Contents

page 2 Sir William Emrys William s 3 Ends: Means : Progress 9 Appointments, Retirements and Honour s 11 Drama 22 Music 32 Opera and Balle t 40 Art 44 Poetry 49 Arts Festivals : Arts Associations, Centres and Club s 52 Scotland 64 Wale s 71 Accountant's Notes Appendices

(A-WWv E G®R *Y The Arts Council of Great Britain

1S N%rA gR GOAt .( of ~1gRAR PRSS cco 1 `O%IAA~1aN gese*vr►

The 18th Annual Report 1962/196 3

4 St. James's Square, London, S.W. 1 Sir William Emrys Williams, C .B.E., A Litt. Member of CEMA and the Arts Council 1940-195 1 Secretary-General of the Arts Council 1951-1963

It has fallen to the lot of few in our country to show so long an d thorough a devotion to the underlying purpose of the Arts Council . Long before the Council came into being, Sir William Emrys Williams gave himself to the promotion of general interest in spreading the riches of the world of Art, in making it possible for ordinary people to shar e in the privileges of the few . A founder-member of the Council and on e of its progenitors, he undertook the office of Secretary-General in 1951 , to the great satisfaction of its members . They knew that he brought with him a continuity of purpose, strong convictions, an understandin g of people, the gift of speech-and, rare in a Welshman, the gift of silence . All this seems a long time ago, and there have been many changes i n the climate of the Arts in Britain . Throughout these years, he has bee n something more than an instrument of the Council 's policy . That alon e would have been work enough for one man, calling as it does for powers of organisation, for patience and persuasion, for the sacrifice of leisure , for many hours spent in travelling the country, addressing audiences , confronting local authorities. He helped to mould that policy, an d perhaps above all, to make it known to and acceptable by the public . At the Council meetings, he was silent unless asked for his opinion , content to keep his finger on our pulse, aware of the significance of wha t was left unsaid, always able to bring order out of the clash of minds . The three Chairmen under whom he served would, I am sure, agree that his unflinching devotion, his stubborn persistence in pursuit of the best, hi s sanity and his integrity, are largely responsible for the success the Art s Council has achieved during his stewardship . There is an old Welsh saying that three things are needed to bring a man to his reward : he must be skilled in action, patient in conference , and steadfast in purpose . We know that there will be no respite in Si r William 's labours for the Arts now that he has left the service of the Council; his reward will still be the affection and respect of all who work with him . WYN GRIFFIT H Member of the Arts Council, 1949-6 1 Vice-Chairman, 1952-61

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r ~ ~, 1 '-V- . E.' Bronze F . E . McNN illiam Ends `Let there be ligh t'-the policy so defined is not executed by any singl e luminary : `the night has a thousand eyes ', and every farthing dip derive s its mandate from the same general principle ; that is what it is for . In the preamble of the Charter of the Arts Council, the ends of our creation are set out (with something less than lapidary precision) as follows : to `develop a greater knowledge, understanding and practice of the fine art s exclusively, and in particular to increase the accessibility of the fine art s to the public', and to `improve the standard of execution of the fine arts '. We cannot do all that, but that is all we can do. Our responsibility for effective leadership at the grand strategic level thus has to be discharged piecemeal, at the tactical and operational level, entirely by seconding the activities of others . Appreciation is the proper work of people who look at a picture, listen to music, go to a play or rea d poetry. We are to help more people to do this work better, not to do it for them . Execution is the artists ' work-painters and sculptors,

