 7

12,288 BALANCE as at 1st April, 1959 19,325 4 9 7,037 BALANCE brought down 2,906 3 4

£19,325 £22,231 8 1

8 1 F

THE ARTS COUNCI L BALANCE SHEET A S LIABILITIES 1958/59 CAPITAL ACCOUNT Balance as at 31st March, 1959 £87,975 7 2 Add Capital Expenditure during year transferred fro m Revenue and Expenditure Account 5,876 5 8 £87,97 5 £93,851 12 1 0 26,07 5 GRANTS AND GUARANTEES OUTSTANDING 21,448 12 0 15,47 7 SUNDRY CREDITORS AND ACCRUED LIABILITIES 22,448 14 8 21,40 7 SPECIAL FUNDS (See Schedule 5 ) 19,365 11 4 RESERVE FOR CAPITAL PURCHASE S Balance as at 31st March, 195 9 750 0 0 Plus additional reserve required as at 31st March, 1960 2,072 5 0 2,822 5 0 Less amount transferred to Revenue and Expenditure 75 0 Accoun t 750 0 0 2,072 5 0 SPECIFIC RESERVES-PURCELL TERCENTENARY AND HANDEL BICENTENAR Y Balance as at 31st March, 1959 6,500 0 0 Less transferred to Festival Account (See Schedule 7) 6 .500 0 0 6,500 REVENUE AND EXPENDITURE ACCOUN T 19,325 Balance as at 31st March, 1960 22,231 8 1

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

£177,509 Carried forward £181,418 3 1 1 82

OF GREAT BRITAI N AT 31st MARCH, 1960 ASSETS 1958/59 OFFICE EQUIPMENT At valuation as at 31st March, 1956, and additions at cos t less items sold to 31st March, 1959 £15,225 6 1 1 Additions less items sold during year 740 10 10 £15,22 5 £15,965 17 9 MOTOR VANS AND CAR S At cost as at 31st March, 1959 10,410 8 1 0 Additions less items sold during year - 10,41 0 10,410 8 1 0 PIANO AND 'CELLO ACCOUNT At valuation as at 31st March, 1956, less items sold t o 31st March, 1959 430 0 0 Additions during year 100 0 0 430 530 0 0 THEATRE AND CONCERT HALL EQUIPMENT At valuation as at 31st March, 1956, and additions at cost less items sold to 31st March, 1959 12,323 6 1 0 Less items sold during year 115 6 1 0 12,32 3 12,208 0 0 ART EXHIBITION EQUIPMENT At valuation as at 31st March, 1956, and additions at cos t less items sold to 31st March, 1959 11,364 1 4 Less items sold during year 438 0 0 11,364 10,926 1 4 LITHOGRAPHS At cost as at 31st March, 1959 572 16 6 Less items sold during year 15 1 57 3 572 1 5 PICTURES AND SCULPTURES At cost as at 31st March, 1959 32,281 16 3 Additions during year 4,813 0 8 32,282 37,094 16 1 1 REPRODUCTIONS At valuation as at 31st March, 1957, and additions at cos t to 31st March, 1959 5,367 10 6 Additions during year 776 16 1 5,368 6,144 6 7 WIGMORE HALL CANTEEN STOC K 221 As at 31st March, 1960 231 18 1 1 LOANS TO ASSOCIATED AND OTHER ORGANISATION S (See Schedule 4) Secured by Mortgage 3,250 0 0 Secured by Investment 3 ,330 0 0 Unsecured and only conditionally recoverable 12,585 0 0 19,165 0 0 Less Reserve 12,585 0 0 6,70 5 6,580 0 0 £94,901 Carried forward £100,663 11 9

8 3

THE ARTS COUNCI L BALANCE SHEET A S LIABILITIES £177,509 Broughtforward £181,418 3

£177,509 £181,418 3 1 1

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 th e

84

OF GREAT BRITAI N AT 31st MARCH, 1960 ASSETS £94,901 Brought forward £100,663 11 9 SPECIAL FUND INVESTMENTS (See Schedule 6 ) At cost or as at date of transfe r 16,343 (Market value £12,132 l Is. 4d .) 15,744 10 7 INVESTMENT S 3 per cent . Savings Bonds 1960/70 (Market value £4,052 14s . 3d .) 5,000 0 0 4 per cent . Defence Bonds (Market value at Par) 630 0 0 4j per cent . Defence Bonds (Market value at Par) 50 0 0 3j per cent . Defence Bonds, Conversion Issue (Market value at Par) 598 13 0 5,680 6,278 13 0 23,065 SUNDRY DEBTORS, PAYMENTS IN ADVANCE 32,252 2 8 CASH On Deposit 10,000 0 0 On Current Account 16,014 2 7 Imprests 301 19 2 In Hand 163 4 2 37,520 26,479 5 1 1

£177,509 £181,418 3 11

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 , 19th July, 1960 . 85 THE ARTS COUNCI L

SCHEDULE 1-GENERAL EXPENDITURE ON THE ART S

MUSI C Opera and Ballet Grants and Guarantees (See Schedule 3) Directly Managed Performances (Opera for All) Directly Provided Activities Other Activitie s Grants and Guarantees (See Schedule 3) Directly Provided Concerts Wigmore Concert Hall (including costs of Repairs and Alterations to Building) Net Revenue of Wigmore Hall Caterin g Purcell Tercentenary and Handel Bicentenary (See Schedule 7)

Net Total Expenditure DRAM A Grants and Guarantees (See Schedule 3) Companies specially engaged for Arts Council Tou r

Net Total Expenditure ART Grants and Guarantees (See Schedule 3) Exhibition s Art Films Tour s Lithograph Sales

Net Total Expenditure POETR Y Grants and Guarantees (See Schedule 3) Poetry Reading s Poetry Library and Miscellaneous Expenses Poetry Prize s

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

ARTS CENTRES AND ARTS CLUB S Grants and Guarantees (See Schedule 3)

Net Expenditure transferred to Revenue and Expenditure Accoun t

86

OF GREA T BRITAI N

1N ENGLAND FOR THE YEAR ENDED 31st MARCH, 1960

Gross Gross Net Net Revenue Expenditure Revenue Expenditure £709,730 0 0 £6,661 0 1 £9,178 16 5 2,517 16 4 172 6 1 0 132,451 4 8 387 1 9 855 18 0 468 16 3 10,603 17 4 12,837 16 10 2,233 19 6 £325 17 0 5,634 15 4 325 17 0 853,208 18 1 1 325 17 0 £852,883 1 1 1

83,235 18 9 593 6 9 2,018 4 7 1,424 17 1 0 84,660 16 7 84,660 16 7

5,068 0 0 12,031 8 8 40,180 14 2 28,149 5 6 1,206 8 10 1,925 13 5 719 4 7 8 2 8 2 33,936 10 1 8 2 33,936 1 1 1

1,744 19 9 529 17 1 137 2 8 300 8 0 2,712 7 6 2,712 7 6

4,694 16 9 4,694 16 9

6,883 19 9 6,883 19 9 £985,771 4 5

87

THE ARTS COUNCIL OF GREAT BRITAI N SCHEDULE 2 GENERAL OPERATING COSTS FOR THE YEAR ENDED 31st MARCH, 196 0

Salaries : Music £10,410 14 8 Drama 7 ,040 18 2 Art 16,566 7 9 Finance 9,310 4 8 Secretarial and General 20,904 9 3 £64,232 14 6 Superannuatio n 2,568 1 7 £66,800 16 1 Rent, Rates and Maintenance Expense s 15,551 9 6 Office, Travelling, Entertainment and Sundry Expense s 15,091 10 4 Printing and Publicit y 2,374 3 0

Transferred to Revenue and Expenditure Account £99,817 18 1 1

NoTE : Endowment benefits due to members of the Pension Fund are assured by Policies hel d by the Council . 88

THE ARTS COUNCIL OF GREAT BRITAIN

SCHEDULE 3 GRANTS AND GUARANTEES FOR THE YEAR ENDED 31st MARCH, 196 0 MUSI C Opera and Ballet Royal Opera House, Covent Limited £473,000 0 0 Sadler's Wells Trust Limited 200,000 0 0 *Royal Ballet School Limited 15,000 0 0 Mercury Theatre Trust Limited (Ballet Rambert) 8,500 0 0 Carl Rosa Trust Limited 7,000 0 0 English Opera Group Limited 2,500 0 0 Intimate Opera Society Limited 1,250 0 0 Western Theatre Ballet Limited 1,000 0 0 New Opera Company Limited 1,000 0 0 Touring Opera, 1958 480 0 0 £709,730 0 0 *Grant for Capital Expenditure Symphony Orchestras City of Birmingham Symphony Orchestra 20,000 0 0 Halle Concerts Society 15,000 0 0 London Philharmonic Orchestra Limited 9,500 0 0 London Philharmonic Society Limited 2,500 0 0 London Symphony Orchestra Limited 4,000 0 0 Royal Liverpool Philharmonic Society Limited 20,000 0 0 Western Orchestral Society Limited (Bournemouth Symphony Orchestra) 20,000 0 0 91,000 0 0 Other Activities Brighton Philharmonic Society Limited 1,250 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 1,000 0 0 Philomusica of London Limited (Boyd Neel Concert Society Limited) 2,000 0 0 The Royal Philharmonic Society 1,500 0 0 Rural Music Schools Association 1,000 0 0 Society for the promotion of New Music 1,000 0 0 Payments to Music Societies and Clubs affiliated to the National Federation of Music Societies in respect of guarantees (includin g Federation Administration) 22,459 10 4 Direct Grants and Guarantees to other Musical Organisations 7,991 14 4 41,451 4 8 DRAMA Basingstoke Theatre Association Limited 100 0 0 Birmingham Repertory Theatre Limited 6,000 0 0 Bristol : Old Vic Trust Limited 5,000 0 0 *Cambridge Arts Theatre Trust 1,550 0 0 *Canterbury Theatre Trust Limited 1,150 0 0 Cheltenham Everyman Theatre Company Limited 1,000 0 0 Chesterfield Civic Theatre Limited 750 0 0 *Colchester Repertory Company Limited 1,450 0 0 Coventry : Belgrade Theatre Trust (Coventry) Limited 5 1000 0 0 *Includes Transport Subsidy Carried forward £22,000 0 0 £842,181 4 8 89