Aa composers and playwrights and choreographers, conductors, producers , actors, singers, musicians and poets. Can we help them to do it better ? It is perhaps the most exhilarating prospect one could imagine, but i t is a tall order. However, there are two alleviating circumstances . In the first place, we can reasonably expect our patients to be willing . Anything we can do to help people to appreciate works of art is directly enablin g them to enjoy life more, and if we can help artists to do better work, tha t is just what they want . There may not be enough of our medicine to g o round, but at least it is not nasty medicine . Secondly, we are not require d to teach anyone his own business. In one sense, our work can never be done . We have no single, definitive `target' whose achievement will complete our mission, such as raising a fund, or the eradication of some evil. As the standards of performance and appreciation rise in this country, and enjoyment of the arts is mor e generously diffused, we have to raise our sights. There will always b e room for improvement, because perfection is unattainable . In anothe r sense, the achievement of our aim can be continuous . Every distinguished new production anywhere in England, Scotland or Wales, every indi- vidual's fresh experience of a work of art, is a fulfilment of our objects, whether or not we had anything directly to do with it. It is a special source of pleasure and pride to the Arts Council that some noteworthy successes result from our own efforts . One of our oldest-established lines of business is in exhibitions of painting and sculpture : last year more than 175,000 people came to these exhibitions in London, and perhaps twic e as many in the provinces. Opera for All, which is `all our own work', played to more than 40,000 people who have little opportunity to enjo y opera otherwise . The work of Sadler's Wells, especially in tours outsid e London, and the ever-growing prestige of the Royal Opera at Covent Garden, and the constant progress, both in standards and in popularity , of the Repertory companies that look to us for support, are heart - warming. Full houses at Stratford-on-Avon this year will be all the mor e welcome to us because the programmes are now noted `in association with the Arts Council of Great Britain '. But full houses at Glyndebourn e are also doing our work for us . The public standard of appreciation in Great Britain is as surely improved when our people enjoy Australian painting, or share the experience of Picasso 's `War and Peace' at Vallauris, as when they are dazzled by a visiting Ballet Company, or feed on honey-dew at a reading of poetry, under our own auspices . We are in th e main stream of a current of activity that flow, irresistibly towards a finer and more splendid life for our own people : `everything 's going our way '. .Means The means appropriate to our ends (thus constantly in process o f fulfilment, yet constantly receding from our advance) are listed generically in the Charter. We are to advise and co-operate with Government Departments, local authorities and other bodies, and we are to hold an d deal with money provided by Parliament and with money or propert y `otherwise available' for our objects . Advice to, and co-operation with the constituted agencies of politica l authority imports a nuance of responsibility which is entirely character- istic of our special activity and also of British public administration . The Council consists essentially of public-spirited private persons, whos e interest in the Arts may or may not be professional . These people ar e appointed by the Chancellor of the Exchequer, and Assessors from th e Civil Service attend all meetings : but the Council's work and discussions are uninhibited by any official `veto'. The Council appoints its own panels of experts, and its own staff (subject, in the single case of the Secretary - General, to the approval of the Chancellor) . This particular pattern of relationship between Government and th e Arts would be hard to parallel elsewhere, lacking as it does the dirigisme of continental arrangements under a Minister of Culture or of the Fin e Arts, and lacking also the irresponsibility of unaided voluntary patronag e as exercised (say) in nineteenth-century England. It is a case of private enterprise ridden on the snaffle . The efficiency of the system depends o n the predominantly sensible contributions of all concerned, and on their ability to recognise what is good with understanding and enthusiasm, rather than on any particular combination of checks and balances . The system has been and is still challenged from two directions. Some people consider that a certain informality in our procedures i s unbecoming, seeing that the Council is entrusted with substantial sums of public money ; they fear that our freedom from Parliamentar y inquisition or official control in matters of policy makes us autocratic , and arbitrary in our choice of candidates for support- `irresponsible' in the plain as well as in the technical sense. Such suggestions are alway s welcome, as indicating ways in which we can do better . If our method s are really slipshod, brash or doctrinaire, that is not because we are a n independent Chartered corporation : critics have even complained of similar failings in the work of Government Departments . Our status simply requires us to look more carefully to our own standards, in the absence of constitutionally entitled inspectors . Other people argue that the arts in Great Britain would fare better i f one of the spending Departments-perhaps the Ministry of Educatio n or the Ministry of Public Buildings and Works-were charged with responsibility for them. A junior Minister and the civil servants con- cerned in that Department would then be dealing with the public art galleries and museums as well as orchestras, theatre companies and so forth. This would facilitate co-ordination ; and should afford an oppor- tunity to get more of the taxpayers ' money for the arts than is mad e available under the present system. The advantage and some of th e disadvantages of such a system were debated in the House of Lords las t March, when the Chairman of the Arts Council made his position clear. The present report cannot be used for any full consideration of all the questions at issue. But the suggestion that a principal advantage o f having a Minister for the Arts would be his power to get more mone y from the Exchequer deserves closer analysis here . Without such a Minister, the Council's grant has been multiplied more than tenfold in 18 years . Whether an administrative reorganisation would lead to an improvement in this rate of growth is a question tha t could be argued to and fro perhaps inconclusively : several of the people best qualified by experience to judge have concluded that it would probably not. In either case, a higher rate of increase in the taxpayers' involuntary contribution to the arts may not be the most desirable of possible developments even on the financial side . Parliament may b e held to have indicated a preferable policy in the Local Government Act of 1948, which provides (in Section 132) for expenditure by local authori- ties, up to a total amount not exceeding, in England and Wales, th e product of a rate of sixpence in the pound on theatres, orchestras and th e like. (In Scotland, the maximum is a rate of four and four-fifths pence i n the pound.) In 1948, the Government 's grant to the Arts Council wa s about half a million pounds: the product of a sixpenny rate in Englan d and Wales was about eight million pounds . At the present time, with the current new valuations, the proportion is still about the same . In practice, however, the expenditure of local authorities on all forms of entertainmen t is certainly far less than the permissible fifty million pounds, and possibly not much more than the taxpayers' contribution of nearly three millio n pounds. By exercising only a small part of the discretion they have bee n given by Parliament, the local authorities could give far, far more to th e arts than would the biggest thinkable increase in the Council 's grant. But the qualitative benefit of such a development would be greater still , because deliberate local support is worth so much more than Whitehall patronage . The springs of artistic life in a community must flow cleare r and stronger than any imported irrigation . There is no longer any reason, as there was during the War, for a central agency to take out of people's hands the responsibility for initiating and organising their own cultura l activity in their own way, as the utterly democratic processes of local government allow and encourage . Instinct and evidence thus combine to persuade us that the objects for which the Arts Council was incorpora- ted will be more effectively furthered (other things being equal) b y increases in local effort than by heavier involuntary drafts on the tax - payer. Now there is some reason to believe that the present constitutio n and organisation of the Arts Council is better adapted for fruitful liaison with local authorities, in this particular direction, than any arrangement which tied us more closely into the central machinery of government . We no longer have any `regional organisation ', but we appoint `assessors' from St. James 's Square, as the Government Departments appoint `assessors' to the Arts Council, to keep us in touch with local initiatives and developments, and to inform all those concerned `in the field' about our own policy, relevant experience and resources . Progress The wording of the Charter is no doubt judicious : advice and co - operation come before holding and dealing with money. We can some- times enjoy ourselves in the role of sugar-daddy to the arts, but we are at present more often, better and more characteristically employed as match-makers, midwives and nannies . Getting a third team on the roa d in `Opera for All', mounting an exhibition of George Grosz, or nursing the development of an association of civic and academic interests t o secure the future of the Bristol Old Vic, are more demanding operation s than writing cheques for Covent Garden . It is by the fruits of much patient inconspicuous discussion and correspondence, field-work, expert counsel and personal liaison, that we must justify our existence . Nor would we have it otherwise. The task is supremely rewarding just because it means an incessant involvement in the practical and personal realities of the life of the arts in our own time and place . For that reason among others we welcome the most important innova- tion of the current financial year, namely the Treasury 's agreement t o fix in advance the amount of the Counci l's grant for 1964/65 and 1965/66. This will deprive us of some of the speculative excitement of annua l budgeting in an expanding economy, and it imposes certain limits on th e exercise of creative imagination . But it means that we can help our clients to plan for the future with more confidence ; it enables us to work out `pump-priming' operations in support of viable enterprises that require outside assistance at first, but offer good prospects of eventua l self-sufficiency ; and it frees us from the old crippling uncertainty that vitiated to some extent all our work on new developments in their mos t important formative stages . The appointment of a new Secretary-General on 1st April, 1963, t o succeed Sir William Williams, thus coincides with the opening of a significantly new phase in the progress of the Council 's work. The multifarious achievements recorded in the subsequent pages of thi s report represent the culmination of the work for which Sir William wa s principally responsible . NIGEL J. ABERCROMBIE Secretary-Genera l