SCHEDULE 3-continued

Brought forward £22,000 0 0 £842,181 4 DRAMA (continued) *Derby Little Theatre Club Limited 377 0 6 Farnham Repertory Company Limited 400 0 0 Guildford Theatre Club Limited 1,500 0 0 Hornchurch Theatre Trust Limited 1,000 0 0 Ipswich Arts Theatre Trust 2,250 0 0 Leatherhead Repertory Company Limited 1,500 0 0 *Lincoln Theatre Association Limited 2,225 0 0 London : English Stage Company Limited 5,000 0 0 Old Vic Trust Limited Royal Victoria Hall Foundation } 20,000 0 0 Pioneer Theatres Limited (Theatre Workshop Company) 1,000 0 0 Loughborough and District Theatre Association Limited (Stanford Hall) 1,025 0 0 *Margate Theatre Trust Limited 727 0 6 *Newcastle Playhouse Trust Limited 73 5 0 *Northampton Repertory Players Limited 2,300 0 0 *Nottingham Theatre Trust Limited 5,400 0 0 Oxford: Meadow Players Limited 3,500 0 0 Salisbury Arts Theatre Limited 2,600 0 0 Touring : Century Theatre Limited 1,350 0 0 Mobile Theatre Limited 3,000 0 0 *Studio Theatre Limited (Theatre in the Round) 1,050 0 0 The British Centre of the International Theatre Institute 250 0 0 Council of Repertory Theatres 350 0 0 Promotion of New Drama-Bursaries and Guarantees against loss 3,506 2 2 Repertory Company Interchanges 492 10 7 Travel Grants for Producers 360 0 0 83,235 1 8 *Includes Transport Subsid y ART Bournemouth Arts Club 70 0 0 Brentwood Art Society 20 0 0 Bromley Art Society 20 0 0 Bruton Art Society 25 0 0 Christchurch : Red House Museum and Art Gallery 60 0 0 Cirencester Arts Club 100 0 0 Colchester Art Society 30 0 0 London : Artists International Association 200 0 0 Institute of Contemporary Arts 2,000 0 0 The London Group 400 0 0 Young Contemporaries 1960 125 0 0 Manchester : Red Rose Guild of Craftsmen 25 0 0 Newlyn Society of Artists 583 0 0 Nottingham : Midland Group of Artists 500 0 0 Penwith Society of Arts in Cornwall 250 0 0 Petersfield Arts and Crafts Society 25 0 0 Salisbury Group of Artists 100 0 0 Women's International Art Club 250 0 0 Society for Education Through Art 200 0 0

Carried forward £4,983 0 0 £925,417 3 90

SCHEDULE 3-continued

Brought forward £4,983 0 0 £925,417 3 5 ART (continued) United Kingdom National Committee of the International Association of Plastic Arts 50 0 0 Exhibition of British Entries for the Guggenheim Award 35 0 0 5,068 0 0 POETRY 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) 6 7 9 Contemporary Poetry and Music Circle 20 0 0 English Festival of Spoken Poetry 350 0 0 Oxford University English Club 34 0 0 Poetry Book Society Limited 387 10 0 South Western Arts Association (Poetry Tour) 80 0 0 Tennyson Festival Committee 20 12 6 Trustees and Guardians of Shakespeare's Birthplace (Stratford-upon - Avon Festival of Poetry) 176 9 6 "Universities' Poetry" 50 0 0 Poetry Magazines : "Delta" 60 0 0 "Listen" 160 0 0 1,744 19 9 FESTIVALS Aldeburgh Festival of Music and the Arts 850 0 0 Cheltenham Arts Festivals Limited : Cheltenham Festival of British Contemporary Music 1,000 0 0 Cheltenham Festival of Art and Literature 294 16 9 Dolmetsch Foundation (Haslemere Festival) 250 0 0 Hovingham Festival 250 0 0 Orchestral Concerts Society Limited (Bath Festival) 750 0 0 St. George's Guildhall Limited (King's Lynn Festival) 500 0 0 Shropshire Phoenix Theatre Society (Shrewsbury Summer Festival) 50 0 0 Three Choirs Festival Association Limited (Three Choirs Festival , Gloucester) 750 0 0 4,694 16 9 ARTS CENTRES AND ARTS CLUB S Alfreton and District Arts Council 75 0 0 Basingstoke Theatre Association Limited 100 0 0 Coventry : The Umbrella Club 20 0 0 Cowes and District Arts Association 20 0 0 Crewe and District Music and Arts Society 25 0 0 Cromer Society 50 0 0 Dudley Arts Council 115 6 1 0 Eston and Ormesby Guild of Arts 30 0 0 Frodsham Music and Arts Club 35 0 0 Hartlepools Arts Association 75 0 0 Hastings : Stables Trust Limited 300 0 0 Huntingdonshire Music and Arts Society 45 0 0 Kettering and District Three Arts Club 40 0 0 King's Lynn : St . George's Guildhall Limited 250 0 0 Leek and District Arts Club 50 0 0 Lincoln Society of Arts 30 0 0 Manchester Institute of Contemporary Arts 300 0 0

Carried forward £1,560 6 10 £936,924 19 1 1

91

SCHEDULE 3-continued

Brought forward 0 .560 6 10 £936.924 19 1 1 ARTS CENTRES AND ARTS CLUBS (continued) Market Rasen Drama Committee 10 1 6 Marple Arts Grou p 20 0 Middlesbrough Little Theatre Limited 250 0 Newmarket and District Arts League 40 0 Newport Arts Associatio n 35 0 Newton-le-Willows Arts Associatio n 30 0 Solihull Society of Arts 20 0 Spalding Arts Council 40 0 Spalding branch of the Lincolnshire Repertory Associatio n 37 4 Stafford and District Arts Counci l 100 0 Tamworth Arts Club 40 0 Wednesbury Society of Arts 30 0 West Wight Arts Association 20 0 Whitby : Three Arts Club 65 0 Wolverhampton Civic Hall Arts Society 25 0 Worcester S .A.M .A. 60 0 Worsley Art and Music Society 30 0 2,413 8 Midlands Arts Association (Administration ) 189 1 1 South Western Arts Associatio n Administration 1,750 0 Arts Centres and Clubs : Blandford Arts Clu b 60 0 0 Bridgwater Arts Centre : 1958/59 Seaso n £20 0 1959/60 Season 225 42 5 Camborne Society of Arts 5 0 Chippenham and District Society of Arts 3 5 Crewkerne Arts Club 3 6 Guild of Devon Craftsmen 40 Exeter : Arts Grou p 60 Falmouth : Royal Cornwall Polytechnic Societ y 27 5 Isle of Purbeck Arts Clu b 5 0 Kingsbridge Music Clu b 3 0 Launceston Society of Arts 5 0 Liskeard Arts Counci l 60 Newquay Society of Art s 5 0 Newton Abbot and District Society of Arts 40 Plymouth Arts Centre 225 St. Austell Society of Arts 27 0 Shaftesbury and District Arts Clu b 23 5 Street Society of Arts 40 Taunton Deane Arts Societ y 5 0 Truro Three Arts Society 3 0 Warminster Society of Arts 5 0 Wellington Subscription Concerts Society 3 0 Weston-Super-Mare Society of Arts 20 Weymouth and South Dorset Arts Centre 320 2,531 0 0 £943,808 19 8

NOTE : Maximum commitments are given, not necessarily the amounts paid . 92

THE ARTS COUNCIL OF GREAT BRITAI N SCHEDULE 4 LOANS TO ASSOCIATED AND OTHER ORGANISATION S Loans secured by mortgage £3,375 0 0 Less repaid during year 125 0 0 £3,250 0 0

Loan secured by investmen t £3,330 0 0 Loans unsecured and only conditionally recoverabl e 14,780 0 0 Less repayment during year of loans previously reserve d 2,195 0 0 £12,585 0 0

SCHEDULE 5-SPECIAL FUND S

PILGRIM TRUST SPECIAL FUND As at 31st March, 1959 £2,530 14 0 Add Income during year 59 10 0 2,590 4 0 Less Payments during year 1,000 0 0 £1,590 4 0 H. A . THEW FUND Capital Account 9,094 10 9 Income Account Balance at 31st March, 1959 £548 3 0 Add Income during year 304 12 1 0 852 15 1 0 Less Payments during year 365 5 0 487 10 10 9,582 1 7 MRS. THORNTON FUND Capital Account 5,426 14 1 Income Accoun t Balance at 31st March, 1959 738 14 9 Add Income during year 177 14 8 916 9 5 6,343 3 6 ARTS COUNCIL : THEATRE ROYAL BRISTO L RESERVE FUN D As at 31st March, 1959 3,067 19 3 Add Income during year 1,250 0 0 4,317 19 3 Less Payments and commitments during year 2,467 17 0 1,850 2 3

Total Special Funds as per Balance Sheet £19,365 11 4

93

THE ARTS COUNCIL OF GREAT BRITAIN SCHEDULE 6 SPECIAL FUND INVESTMENTS AS AT 31st MARCH, 196 0

Nominal Book Marke t Value Value Value PILGRIM TRUST SPECIAL FUN D 31 per cent . Defence Bonds (Conversion Issue ) £1,300 0 0 £1,297 0 0 £1,300 0 0 H. A . THEW FUND 3 per cent . British Transport Stock 1978/8 8 6,876 16 11 6,326 13 11 4,469 19 0 31 per cent . Conversion Stock 2,809 19 10 2,767 16 10 1,742 3 1 1 MRS. THORNTON FUND 2,j per cent. Consolidated Stoc k 665 1 9 488 16 10 312 11 1 0 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 5j per cent . Conversion Stock 1974 (P .O. Issue) 200 0 0 203 7 6 198 0 0 3 per cent. Defence Bonds (Conversion Issue) 30 0 0 30 0 9 30 0 0 3j per cent. City of Birmingham Stock 100 0 0 102 0 0 96 10 0 3 per cent . British Transport Stock 1978/8 8 355 5 10 337 10 6 230 18 9 31 per cent. Defence Bonds (Conversion Issue) 740 0 0 739 5 6 740 0 0 31 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 99 10 0

Total Special Fund Investments as per Balance Sheet £16,524 6 5 £15,744 10 7 £12,132 11 4

94

THE ARTS COUNCIL OF GREAT BRITAI N SCHEDULE 7 PURCELL TERCENTENARY AND HANDEL BICENTENARY : FESTIVAL ACCOUNT

Grants and Guarantees Old Vic Trust Limited £5,000 0 0 Orchestral Concerts Society Limited (Bath Festival) 1,000 0 0 Handel Opera Society 750 0 0 Philomusica of London Limited 350 0 0 British Institute of Recorded Sound 19 10 5 Royal Philharmonic Society 210 1 3 The Elizabethan Singers 128 17 2 London Bach Society 38 0 3 £7,496 9 1 Hampton Court : Directly Provided Opera 1,850 9 7 Westminster Abbey Performances 251 5 4 Purcell Singers : Evensong 50 0 0 Press Officer's Fees and General Publicity Expenses 865 0 8 Stationery and Printing (Festival Booklet an d Brochures, etc .) 2,215 13 1 0 Less : Sales and Advertising Revenue 594 3 2 1,621 10 8 £12,134 15 4 Less: Amount reserved 1957158 3,000 0 0 Amount reserved 195859 3,000 0 0 Amount received from Associated Televisio n Limited 500 0 0 3,500 0 0 6,500 0 0

Transferred to Schedule 1 £5,634 15 4

95

THE COUNCIL' S APPENDIX B REVENUE AND EXPENDITURE ACCOUN T

19585 9 £74,528 GENERAL EXPENDITURE ON THE ARTS (See Schedule 1) £69,687 7 13,540 GENERAL OPERATING COSTS (See Schedule 2) 14,274 1 3 TRANSFER TO CAPITAL ACCOUNT REPRESENTIN G CAPITAL EXPENDITURE FOR THE YEAR £813 17 3 Less Adjustment for Lithographs 126 5 0 1,376 687 1 2 1,000 SPECIFIC RESERVE-ROBERT BURNS BICENTENARY - 486 LOSS ON SALE OF ASSETS 70 2 - BALANCE carried down 1,283 9

£90,930 £86,003 4 1 0

11760 BALANCE brought down - 4,171 BALANCE carried forward 5,454 1 6

£5,931 £5,454 16 2

96

COMMITTEE IN SCOTLAN D

FOR THE YEAR ENDED 31st MARCH, 196 0

1958/5 9 £84,850 GRANT FROM THE ARTS COUNCIL OF GREAT BRITAIN £84,850 0 0 400 REPAYMENT OF LOAN 400 0 0 CANCELLATION OF GRANTS AND GUARANTEE S 3,626 in previous year not required 656 3 2 SUNDRY RECEIPTS 294 Interest on Deposit Accounts £96 1 8 - Dundee Repertory Theatre-Rent of Electrical Equipment 1 0 0 97 1 8 1,760 BALANCE carried down -

£90,930 £86,003 4 1 0

5,931 BALANCE as at 1st April, 195 9 4,171 7 0 - BALANCE brought down 1,283 9 2

£5,931 £5,454 16 2

9 7 G

BALANCE SHEET A S LIABILITIES 1958/59 CAPITAL ACCOUNT Balance as at 31st March, 1959 £24,761 3 9 Add Capital Expenditure during year transferred from Revenue and Expenditure Account 687 12 3 £24,761 £25,448 1 6 10,442 GRANTS AND GUARANTEES OUTSTANDING 5,810 0 2,194 SUNDRY CREDITORS 1,664 0 SPECIFIC RESERVE-ROBERT BURNS BICENTENARY 1 .000 0 0 Less Net Expenditure during year 897 15 8 1,000 102 4 REVENUE AND EXPENDITURE ACCOUN T 4,171 Balance as at 31st March, 1960 5,454 16

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

£42,568 £38,479 17 0

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 th e

98

AT 31st MARCH, 1 960 ASSETS 1958/59 PROPERTY £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, 1959 £3,129 7 4 Additions less items sold during year 53 7 3 3,129 3,182 14 7 MOTOR CARS 1,934 At cost as at 31st March, 1959 1,934 8 3 PIANO ACCOUNT 200 At valuation as at 31st March, 1955 200 0 0 THEATRE AND CONCERT HALL EQUIPMENT 3,726 At cost as at 31st March, 1959 3,725 19 9 PICTURES, SCULPTURES AND TAPESTR Y At cost as at 31st March, 1959 6,292 14 3 Additions during year at cost 715 7 0 6,293 7,008 1 3 REPRODUCTIONS At cost as at 31st March, 1959 671 10 0 1,172 LITHOGRAPHS At cost as at 31st March, 1959 373 15 0 Additions during year at cost 45 3 0 418 18 0 LOAN S Unsecured and only conditionally recoverable 17,400 0 0 Less Repayments during year 400 0 0 17,000 0 0 Less Reserve 17,000 0 0

2,045 SUNDRY DEBTORS 1,903 12 8 CASH On Current Account 11,062 8 4 In Hand 65 0 0 15,762 11,127 8 4 £42,568 08,479 17 0

Chairman of the Scottish Committee : JOHN McEWEN. Secretary-General : W . E. WILLIAMS. and explanations that I have required and I certify, as the result of my audit, that in my opinion transactions 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 , 19th July, 1960 . 99

THE COUNCIL'S COMMITTEE IN SCOTLAN D SCHEDULE I GENERAL EXPENDITURE ON THE ARTS FOR THE YEAR ENDED 31st MARCH, 1960 MUSIC Grants and Guarantees (See Schedule 3 ) Scottish National Orchestr a £21,500 0 0 Music Societies 4,333 0 0 £25,833 0 0 Directly Provided Concerts 8,030 9 6 Less Receipts 2,766 16 11 5,263 12 7 £31,096 1 2 DRAMA Grants and Guarantees (See Schedule 3) 16,354 14 3 Tour s 5,950 13 7 Less Receipts 2,574 8 4 3,376 5 3 19,730 1 9 BALLET Tours 2,945 18 5 Less Receipts 1,505 9 10 1,440 8 ART Grants (See Schedule 3) 330 0 0 Exhibition Expenses 3,702 5 7 Less Fees and Catalogue Sales 608 2 9 3,094 2 1 0 Art Films 625 5 4 Less Art Film Fees and Catalogue Sale s 71 7 4 553 18 0 Guide Lecturers' Fees and Expense s 699 13 8 Less Fees Received 107 4 4 592 9 4 4,570 10 2 FESTIVAL S Edinburgh Festival Society 12,000 0 0 ARTS CENTRES AND CLUB S Grants (See Schedule 3) 848 16 6 Net Expenditure transferred to Revenue and Expenditure Accoun t £69,687 7 4

SCHEDULE 2 GENERAL OPERATING COSTS FOR THE YEAR ENDED 31st MARCH, 1960 Salaries and Wages £9,381 17 4 Travel and Subsistence 1,410 14 0 Rates, Insurance, Heating, Lighting and Maintenance Expenses 1,510 11 1 Publicity and Entertainment 684 13 8 Telephone, Postage, Stationery and General Expenses 1,286 17 6 Transferred to Revenue and Expenditure Account £14,274 13 7

100

THE COUNCIL'S COMMITTEE IN SCOTLAN D SCHEDULE 3 GRANTS AND GUARANTEES FOR THE YEAR ENDED 31st MARCH, 196 0 MUSIC Scottish National Orchestra £21,500 0 0 National Federation of Music Societies 2,450 0 0 Glasgow Grand Opera Society 700 0 0 Saltire Society 235 0 0 Edinburgh Lunch Hour Concerts 225 0 0 College of Piping 125 0 0 Edinburgh Opera Company 75 0 0 Scottish National Opera Company 75 0 0 Drawing Room Music Society, Glasgow 75 0 0 Edinburgh Organ Recitals Committee 58 0 0 Direct Grants and Guarantees to Music Clubs (£50 and under) 315 0 0 £25,833 0 0

DRAMA Perth Repertory Theatre Limited 6,500 0 0 Perth Repertory Theatre Limited (Tours) Dundee Repertory Theatre Limited 3,000 0 0 Glasgow : Citizens' Theatre Limited 3,000 0 0 Edinburgh Gateway Company Limited 2,750 0 0 Pitlochry Festival Society Limited 500 0 0 Travel Grants and Play Commission 300 0 0 Ayr: Burns Bicentenary Pageant 250 0 0 Direct Grants and Guarantees 54 14 3 16,354 14 3

ART Royal Scottish Society of Painters 120 0 0 Society of Scottish Artists 100 0 0 The 1957 Gallery 60 0 0 National Bible Society of Scotland 50 0 0 330 0 0 FESTIVALS Edinburgh Festival Society 12,000 0 0

ARTS CENTRES AND CLUB S Galashiels Arts Club 175 0 0 Troon Arts Guild 170 0 0 Greenock Arts Guild 160 0 0 Haddo House Choral Society 120 0 0 Kelso Arts Club 87 1 0 Inverness Arts Centre 75 0 0 Kintyre Music Club 61 15 6 848 16 6

£55,366 10 9

NOTE: Maximum commitments are given, not necessarily the amounts paid . 101

THE COUNCIL' S APPENDIX C REVENUE AND EXPENDITURE ACCOUN T

1958/59 £31,246 GENERAL EXPENDITURE ON THE ARTS (See Schedule 1) £38,862 9 1 1 9,152 GENERAL OPERATING COSTS (See Schedule 2) 10,820 5 7 TRANSFER TO CAPITAL ACCOUNT REPRESENTING CAPITA L 639 EXPENDITURE FOR THE YEAR 263 4 4 - LOSS ON SALE OF ASSETS 475 0 0

£41,037 £50,420 19 1 0

3,950 BALANCE brought down 5,985 4 Cdeduct] 9,288 BALANCE carried forward 3,303 1 1

£5,338 £9,288 16 3

102

COMMITTEE IN WALE S

FOR THE YEAR ENDED 31st MARCH, 196 0

1958/59 £43,950 GRANT FROM THE ARTS COUNCIL OF GREAT BRITAIN £43,950 0 0 CANCELLATION OF GUARANTEES AND PROVISIONS FOR FEE S 437 AND EXPENSES IN PREVIOUS YEAR NOT REQUIRED 280 12 7 165 CANCELLATION OF RESERVE FOR LOANS - SUNDRY RECEIPT S Interest on Deposit Account £202 18 0 Miscellaneous 2 4 8 435 205 2 8 3,950 l BALANCE carried down 5,985 4 7 Cdeduct )

£A1,037 £50,420 19 1 0

5,338 BALANCE as at 1st April, 1959 9,288 16 3

£5,338 £9,288 16 3

103 THE COUNCIL' S BALANCE SHEET A S LIABILITIES 1958/5 9 CAPITAL ACCOUNT Balance as at 31st March, 1959 £7,68710 9 Add Capital Expenditure during year transferred fro m Revenue and Expenditure Account 263 4 4 7,687 £7,950 15 1 977 GRANTS AND GUARANTEES OUTSTANDIN G 3,103 8 6 882 SUNDRY CREDITOR S 4,004 9 1 REVENUE AND EXPENDITURE ACCOUN T 9,289 Balance as at 31st March, 1960 3,303 11 8