8 Appointments, Retirements , Honours

The term of office of Sir Emrys Evans, LL .D., as a member of the Counci l Council came to an end on 31st December, 1962, and he was not eligibl e for re-appointment . Sir Emrys had served as a member of the Council and of the Welsh Committee for a period of over four years . He will continue to be associated with the work of the Council as a member o f the Welsh Committee . The Chancellor of the Exchequer appointed Mr . Colin Mackenzie, C .M.G., and Colonel William Crawshay, D .S.O., E.R.D., as new members of the Council. The Council appointed Mr . Mackenzie to serve as Chair- man of the Scottish Committee in succession to the late Sir John McEwe n of Marchmont, Bart ., and appointed Colonel Crawshay to serve as a member of the Welsh Committee. The Council re-appointed Professor Sir William Coldstream, C .B.E ., Vice-Chairma n to serve as Vice-Chairman for a further period of one year from 1s t January, 1963.

Executive Committee The Council appointed Mr. Colin Mackenzie and re-appointed th e following to serve as members of the Executive Committee and, where indicated, as Chairmen of the Panels shown against their names, unti l 31st December, 1963 : Ernest Bean, C .B.E. Sir William Coldstream, C .B.E. C. Day Lewis, C.B.E. (Poetry) Professor Gwyn Jones Professor Anthony Lewis (Music) Hugh Willatt (Drama) John Witt (Art ) Queen's Birthday We offer our congratulations to Mr . Gabriel White, the Council's Honours 1963 Director of Art, on the award of a C .B .E., and to Mr. H. H. Donnelly, Assessor to the Council from the Scottish Education Department, on the award of a C .B.

10 Opera fur Ath A fires: rehear al, in a , hnrch hall, a '17er Warriogr of Aiearo, from in mLin,d ~4 .ri i n g by Juliet Punnet t .

.'Eris Council Triennial Portrv Awards I459 .62 : C . Day Lemi, and the o%o prize sinners Edi%urd Lurie-tienith (left ) and Robert Graces . J o

dm poruv Fesfiral (it Ober Rf~1411 Conri Tho-airr, 1903 : The Director. I'atric Dickiu~mi . c(indticis a rt-hearsal .

TIw J? wish Comirpritier's Gallery in 1hoseum Place, Cardiff. Drama

The present composition of the Drama Panel is as follows :- Hugh Willatt (Chairman) Miss Jocelyn Herber t Miss Elizabeth Barber Professor Hugh Hun t Michael Barry, O .B.E. Hugh Jenkin s Wynyard Browne Major-General Sir John Kennedy, Miss Nancy Burman G.C.M.G., K.C.V.O., K .B.E., C.B. , John Bury M.C . Professor Bonamy Dobree, O.B.E. Val May Miss Jane Edgeworth Leo McKern Robin Fox Miss Yvonne Mitchell Wilfred Fox, F.C.A. Harold Pinter Val Gielgud Miss Joan Plowright Dr. Wyn Griffiths, C .B.E . Patrick Robertson -Frank Hauser Miss Dorothy Tutin