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

£18,835 £18,362 4 4

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

104

COMMITTEE IN WALE S AT 31st MARCH, 1960 ASSETS 1958/59 t OFFICE EQUIPMEN T At cost as at 31st March, 1959 £891 5 10 Additions at cost during year 223 18 4 £891 £1,115 4 2 MOTOR CAR S At cost as at 31st March, 1959 2,205 8 3 Less item sold during year 625 0 0 2,205 1,580 8 3 PICTURES AND SCULPTURE S At cost as at 31st March, 1959 4,425 6 0 Additions at cost during year 664 6 0 4,425 5,089 12 0 REPRODUCTIONS 166 At cost as at 31st March, 1959 165 10 8 282 SUNDRY DEBTOR S 542 5 4 CASH On Deposit Account 7,054 7 2 On Current Account 2,787 18 0 In Han d 26 18 9 111,866 9,869 3 11

£18,835 £18,362 4 4 Chairman of the Welsh Committee : GWYN JONES. 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 the 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, 19th July, 1960. 105

THE COUNCIL'S COMMITTEE IN WALES SCHEDULE I GENERAL EXPENDITURE ON THE ARTS FOR THE YEAR ENDED 31st MARCH, 196 0 MUSIC Grants and Guarantees (See Schedule 3) Opera £15,500 0 0 Festivals 3,959 0 7 Music and Arts Clubs 1,955 10 2 Societies 725 0 0 Commissions 1,525 0 0 Orchestral Concerts 536 9 4 24,201 0 1 Directly Provided Concerts £4,781 9 8 Less Receipts 2,183 7 8 2,598 2 0 DRAMA £26,799 2 1 Grants and Guarantees (See Schedule 3) 1,645 0 0 English Tours 7,172 18 1 Less Receipts 2,106 3 11 5,066 14 2 Welsh Tours 2,010 1 9 Less Receipts 242 17 0 1,767 4 9 ART 8,478 18 1 1 Grants and Guarantees (See Schedule 3) 711 9 0 Exhibition Expenses 3,219 12 4 Less Exhibition Fees and Catalogue Sales 1,009 8 1 2,210 4 3 Guide Lecturers' Fees and Expenses 62 16 0 2,984 9 3 Art Films : Fees and Catalogue Sales 200 0 9 Less Expenditure 193 15 8 6 5 1 POETRY AND LITERATURE 2,978 4 2 Grants and Awards (See Schedule 3) 300 0 0 Recitals and Competition Awards 306 4 9 606 4 9 Net Expenditure transferred to Revenue and Expenditure Account £38,862 9 1 1 SCHEDULE 2 GENERAL OPERATING COSTS FOR THE YEAR ENDED 31st MARCH, 196 0 Salaries and Superannuation £6,716 12 3 Travelling and Subsistence 1,746 15 9 Rent, Rates, Insurance, Heating and Lighting X543 13 0 Publicity and Entertainment 392 7 1 1 Telephone, Postage, Stationery and Office Maintenance 1,420 16 8 Transferred to Revenue and Expenditure Account £10,820 5 7

106

THE COUNCIL'S COMMITTEE IN WALE S SCHEDULE 3 GRANTS AND GUARANTEES FOR THE YEAR ENDED 31st MARCH, 196 0 MUSIC Welsh National Opera Company Limited £15,500 0 0 Swansea Festival of Music and the Arts £1,150 6 5 Montgomery County Music Festival 400 0 0 Royal National Eisteddfod of Wales, Caernarvon 900 0 0 South Wales Combined Choirs Festival 300 0 0 Dee and Clwyd Festival of Music 250 0 0 Llandaff Cathedral Festival of Music and Drama 800 0 0 Brecknock County Festival of Music 133 14 2 Anglesey County Music Festival 25 0 0 3,959 0 7 Direct Grants and Guarantees to Music and Arts Clubs for Concerts 1,955 10 2 National Federation of Music Societies 725 0 0 Promotion of New Music : Commission Fees 1,525 0 0 Western Orchestral Society Limited 500 0 0 Barry and District Concerts Committee 36 9 4 536 9 4 24,201 0 1

DRAM A Swansea Welsh Drama Association 325 0 0 Llangefni Dramatic Society 200 0 0 Drama Council for Wales 100 0 0 Anglesey Welsh Drama Festival 400 0 0 Arena Theatre Company 500 0 0 Travel Grant 120 0 0 1,645 0 0

ART Society for Education through Art 106 9 0 Anglesey Rural Community Council 30 0 0 Portmadoc Art Club 25 0 0 North Wales Group 75 0 0 Contemporary Art Society for Wales 350 0 0 "56 Group" 50 0 0 South Wales Group 75 0 0 711 9 0

POETRY AND LITERATUR E "Yr Arloeswr" 100 0 0 Prize Awards : "Epoch and Artist" by David Jones 100 0 0 "Te Yn y Grug" by Kate Roberts 100 0 0 300 0 0 £26,857 9 1

NOTE : Maximum commitments are given, not necessarily the amounts paid . 107

APPENDIX D ARTS COUNCIL EXHIBITIONS HELD IN GREAT BRITAIN DURING THE PERIOD APRIL 1959-MARCH 1960

ENGLAND

Paintings, Drawings and Sculpture

w Arts Council Collection-Recent s Duncan Gran t Acquisitions w Francis Gruber Arts Council Collection, Part I-The From Hodler to Klee : Swiss Art of the Impressionist Traditio n XXth Centur y w Arts Council Collection, Part 11-Afte r w Contemporary Paintings and Sculpture Impressionis m for Leicestershire School s sw Arts Council Collection, Part III - Lipchitz (sculpture) Romantic and Abstract s The London Group, 1959 : Selected w Arts Council Collection, Part IV-Sinc e Works the War w Arts Council Collection, Part V-Recen t The Penwith Society of Arts in Cornwal l Acquisitions (10th anniversary exhibition ) w Pictures from the Bowes Museum The Romantic Movement (Council of Lovis Corinth Europe) w David Cox The Romantic Movement (Council of s Masterpieces of Czech Art (Edinburg h Europe) Drawings and Prints Festival) sw Sculpture in the Home, 4th exhibition sw Modern Italian Pictures from the w Kurt Schwitter s Damiano Collection s Dunoyer de Segonzac w Designs for Opera and Ballet at Coven t s Six Young Painters, 195 9 Garden James War d The Epstein Collection of Primitive an d Watercolours from the Whitworth Art Exotic Sculpture Gallery, Manchester University French XVIII Century Furniture Design w Young Contemporaries, 1959

Graphic Arts, Books, Design, etc.

Contemporary British Lithographs Japanese Ceramics and Print s w Contemporary Foreign Lithographs Polish Graphic Art Contemporary Prints from the Arts w Odilon Redo n Council Collection Reynolds Stone Etchings from the Arts Council Collec- w Scottish Craft s tion w Splendid Occasion s sw Eric Gill

Reproductions and Photograph s

Braque Reproductions w Art of Drawing, Part III (English and w C@zanne Reproductions Dutch School) w Art of Drawing, Part I (Italian School ) Gauguin Reproductions w Art of Drawing, Part II (French School) w Paul Klee Reproductions 108

Landscape for Living w The Art of the Sculpto r w Art of Landscap e A Dutch Master of Coloured Etchings : w Matisse Reproductions Hercules Seghers, 158990-c .164 0 w Fifty Years of Picasso w Toulouse-Lautrec Reproductions w Reproductions of Portraits W Vincent van Gogh Reproductions Photographs of the Royal Tombs at One Hundred Years of Architecture i n Westminster Abbey America, 1857-195 7 59 exhibitions were held in 185 different buildings in 151 centres (347 showings including 1 3 exhibitions held in Arts Council, Tate, and Royal Academy galleries) . Included in the above are 13 showings held in Scotland in 8 different buildings in 5 centres and 39 showings held in 21 different buildings in 19 centres in Wales.

SCOTLAND A Selection from the 1958 Exhibition of the Contemporary Florentine Paintings Women's International Art Club Renaissance Decorative Arts in Scotlan d The Artist at Work Paintings by Leonard Rosoman Paintings by Young Scottish Artists Watercolours from the Scottish Committee' s *Six Scottish Painter s Collectio n Alan Fletcher Memorial Exhibitio n A Selection from the 1959 Exhibition of th e Lithographs by Marc Chagall, 1950-195 6 Society of Scottish Artist s Contemporary Scottish Paintings, Part I Francis McCracken Memorial Exhibitio n Contemporary Scottish Paintings, Part II *Arranged by the Scottish Committee for showing in Nottingham University Art Gallery . 23 exhibitions (including 9 from England) were held in 36 different buildings in 24 centres (48 showings in all).

WALES Seven British Painters A Selection from the Welsh Collectio n Industrial Wales 36 exhibitions (including 33 from England) were held in 21 different buildings in 19 centres (47 showings in all) . NOTE : s Also exhibited in Scotland w Also exhibited in Wales

109

APPENDIX E

SUBSIDIES FROM LOCAL AUTHORITIES AND LOCAL EDUCATION AUTH - ORITIES TO ORGANISATIONS IN RECEIPT OF GRANTS OR GUARANTEE S FROM THE ARTS COUNCIL In Schedules 3 of Appendices A, B and C are listed the Council's grants and guarantees for 1959-6 0 under such heads as Music, Drama, Art, Festivals and Arts Centres and Arts Clubs . As under the Local Government Act of 1948 local authorities can contribute towards the provision of entertainment or the maintenance of an orchestra, or purposes incidental to the giving of entertainment, it is clea r that most of the organisations subsidised by the Arts Council are eligible for help from the variou s local authorities whose areas they serve . In addition, local education authorities are empowered to help any of these organisations in so far as they promote cultural training and recreative activities . It has accordingly seemed useful to compile a list of some of the subsidies from local authorities and local education authorities during 1959-60 to organisations that have been grant-aided by the Art s Council in that year . It should be added that some of these organisations, particularly the orchestras , receive payments (not here listed) from their local education authorities for performances for school children . Subsidies to the numerous societies and clubs affiliated to the National Federation of Music Societie s have not been included. ENGLAN D MUSI C Opera and Balle t Royal Opera House, Covent Garden Ltd . Nil Sadler's Wells Trust Ltd . London County Council £35,000• Royal Ballet School Ltd . Nil Intimate Opera Society Ltd . Nil English Opera Group Ltd . Nil Handel Opera Society London County Council £50 0 Mercury Theatre Trust Ltd . London County Council £2,000t Western Theatre Ballet Ltd . Nil New Opera Company Ltd . London County Council £1,000 Symphony Orchestras City of Birmingham Symphony Orchestra Ltd . Birmingham Corporation £30,000 Other Local Authorities £1,125 £31,12 5 Halle Concerts Society Manchester Corporation £6,000 Other Local Authorities £2,550 Joint Local Authorities' Scheme$ £11,189 £19,739 • The ofer to the Sadler's Wells Trust Ltd. by The London County Council comprises : 1. A grant of £35,000 a year for three years in the first instance, subject to reconsideration if necessary . 2. In 1959-60 an extra initial grant of £15,000 for maintenance work and improvements, on condition tha t the gift of £15,000 at present held in reserve is similarly applied and that the work will be undertake n as soon as possible. 3. £10,000 of the annual grant in the second and third years of the triennium to be earmarked for th e same purpose. t To be spread over three years. t The total contribution of Local Authorities participating in the Lancashire and Cheshire Local Authorities' Scheme in the year ended March 31st, 1960, was £22,377. It was divided equally between the Royal Liverpool Philharmonic and Halle Orchestras. For details see page 111 . 110

London Philharmonic Orchestra Ltd . London County Council £2,000 Other Local Authorities £2,775 £4,77 5 London Symphony Orchestra Ltd . London County Council rent rebate on the use o f the Royal Festival Hall £92 9

Royal Liverpool Philharmonic Society Ltd . (i) Liverpool Corporation (a) Annuity in perpetuity in payment for Hall £4,00 0 (b) Grant for net deficit £19,23 2 (c) Fee for administration o f Philharmonic Hall £500 (d) Free use of Hall an d offices, estimated £10,000 (ii) Joint Local Authorities' Scheme$ £11,18 9 (iii) Other Local Authorities £1,77 0 £46,691 Western Orchestral Society Ltd . Bournemouth Corporation £12,500 (Bournemouth Symphony Orchestra) Western Authorities Orchestra l Association § £6,651 £19,151

Other Activities Brighton Philharmonic Society Ltd . Brighton Corporation £1,000 Institute of Contemporary Arts (Music Section) Nil Jacques Orchestra Ltd . Nil London Philharmonic Society Ltd . London County Counci l (a) Rent rebate on the use of the Royal Festival Hall (b) Guarantee £5,000 Philomusica of London Ltd . London County Council rent rebate Royal Philharmonic Societ y London County Council rent rebate Society for the Promotion of New Music London County Council (Use of the Royal Festival Hall at a nominal rent for orchestral rehearsals.)

LANCASHIRE AND CHESHIRE LOCAL AUTHORITIES' SCHEME OF FINANCIAL ASSISTANCE TO SYMPHONY ORCHESTRA S County Boroughs : Boroughs : Birkenhead £900 Accrington £138 Blackburn £379 Ashton-under-Lyne £100 Blackpool £105 Bebington £272 Bolton £949 Chorley £11 1 Bury £334 Clitheroe £4 1 Chester £195 Crosby £33 2 Liverpool £6,726 Eccles £249 Manchester £5,991 Ellesmere Port £100 Preston £407 Farnworth £100 St. Helens £400 Heywood £14 3 Stockport £500 Lancaster £17 6 Wallasey £600 Leigh £27 7 Warrington £367 Lytham St . Annes £25 § For details see page 112 .

11 1 Middleton £50 Prescot £2 5 Nelson £21 Royton £26 .5.0 Prestwich £50 Standish-with-Langtree £3 1 Rawtenstall £115 Thornton-Cleveleys £5 3 Stretford £350 Tottington £1 0 Widnes £250 Turton £5 .5.0 Urmston £100 Walton-le-Dale £10 .10 .0 Urban Districts : Whitwort h £34 Atherton £117 £50 Bowdon £20 Wirrall £10 Clayton Rural Districts : Failsworth £100 £10 .10 .0 Fulwood £44 Blackburn £10 Cheste r £86 Great Harwood Clitheroe £5 .5.0 Haydock £54 E1 6 Hoylake £100 Disley £317 FyIde £1 0 Huyton-with-Roby LancasteL ancasterr £25 Kirkham £24 Preston £136 Leyland £49 £105 Longdendale £5 .5.0 Warrington Nelto n £2 5 £22,37 7 Orrell £10 .10 .0 Total income, 1959-60

WESTERN AUTHORITIES ORCHESTRAL ASSOCIATIO N SOUTH-WESTERN LOCAL AUTHORITIES' SCHEME OF FINANCIAL ASSISTANCE TO THE WESTERN ORCHESTRAL SOCIETYLTD . (BOURNEMOUTH SYMPHONY ORCHESTRA ) Contributions based on -&th of a penny rate Malmesbury Borough £ 3 product Melksham U .D. £1 0 Barnstaple Borough £69 Paignton U .D. £26 .5 .0 Bath City £300 Seaton U.D . £3 Bristol City £1,850 Shaftesbury Borough £3 .10.0 Exeter City £400 Shaftesbury R .D . £1 0 Launceston Borough £17 Shepton Mallet R.D. £1 0 Portsmouth City £1,000 Sherborne U.D. £7 Salisbury City £155 Sidmouth U .D . £1 0 Southampton County Borough £820 Street U .D. £6 Swindon Borough £262 .10 Swanage U .D. £7 Taunton Borough £100 Teignmouth U .D . £1 1 Torquay Borough £247 Wareham & Purbeck R .D . £2 1 Weston-super-Mare Borough £181 Wellington U.D. £1 0 Weymouth Borough £150 Winchester R.D. £44 Winchester City £129 Yeovil Borough £25 Yeovil R .D . £24 Contributions based on £1 per 1,000 ofpopulation Alton U .D. £9 Contributions on no set basis Blandford R.D. £12 Axminster R .D. £5 .5 .0 Bridport R .D . £7.10 .0 Barnstaple R .D. £10 .10.0 Buckfastleigh U .D. £3 Bridgwater Borough £5 0 Budleigh Salterton U.D. £4 Calne & Chippenham R .D. £1 0 Calne Borough £7 Chippenham Borough £1 0 Camelford R.D. £7 .10 .0 Christchurch Borough £5 0 Falmouth Borough £17 Devizes R.D. £ 5 Holsworthy U .D . £2 Gosport Borough £25 Launceston R .D . £8 Ilfracombe U .D. £5 .5 .0 Long Ashton R .D. £25 Lyme Regis Borough £3 .3 .0 L,ymington Borough £25 Mere & Tisbury R .D. £ 5

112

Minehead U .D . £5 .5.0 Totnes R .D . £7.7 .0 Newton Abbot R .D. £10 .10 .0 Warminster U .D . £1 0 Plymouth City £250 Wellington R.D. £ 5 Poole Borough £100 Wells City £1 0 St. Thomas R .D . £10 .10 .0 Wells R.D. £ 5 Sturminster R.D. £5 Wimborne Minster R.D. £5 Taunton R .D. £5 Totnes Borough £5 .5.0 Total income, 1959-60 £6,65 1

DRAMA Birmingham Repertory Theatre Ltd . £3,000 from Birmingham Corporation Bristol Old Vi c £250 from Bristol Corporation Canterbury Theatre Trust Ltd. £3,987 from Canterbury Corporation Chesterfield Civic Theatre Ltd . £4,850 from Chesterfield Corporatio n £375 from Chesterfield R .D.C. Colchester Repertory Company Ltd . £975 from Colchester Corporation Coventry, Belgrade Theatre Trust Ltd . £5,000 from Coventry Corporatio n Derby Playhouse Ltd . £450 from Derby Corporation Farnham Repertory Company Ltd. £50 from Farnham Corporation Guildford Theatre Club Ltd. £1,000 from Guildford Corporation Hornchurch Theatre Trust Ltd. £6,864 from Hornchurch Corporation Ipswich Arts Theatre Trust £1,000 from Ipswich Corporation Leatherhead Repertory Company Ltd . £250 from Leatherhead Urban District Council £25 from Dorking U .D .C . Loughborough & District Theatre Associatio n £130 from Basford R.D.C. Ltd. £100 from Barrow R.D.C . £50 from Castle Donington R .D .C . £10 from Belvoir R .D.C. £10 from Melton U .D.C. £10 from Leicestershire Education Authority £5 from Shepshed U .D.C. £300 from Loughborough Corporation £50 from Coalville U.D.C. Margate Theatre Trust Ltd . £1,000 from Margate Corporation Pioneer Theatres Ltd . £250 from Barking Borough Counci l £100 from Bethnal Green Borough Counci l £100 from East Ham Borough Council £300 from Hackney Borough Council £150 from Leyton Borough Counci l £50 from Poplar Borough Counci l £200 from Shoreditch Borough Counci l £150 from Stepney Borough Council £150 from West Ham Borough Counci l Salisbury Arts Theatre Ltd. £200 from Salisbury Corporatio n £25 from Salisbury and Wilton R .D .C. £20 from Winton Borough Council 10 guineas from Andover R .D .C . 10 guineas from Amesbur y

ART Bournemouth Arts Club £50 grant from County Borough of Bournemouth Brentwood Art Society Local Education Authority supplement payment o f instructors for evening classes ; approximately £70 for the year 1959-6 0 Bromley Art Society Local Education Authority allowed use of College of Art rent free for monthly meetings