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Obituaries It is with the very deepest regret that the Arts Council reports the death of two serving members of its Drama Panel . Eric Keown, th e distinguished theatre critic of `Punch' for many years and a mos t esteemed member of the Panel since 1961, died on February 15th, 1963 . John Whiting, a member of the Panel since 1955, died on June 16th , 1963 . Throughout that time Mr . Whiting had served on the Panel's New Drama Sub-Committee, giving the utmost of his encouragement and wise judgment to the many young authors whose manuscripts had bee n submitted for approval . His death is a tragic loss to British drama and to theatre everywhere. Audiences During the autumn of 1962 most provincial repertory theatres reporte d improved attendances and a generally satisfactory season, but th e severe winter with prolonged ice and snow was particularly damaging t o theatres in the south of England, less so for those in the north . The main effect was that companies which normally profit by their Christma s shows made little or nothing at all ; and the loss of audiences over the unusually long period has been very serious for a number of manage- ments whose reserves were already dangerously low . However, by the end of March, most theatres had weathered the storm better than the y had expected . In the early summer a second recession of audience s occurred, and both provincial and London theatres were playing to poo r business. Whether or not this was the effect of fine weather after a dreary winter is hard to tell, but it is a trend that has become mor e marked over recent years . Certainly much larger numbers of people tha n ever before now take to the open-air life as soon as winter is over, their cars cramming every road in the country and their caravans festoonin g countryside and sea shore . In September, 1954, there were just o n 3,100,000 registered cars ; in September 1959 there were just short o f 5,000,000-an increase of 2,000,000 motor cars in five years . It isn't unreasonable to suppose that if two-fifths more people are out in thei r cars on summer evenings then some of them are lost to the theatre-for a considerable time at any rate. The problem of what theatres should do during the summer must be faced and planned ; perhaps they should operate as do the Continental theatres and close for a longer summe r recess . Purchase Tax on The 1962 Finance Act obliges every theatre company which spend s Costumes more than £500 per year on making costumes for its own use to pa y purchase tax as if they were articles for sale . This is being strenuously resisted by the theatre managers, and the Arts Council has taken part in lengthy meetings and legal arguments with the Board of Trade repre- sentatives . So far, no relief from this clause has been granted . Many provincial companies will not be affected, of course, but there will be a substantial new burden to be borne by the State-supported Nationa l

12 Theatre, Royal Shakespeare Theatre, Royal Opera House and Sadler 's Wells managements . On January 25th, 1961, the Arts Council agreed that its Drama Panel 1964 Shakespeare should be invited to set up a Sub-Committee to co-ordinate plans fo r Festival celebrating the 400th anniversary of the birth of Shakespeare . The Sub- Committee, which now consists of representatives from the Arts Counci l of Northern Ireland, the British Broadcasting Corporation, the Britis h Centre of the International Theatre Institute, the British Council, the British Travel and Holidays Association, the Council of Repertor y Theatres, the Independent Television Authority and Companies, the 196 4 Shakespeare Anniversary Council and the Theatres National Committee , as well as representatives from the Council 's Drama and Poetry Panels , has already held six meetings . A considerable amount of informatio n relating to plans in centres such as Stratford-upon-Avon and Birmingha m and from theatres throughout the country has been collected, and at a later date a comprehensive programme of events will be made available . Artistic standards in some provincial playhouses have improved con- Improved Standards siderably in the year, largely because certain managements have take n decisions to extend the period of production (and consequently of rehearsal) of each play. The Nottingham and Sheffield theatres have experimented during the last few years in giving selected productions a three-week run at various times, and during 1962 the Nottingha m Playhouse finally changed completely to a three-weekly repertor y policy; Sheffield took the same step early in 1963 for an experimenta l period which, it is to be hoped, will become permanent policy . During the same period Colchester, Farnham, Guildford, Leatherhead an d Salisbury all changed from weekly to fortnightly production . They had worked for some while on the basis of giving extended rehearsal time fo r certain productions, a policy encouraged and financially supported by the Arts Council for several years . It is very satisfying that so many companies have thus been helped to break away permanently from th e weekly routine. The policy of playing in true repertory is generally accepted on th e True Repertory Continent, but has been the custom in England only with companies like the Old Vic, the Royal Shakespeare, and the two London Opera Houses . Few if any provincial theatres have ever been able to experiment with this sytem because their buildings are not capable of dealing with the work, having insufficient staff and storage facilities . However, in 196 2 the Belgrade Theatre, Coventry, experimented with limited seasons of true repertory, and these were sufficiently successful for the company t o extend the policy into 1963 . The Margate Stage Company has als o played in true repertory and the Birmingham Theatre played its three jubilee productions of Shakespeare in true repertory for ten weeks, and