11 3 Bruton Art Society Nil Christchurch : Red House Museum and Art Hampshire County Council gave a grant of £400 Gallery towards provision for educational services Cirencester Arts Club Cirencester U .D .C. allowed free use of Corn Hall for exhibition s Colchester Art Society Castle Museum gave free use of museum for tw o exhibitions London : Artists International Association Nil Institute of Contemporary Art s Nil Finsbury Art Group Finsbury Borough Council gave £50 grant and me t miscellaneous expenditure totalling £205 .19 .0 The London Group Nil Young Contemporaries 1960 (Prizes) Nil Society for Education Through Art Nil Manchester : Red Rose Guild of Craftsmen Nil Newlyn Society of Artists Nil Nottingham : Midland Group of Artists County Education Committee subscribed £50 to Group's Picture Hire Scheme and local authori- ties bought works from their Gallery . Penwith Society of Arts in Cornwall Nil Petersfield Arts and Crafts Societ y Nil Salisbury Group of Artists Nil Women's International Art Club Nil United Kingdom National Committee of the International Association of Plastic Art s Nil ARTS FESTIVAL S The Aldeburgh Festival of Music and the Arts £25 from Aldeburgh Borough Counci l Cheltenham Arts Festivals Ltd . : Cheltenham Festival of Art and Literature £100 from Cheltenham Corporatio n Cheltenham Festival of British Contemporary Music £750 from Cheltenham Corporatio n The Dolmetsch Foundation (Haslemer e Festival) £50 from Haslemere Urban District Council Hovingham Festiva l Nil Orchestral Concerts Society Ltd. (Bath Festival) Bath City Council made certain buildings available without charge and also contributed some services St. George's Guildhall Ltd . (King's Lyn n Festival) £200 from King's Lynn Borough Counci l Three Choirs Festival Association Ltd . (Three £250 from Gloucester Corporation for publicit y Choirs Festival, Gloucester) ARTS CENTRES AND ARTS CLUB S tAlfreton and District Arts Associatio n £25 from Alfreton Urban District Council and £1 5 from the Derbyshire County Education Authority Basingstoke Theatre Association Ltd . Guarantee of £300 from Basingstoke Borough Council •Blandford Arts Club Nil 'Bridgwater and District Arts Centre £50 from Bridgwater Borough Council and £25 fro m Bridgwater Rural District Counci l 'Camborne Society of Art s Nil •Chippenham and District Society of Art s Guarantee of up to £65 from Chippenham Borough Council tCoventry : The Umbrella Club Nil Cowes & District Arts Associatio n Free use of school hall • Member of the South Western Arts Association t Member of the Midlands Arts Association 114 Crewe & District Music & Arts Society Nil *Crewkerne Arts Club Nil The Cromer Society Nil *The Devon Guild of Craftsme n £25 from Devon County Education Committe e Eston & Ormesby Guild of Arts Nil *The Arts Group, Exeter Nil *Falmouth : Royal Cornwall Polytechnic Art s £100 from Falmouth Town Council and £100 from Committee Cornwall County Council Frodsham Music & Arts Clu b Nil Hartlepools Arts Associatio n Guarantees totalling £421 .2 .0 were offered by the West Hartlepool Corporation, of which £204 .18 .2 was called up Hastings : The Stables Trust Ltd The premises are owned by the Local Authority and are let at the greatly reduced rental of £5 2 per annum. Huntingdonshire Music and Arts Societ y £73 .10 .0 from the Huntingdonshire County Counci l *Isle of Purbeck Arts Clu b Nil tKettering and District Three Arts Clu b Grant of £10.10 .0 from Kettering Borough Counci l and in addition the Local Education Authorit y allows free use of the Grammar School Hal l *Kingsbridge Music Club Nil King's Lynn : Guildhall of St . George Nil *Launceston Arts Society Nil tLeek and District Arts Club £65 from the Staffordshire County Counci l Education Committee tLincoln Society of Arts Nil Manchester Institute of Contemporary Art s Nil Marple Arts Group Nil The Middlesbrough Little Theatre Ltd . £600 from Middlesbrough Corporatio n Newmarket and District Arts Leagu e Guarantees of £40 each from the Newmarket Urba n District Council and the Newmarket Rura l District Council Newport Arts Association Nil *Newton Abbot & District Society of Arts £15 from Newton Abbot Urban District Counci l and £15 from Newton Abbot Rural District Council tNorthampton Arts Associatio n Nil *Plymouth Arts Centre £50 from Plymouth Education Authorit y *St Austell Society of Art s £100 from St. Austell Urban District Council *St . Ives S .A.M .A. Reduction on hire of the Guildhall for summer plays of 25 per cent . Guarantee against loss of up to £100 on summer season of plays from Boroug h Council *Shaftesbury & District Arts Clu b Nil tSolihull Society of Art s Grant of £50 from the Warwickshire County Counci l towards the loss on the Competitive Festival las t November Spalding Arts Council Grant of £35 .4.0 from the Spalding Urban District Council in respect of the productions of the Cary l Jenner Mobile Theatre Stafford & District Arts Council From the Stafford Borough Council : For the running of the Arts Centre £485 ; for the pro - gramme committee £100 ; in guarantees agains t loss £400 . From the Staffordshire County Council for reconstruction at the Arts Centre, £250

*Member of the South Western Arts Association tMember of the Midlands Arts Association 11 5 H- *Street Society of Arts Nil tTamworth Arts Clu b Grant of £30 from the Tamworth Borough Counci l *Taunton Deane Arts Society Nil *Truro Three Arts Societ y Nil *Warminster Arts Clu b £5 from Warminster & Westbury Rural District Counci l tWednesbury Society of Arts An annual guarantee of £150 from the Wednesbury Borough Council, of which £75 was called up * Weston-super-Mare Society of Arts Nil West Wight Arts Associatio n Free use of the School Hall for concerts *Weymouth & South Dorset Arts Centre £400 from Dorset County Council for extensions t o premises Whitby Three Arts Club Nil tWolverhampton Civic Hall Arts Society Free use of the Wulfrun Hall for its monthl y meetings tWorcester S .A.M .A. Nil Worsley Art and Music Society Grant of £50 from the Worsley Urban District Council, and permitted to use buildings an d equipment free of charge by the Local Educatio n Authority

SCOTLAN D MUSI C Scottish National Orchestra Society Lt d (For detailed list of grants totalling £38,506.4 .0 see below) The College of Piping Edinburgh Education Committee: free use of room s Glasgow Education Committee : £300 and payment of instructors Glasgow Grand Opera Society Glasgow Corporation : £150 Larkhall : Avon Valley Arts Societ y The District Council, Larkhall, Lanarkshire : £40

DRAM A Dundee Repertory Theatre Dundee Corporation : £1,000 Glasgow : The Citizens' Theatre Glasgow Corporation : grant £2,500, remission o f rates £78 2 Perth Repertory Theatre Perth Town Council : £75 0 Perth County Council : £250 Rent concessions to touring company from Town Councils of Dalbeattie, Jedburgh, Kirkcaldy, Langholm, Moffat and Stirlin g

ARTS CENTRES Dumfries : Gracefield Arts Centre Dumfriesshire County Education Committee : £60 0 approx . Galashiels Arts Clu b Town Council : remission of rates £4 1 Inverness Arts Centre Inverness County Education Committee : £250 towards ren t

ARTS FESTIVAL Edinburgh Festival Societ y Edinburgh Corporation : £25,00 0

* Member of the South Western Arts Associatio n t Member of the Midlands Arts Association 116 DIRECT PROVISIO N The following list shows details of financial aid given by Local Authorities and Local Educatio n Authorities for the local organisation of Arts Council events provided directly by the Scottish Committee .

Music and Dram a Caithness County Music Committe e County Education Committee : £50 Cove and Kilcreggan Literary Societ y Dunbartonshire Education Committee : £2 5 Fort William Town Council : rent concessio n Fraserburgh Junior Arts Society Town Council : rent concessio n Grangemouth Arts Society Town Council : £5 0 Kirkconnel and District Musical Society Dumfriesshire Education Committee : free use of premises and piano Kirkcudbright : Stewartry Music Committe e Education Committee : free use of premises and pian o Lair g Sutherland County Education Committee : free use of premises and pian o Lerwick Zetland County Education Committee : £60 approx . Moray Arts Club County Education Committee : free use of premise s Morebattle Music Clu b Roxburgh County Education Committee : free use of premises and pian o Orkney County Music Committee County Education Committee : £10 0 East Sutherland Music Society Sutherland County Council : £2 5

Art Dingwall Castle Ross and Cromarty County Education Committee : £12 towards cost of exhibition Falkirk Arts and Civic Council Stirling County Education Committee : £10 towards exhibition expenses Fortrose : Chanonry and District Art Society Ross and Cromarty County Education Committee : £6 towards cost of exhibitio n Helensburgh and District Art Club Helensburgh Town Council rent concessio n Larkhall : Avon Valley Arts Society The District Council, Larkhall, Lanarkshire : £8 towards cost of exhibition St. Andrews Art Committee Town Council : £1 5 Fife County Education Committee : £1 5 Stirling : Smith Art Gallery Town Council : £25 approx . County Council : £25 approx . Tain and District Arts Society Ross and Cromarty County Education Committee : £6 towards cost of exhibitio n Wishaw and District Community Centre Lanark County Education Committee : £8 toward s cost of exhibition and free use of premises

SCOTTISH NATIONAL ORCHESTRA SOCIETY LTD. Aberdeen Corporation £3,060 Berwick County Council £ 5 Aberdeen County Council £50 Blairgowrie Burgh £3 .3.0 Airdrie Burgh £10.10 .0 Brechin Burgh £] 0 Alloa Burgh £2 .2.0 Buckhaven Burgh £2.2 .0 Alva Burgh £2 .2.0 Buckie Burgh £5 .5 .0 Angus County Council £21 Burntisland Burgh £2 .2 .0 Arbroath Burgh £20 Bute County Council £5 .5 .0 Ardrossan Burgh £2 .2.0 Caithness County Council £ 5 Armadale Burgh £2 Carnoustie Burgh £3 .3 .0 Ayr County Council £50 Castle Douglas Burgh £5 .5 .0 Ayr Burgh £150 Clackmannan County Council £10 .10 .0 Barrhead Burgh £25 Clydebank Burgh £5 0 Bathgate Burgh £5 .5.0 Coatbridge Burgh £100

11 7 Cowdenbeath Burgh £2 .2.0 Linlithgow Burgh £5.5 .0 Crieff Burgh £5 .5 .0 Lochgelly Burgh £2.2 .0 Dalkeith Burgh £10.10 Lossiemouth Burgh £2.2 .0 Denny and Dunipace Burgh £2.2 .0 Markinch Burgh £1 .1 .0 Dumfries Burgh £25 Midlothian County Council £250 Dunbarton County Council £100 Milnathort Burgh £2.2 .0 Dundee Corporation £3,060 Miingavie Burgh £1 0 Dunfermline Burgh £100 Montrose Burgh £2.2 .0 Dunoon £10.10 .0 Moray County Council £5 .5 .0 East Lothian County Council £10 Motherwell and Wishaw Burgh £25 Edinburgh Corporation £8,750 Musselburgh Burgh £5 .5 .0 Elgin Burgh £10.10 .0 Nairn Burgh £2.2 .0 Fife County Council £200 Newton Stewart Burgh £5 .5 .0 Forres Burgh £2.2 .0 Penicuik Burgh £2.2 .0 Fraserburgh Burgh £5 Perth Burgh £100 Galashiels Burgh £5 Perth County Council £20 Glasgow Corporation £20,130 Perth and Kinross County Council £3 .3 .0 Grangemouth Burgh £20 Peebles County Council £ 5 Greenock Burgh £250 Prestwick Burgh £25 Hamilton Burgh £5 Renfrew Burgh £25 Hawick Burgh £15 Renfrew County Council £5 0 Helensburgh Burgh £50 Ross & Cromarty County Council £2 0 Huntly Burgh £5 .5.0 Rothesay Burgh £1 0 Inverness Burgh £275 Roxburgh County Council £10.10.0 Inverurie Burgh £5 Rutherglen Burgh £10.10.0 Irvine Burgh £3 .3.0 Saltcoats Burgh £2.2 .0 Jedburgh Burgh £2 .2.0 Sanquhar Burgh £1 .1 .0 Johnstone Burgh £5 .5.0 Selkirk Burgh £2 .2 .0 Kilmarnock Burgh £10 St. Andrews Burgh £3 5 Kilsyth Burgh £5 .5.0 Stirling Burgh £2 5 Kinross Burgh £2 .2.0 Stirling County Council £26 .5 .0 Kirkcaldy Burgh £50 Sutherland County Council £ 5 Kirkcudbright Burgh £5 .5.0 Tillicoultry Burgh £2 .2.0 Kirkcudbright County Council £10 .10.0 Troon Burgh £2 .2.0 Kirkintilloch Burgh £10 .10.0 West Lothian County Council £2 5 Kirkwall Burgh £2 Wigtown County Council £10 .10 .0 Lanark County Council £1,000 Leven Burgh £5 £38,506 .4 .0

WALE S MUSIC Dee and Clwyd Festival of Music Merionethshire County Council, Grant £5 0 Denbighshire County Council, Grant £7 5 Edeyrnion Rural District Council, Guarantee £ 5 Montgomery County Festival of Musi c Montgomeryshire County Council, Grant £40 0 National Federation of Music Societies Port Talbot Corporation, Grant £20 Combined Choirs Festiva l Neath Corporation, Grant £2 5 Llandaff Festival of Music Cardiff Corporation, Grant £25 0 Royal National Eisteddfod of Wales Caernarvonshire County Council, £1,50 0 Swansea Festival of Music and the Art s Swansea Corporation, Grant £500, Guarantee £1,50 0 Welsh National Opera Compan y Grants totalling £6,125 from : Cardiff Corporation, £2,000 Glamorgan County Council, £3,000 Monmouthshire County Council, £1,00 0 Cardiganshire County Council, £2 5 Port Talbot Corporation, £50 Aberdare Urban District Council, £5 0

118 DRAMA Arts Council Theatre Company, £15 Grant, Abergavenny Corporation Autumn Tour, 1959 £10 Grant, Bangor Corporatio n £10 Grant, Cardigan Corporatio n £10.10.0 Grant, Carmarthen Corporatio n £5 Grant, Denbigh Corporation £10 Grant, Dolgellau Urban District Council £10 Grant, Llangollen Urban District Counci l £10 Grant, Llanidloes Urban District Counci l £10 Grant, Mold Urban District Council £25 Grant, Port Talbot Corporation £25 Grant, Wrexham Corporatio n £25 Grant, Rhyl Urban District Council £15 Grant, Haverfordwest Urban District Counci l £15 Grant, Haverfordwest Rural District Counci l £100 Grant, Swansea Corporatio n Free use of hall in lieu of grant, Pembroke Corpora - tion In addition, the following grants were received from Education Authorities : Monmouthshire Education Committee, £87 .4 .0 Borough of Rhondda, £7 5 Newport Corporation, £85 .16 .0 National Welsh Drama Festival, Anglesey Anglesey County Council, Grant £10 Arena Theatre Company Cardiff Corporation, Guarantee £500 Swansea Welsh Drama Society Swansea Corporation, Grant £100 ART Contemporary Art Society for Wales Grants totalling £170 from : Anglesey County Council, £20 Brecon County Council, £25 Glamorgan County Council, £100 Pembroke County Council, £1 5 Carmarthen County Council, £10

119

APPENDIX F

HELP FOR THE ARTS FROM INDEPENDENT TELEVISION AND TH E CALOUSTE GULBENKIAN FOUNDATION

For 1958-59 the Arts Council Annual Report included in an appendix some selected instances o f private and industrial patronage of the arts. Since then the Gulbenkian Foundation has started to implement some of the recommendations made by the Bridges Committee in its report Help for the Arts which was published in the summer of 1959 ; and the Independent Television Companies have for th e second year in succession agreed to make financial assistance available for the arts . So in the curren t Annual Report it seemed useful to list selected grants made by these two beneficiaries to the arts i n Great Britain . During the year ended 30th April, 1960, the Independent Television Companies made available fo r grants to the Arts and Sciences a sum totalling nearly £150,000. The following selected list is confine d to grants for the arts. During the twelve months ended June, 1960, the Gulbenkian Foundation made grants totalling over £260,000 for artistic, educational, scientific and charitable objects in the British Isles and the Common- wealth overseas . The following selected list is confined to grants for the arts in Great Britain . INDEPENDENT TELEVISIO N Key to the Companies A.B.C. A.B.C. Television Limited A.-R . Associated-Rediffusion Limited A.T.V . Associated TeleVision Limited Granada Granada TV Network Limite d S.T.V. Scottish Television Limite d So .T.V . Southern Television Limited T.W.W. Independent Television for South Wales and the West of Englan d THEATRES £ £ Birmingham Repertory Oxford University Theatre 1,000 (A.T.V.) Theatre Ltd . 500 (A.B.C.) Salisbury Arts Theatre Ltd . 500 (So .T .V .) 500 (A.T.V .) Tavistock Theatre Company 128 (A.T.V.) Rapier Players Ltd ., Bristol 262 (T .W.W.) Theatre in the Round 250 (A.T.V .) Cambridge Arts Theatre Trust 1,000 (A.T.V .) Wimbledon Repertory Theatre 2,500 (A.-R .) Canterbury Theatre Trust 500 (So .T.V .) Council of Repertory Theatres 5,000 (Granada) Chichester Festival Theatre 250 (A.-R .) 500 (A.T.V .) 250 (A.T.V .) Repertory Theatre Directors 500 (So.T.V .) Pool 4,500 (A.B.C .) Cheltenham Everyman Theatre Scottish Repertory Theatre Company Ltd . 500 (T .W.W .) Trust 2,000 (S .T.V .) Belgrade Theatre, Coventry 500 (A.T .V .) Derby Little Theatre Club Ltd . 500 (A.T .V .) OPER A English Stage Company Ltd . 1,000 (A.T .V .) English Opera Group 100 (A.-R .) Guildford Theatre Club Ltd . 500 (So .T.V.) The Glyndebourne Arts Trust 500 (A.T.V.) Kidderminster Playhouse 250 (A.T .V .) Ltd. Leatherhead Repertory Theatre 250 (So.T .V.) Company Ltd . 250 (A.-R .) Sadler's Wells Trust Ltd . 5,000 (A.B.C.) Lincoln Theatre Association New Opera Company Ltd . 500 (A.-R .) Ltd. 500 (A.T.V.) Welsh National Opera Margate Theatre Trust Limited 500 (So .T.V .) Company Ltd . 2,500 (T .W.W.) Mermaid Theatre Trust 500 (A.-R .) Northampton Repertory BALLET Players Ltd . 500 (A.B.C.) Mercury Theatre Trust Ltd . Nottingham Theatre Trust Ltd . 500 (A.B.C.) (Ballet Rambert) 750 (A.-R .) 500 (A.T.V .) Western Theatre Ballet Ltd . 250 (T.W.W.) 120 ORCHESTRAS £ £ Brighton Philharmonic Societ y Electronic Guides to Art Ltd. 400 (So .T.V .) Galleries 3,000 (Granada) City of Birmingham Symphon y Herbert Art Gallery, Coventry 250 (A.B.C .) Orchestra 250 (A.B.C .) 250 (A.T.V .) 250 (A.T.V.) Friends of the Tate Gallery 500 (A.-R.) Halle Concerts Society 5,000 (A.-R.) Museum of St. Fagans 525 (T .W .W .) Haydn/Mozart Society 100 (A.-R.) SCHOOLS London Mozart Players 125 (So .T.V.) Central School of Speech an d 125 (T.W .W .) Drama 800 (A.-R.) London Philharmonic Society 1,000 (A.T.V.) Central School of Speech an d London Symphony Orchestra 2,500 (A.-R.) Drama (Lectureship) 700 (So .T.V .) St. Martin-in-the-Fields Joint Appeal : L.A.M .D .A., String Orchestra 100 (A.-R .) C .S.S.D ., R .A.D.A. 2,000 (A.B.C.) Scottish National Orchestra 525 (S .T.V .) 1,700 (A.-R.) Western Orchestra Society Ltd . 2,000 (A.T.V.) (Bournemouth Symphon y 1,500 (Granada) Orchestra) 1,000 (So .T.V.) National School of Opera 250 (A.-R.) Youth and Music 500 (A.T.V .) Rose Bruford Training College FESTIVALS of Speech and Drama 3,500 (A.-R.) Aldeburgh Festival of Music Royal Academy of Dancing 1,000 (A.-R.) and the Arts 500 (A.B.C .) Royal School of Ballet 1,000 (A.T .V .) Cheltenham Arts Festivals Ltd . 500 (A.B.C .) 525 (T .W .W.) 250 (A.T.V.) Rural Music Schools Coventry Festival of Music 450 (A.T.V.) Association 500 (A.-R.) Edinburgh Festival Society Slade School of Fine Art 500 (A.-R.) Ltd. 2,000 (S .T.V .) SOCIETIES AND INSTITUTION S Harrogate 500 (A.B.C.) British Drama League 150 (A.B.C .) Hastings 150 (So .T.V.) 110 (A.-R.) Llandaff Festival 50 (T .W .W .) 150 (Granada) Ludlow Festival Society Ltd . 250 (A.B.C.) British Institute of Recorde d Poetry Book Society Festival o f Sound 250 (A.B.C .) Poetry 1,000 (A.T.V.) Guild for the Promotion o f Orchestral Concerts Society Welsh Music 525 (T .W .W .) Ltd. (Bath Festival) 1,000 (T .W.W.) International Theatre Institute- Swansea Festival of Music British Centre 250 (A.-R .) and the Art s Royal Society of Arts 150 (A.-R .) Drama Festival 315 (T .W.W.) South Western Arts Music Festival 315 (T .W.W.) Association 26.5 .0 (T .W .W .) Royal National Eisteddfo d of Wales 525 (T .W.W.) BURSARIE S Three Choirs Festival Bristol `Old Vic' Scholarships 1,280 (T .W .W.) Association Ltd . 500 (A.B.C .) MISCELLANEOUS ART GALLERIES Elgar Birthplace Fund 100 (A.T.V.) Aston Hall Museum , `The Finsbury Story' Birmingham 500 (A.T.V .) (Borough Pageant) 100 (A.T.V.) CALOUSTE GULBENKIAN FOUNDATION VISUAL ARTS Area Arts Officer-up to £12,000 over five years to pay two-thirds of the salary and expenses of a n arts officer for an experimental area.

EXHIBITIONS Touring Collection of Modern British Art-£10,000 to the British Council for the purchase, on behal f of the Foundation, of works which, for the first few years, could be used for exhibitions and tours abroa d and subsequently would revert to the Foundation for disposal as gifts or loans to provincial galleries , universities, etc . Korean Art-up to £2,000 for an exhibition in London in March-May, 1961 .

12 1 MUSEUMS AND GALLERIES Provincial galleries and museums-up to £500 for preliminary planning of a comprehensive surve y of contents ; and up to £5,000 to assist purchases, especially of contemporary works . Out of this £5,000 offers of up to £750 have been made to each of six galleries for 50 per cent . contributions towards the purchase of 20th-century works, on condition that a similar additional su m is raised locally either by an increase in the purchase grant provided from the rates or by `friends of th e gallery' or local industrial and commercial firms . The six galleries chosen this year are : Bradford, Bristol, Leicester, Swansea, Wakefield and York . The offers are intended (as recommended in `Help for th e Arts') to reinforce and increase (a) the Directors' or Curators' choice of controversial modern work s and (b) the local sources of support for purchases of modern art . British Museum-a `revolving fund' of £2,200 per annum for three years (total £6,600) to finance the first 12 of a series of simple, attractively illustrated guides to various parts of the collections, sales of which will then finance the continuation of the series . Walker Art Gallery, Liverpool-£3,000 towards the acquisition of Rubens' `Holy Family .' Herbert Art Gallery, Coventry-£2,000 to mark the opening of the first municipal gallery built since the war, half to be for the purchase of pictures and half towards the cost of the opening exhibition o f pictures lent by the 10 cities (Dresden, etc .) with which Coventry has established civic relations . Department of Fine Art, King's College (Newcastle), University of Durham-£2,000 to replenish the fund out of which the Department has built up a remarkable collection in the Hatton Gallery over the last 10 years . Leeds Art Gallery-£1,500 over three years for the purchase and framing of about 150 pictures t o start a picture-lending scheme of 19th and 20th century etchings and lithographs, contemporary paintings by local artists, and reproductions . Museum of Costume-£100 as a final grant (the Foundation having contributed previously £260) towards the completion of a catalogue of the unique collection started by Mrs . Doris Langley Moore.

LIVING ARTISTS Gulbenkian Schemes to assist young and older artists-(a) £3,600 over three years for the selectio n and purchase of two-thirds of the output of two young artists each year ; (b) £3,000 over two years for a `fellowship' or other help to assist one or two older artists . Each year, instead of offering a travelling scholarship or other customary prizes, two artists unde r 30 will be selected and up to two-thirds of their paintings will be bought by the Foundation to a valu e of £500 from each painter . The works will be held by the Foundation, lent or deposited for exhibitions , etc ., and perhaps eventually donated or even resold . In this way the Foundation may help to replace the disappearing marchands-amateurs . Society of Mural Painters-up to £1,200 for the installation and catalogue of an exhibition at th e Victoria and Albert Museum, London, and a subsequent provincial tour . Howard Roberts Gallery, Cardiff-£1,000 for capital expenditure on heating, lighting, etc ., for th e only gallery in Wales exhibiting, lending and selling the work of Welsh artists . Picture-lending schemes-£500 to the University College of Wales, Aberystwyth, and f100 to th e University College of North Staffordshire, towards picture-lending schemes for students .

DRAMA Shakespeare Memorial Theatre, Stratford-a total of £17,000, made up of £5,000 per annum for three years for part-time contracts to 20-25 players to form the nucleus of a company playing in Stratford and London ; and £2,000 to help to subsidise a tour of six provincial cities in 1961-2 . `Theatre in the Round'-£2,000 per annum for three years to extend Mr . Stephen Joseph's company's tours of theatre-less towns . Questors Theatre, Ealing-£3,000 towards the realisation of the experimental design for a fully 'flexible' theatre. Everyman Theatre, Cheltenham-£2,000 towards modernisation intended to attract the younger generation . Theatr Fach Llangefni, Anglesey (Wales)-up to £2,000 for additions and improvements to the theatre converted from a barn . Belgrade Theatre, Coventry-£1,300 for a specialist for a trial year to experiment in various methods of increasing interest and understanding of the professional theatre among young people. Michael Croft's Youth Theatre•-£1,000 towards administrative costs for one year only . 122 Theatre Design-up to £1,000 for meetings, travelling, and other expenses of British, Continenta l and American producers, architects, etc . University College, London, Slade School-£750 to renew and improve equipment, especially the model theatre, for courses in theatre design . British Drama League-£550 for (a) a ten-day seminar, under M . Michel St . Denis, for 25 professional producers, mostly from the provinces, and (b) for a one-day conference on children's theatre .

MUSI C Gulbenkian recordings of modern music-£10,000 over three years to subsidise recordings of modern, especially British, music. Rural Music Schools Association-£10,000 over five years (a) for starting schools for amateurs i n rural areas, and (b) for training professional teachers for them. London Mozart Players-£2,250 to £3,000 per annum for two years to assist the launching of a provincial concert scheme with 25-35 concerts in provincial towns, on condition that a substantia l contribution is made from other sources . Darlington Hall Arts Centre, Devon-£1,500 per annum for three years to increase the resident tri o to a quartet, thereby providing a wider repertoire for performances and another local music-teacher . Gulbenkian competition for young composers of modern music-up to £3,000 to finance a competitio n and prizes for composers writing within the technical limits of good amateur choirs, orchestras an d brass bands . Modern orchestral and choral works-up to £1,000 to assist concerts of modern orchestral music, with special preparation before and discussion afterwards (along the lines of the 'musica viva' concert s successfully pioneered by the Royal Liverpool Philharmonic Orchestra) and up to £750 for the inclusion of new or unusual choral music in the annual Three Choirs Festival. Provincial orchestral societies-up to £1,250, especially for the inclusion of modern works . Summer School of Music, Darlington (Devon)-£1,050 to meet the expenses of Mr. William Glock's composers' workshop in 1960 and to help to provide an orchestra for his conductors' course in 1961 . Harlow Music Club, Essex-£1,000 to establish in the New Town a resident string quartet whic h should become self-supporting after a year by teaching and performing . Plainsong and Mediaeval Music Society-£900 for the reprinting of the 'Old Hall Manuscript' an d 'Polyphonia Sacra', two of the volumes of mediaeval English music originally issued before the war an d destroyed in the bombing ; sales of these volumes will finance further volumes . Over-Seas League, London-£750 over three years to provide Gulbenkian prizes at the 'music circle ' annual competitive festival for professional music students from the Commonwealth overseas, and t o help with the purchase of better instruments for promising players . Wind Music Society-£600 for the compilation and performance of unusual works, ancient an d modern . Instruments for schoolchildren-£500 for assisting purchase (or hire-purchase) of instruments in on e or two areas for a start. Northern Sinfonia Concert Society, Newcastle-£150 for commissioning two modern works for it s 1960-61 season . Chamber music in New Towns-£100 for three trial concerts, with explanatory illustrations, for worker s from the larger factories . Conway Ensemble-£60 for four subscription concerts in provincial cities .

OPERA AND BALLET New Opera Company-£2,000 towards the cost of the 1959 season of contemporary opera at Sadler' s Wells . Handel Opera Society-£1,500 towards the 1960 season at Sadler's Wells . English Opera Group-£1,000 towards the pre-production costs of Benjamin Britten's new opera , 'A Midsummer Night's Dream', first performed at the Aldeburgh Festival, June, 1960. London's Festival Ballet-£1,000 for commissioning a new ballet (for performance in London, th e provinces and abroad) in the hope that the London County Council may be prepared to grant the much larger sum required for the costs of production . Western Theatre Ballet-£1,000 (as an exceptional addition to the grant of £1,000 already promise d for administration) . 123 National Opera School-£550 towards (a) visits to Continental opera schools in preparation for planning a more comprehensive school in London, and (b) a special short course on Italian opera b y an Italian teacher (Sgr. Favaretto of Rome and Siena) . St. Pancras Arts Festival 1960-£500 towards the cost of producing Haydn's opera 'Il Mondo dell a Luna' and modem operas by Milhaud and Blacher .

ARTS ASSOCIATION, ARTS CENTRES, ETC . People's Theatre Arts Group, Newcastle upon Tyne-£15,000 to improve the quality of the new arts centre (by the provision of well-designed furnishings, etc .) on the understanding that the remainder of the money required for the basic structure and equipment will be raised locally . South Western Arts Association-£1,000 per annum for three years for administration and £1,000 per annum for five years for assisting new or existing projects (total £8,000) .

POETRY, LITERATURE 'Critical Quarterly'-£330 over two years for the administrative costs of this new literary journal .

OTHER GRANTS Scholarships and grants to individuals-£3,215 . Other small grants for study, travel, etc.-£2,890.

124

Also published by the Arts Council

CATALOGUE OF THE PICASSO EXHIBITIO N

(Shown at the Tate Gallery from 6th July to 18th September)

Introduction and Notes by Roland Penrose

70 pp. 259 Illustrations including 2 Colour Plates 7s . 6d . (postage 8d .)

CATALOGUE OF THE EPSTEIN COLLECTIO N OF PRIMITIVE AND EXOTIC SCULPTUR E

(An Exhibition held at the Arts Council Gallery, 1960 )

Foreword by Gabriel Whit e Introduction and Catalogue by William Fagg

24 pp. 16 Illustrations 3s. 6d. (postage 5d .)

HOUSING THE ARTS IN GREAT BRITAIN

Repot by the Arts Council of Great Britain

Part One : London, Scotland, Wales

134 pp. 3 Illustrations 5s. Od. (postage 8d. )

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

PRICE. TWO SHILLINGS AND SIXPENCE