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this experiment was successful . The Nottingham Theatre Trust has now decided that when the new Nottingham Playhouse opens it will also adopt this policy. Theatres Advisory This Council has now been set up under the Chairmanship of Viscount Council Esher, and provides, for the first time, a central body of informed opinio n representative of all interestb in the theatre, whose expert advice ca n be obtained when local theatre needs are being assessed, or when the preservation of existing buildings, or the building of new theatres, are being considered . Theatre Buildings- The present position was reported at some length in the last Annua l Change of User Report where it was explained that theatre buildings were now i n greater jeopardy than ever before . In the meantime, deputations fro m the Managers have held meetings with the Arts and Amenities Groups o f the Conservative and Labour parties at the House of Commons to urg e the necessity of direct approach to the Minister, and the Theatre Advisor y Council has put forward strong and persuasive arguments for an amend - ment to the Town and Country Planning Act 1950 . University Drama It seems that universities are becoming more aware of the need t o provide adequate buildings for Drama which has, perhaps, been thought of too much as just a part of Eng. Litt. in the past. Bristol and Mancheste r Universities have now established Chairs of Drama and both those universities have plans for building new theatres . Southampton is build - ing a new theatre designed by Sir Basil Spence, which is to be opened early in 1964, and plans are going ahead for University Theatres at Birmingha m and Nottingham . Oxford University recently acquired the lease of th e Playhouse and major reconstruction is being carried out in the theatre a t present. Special Schemes The New Drama Scheme has been continued along the same lines a s New Drama before, and during the year seventy-three plays were submitted under th e guarantee schemes, of which twenty-four new plays and six second pro - ductions were guaranteed : twenty authors were considered for bursarie s and four interim busaries were awarded . Support for new drama ha s played an important part in the more adventurous new play policy bein g followed by many provincial theatres, but at the same time the Pane l has been conscious of the great number of fine plays which have lai n neglected, in some cases for centuries. Four particularly interesting rar e revivals (Middleton and Rowley 's The Changeling at the Royal Court Theatre; Ford's The Broken Heart at Chichester ; Middleton 's Wome n Beware Women produced by the Royal Shakespeare Company at the Arts Theatre; and William Popple 's The Double Deceit at Birmingha m Repertory Theatre) encouraged the Drama Panel to recommend th e introduction of a new scheme for the revival of neglected plays . The Council is now prepared to offer limited guarantees against loss for the

14 professional production of certain plays that are now rarely if ever pro- duced, and it is hoped that the scheme will lead to the restoration of goo d but neglected plays from the past into the current repertory . Such plays may come from any period or any country, but the Drama Pane l would need to be satisfied that they would stand a reasonable chance o f being successful with the public and of establishing a place for themselve s in the contemporary English theatre . Recommendations for suc h revivals may come from managements or individuals, or the Dram a Panel, and an approved list will be circulated to theatres from time to time . At the end of the first year's operation of the New Designer scheme i n New Designers 1962, the Drama Panel and the Arts Council were sufficiently encourage d to continue it for 1962/63 under the same conditions as before . Twenty- one designers were considered of which six were selected for appointment s in repertory and other theatres . The scheme is being continued in 1963/64, and at the time of going to press it is known that even more designers ar e applying to participate . Some years ago the Council of Repertory Theatres, with a grant fro m Trainee Managers Granada Television, began a scheme for training theatre managers, bu t this had to come to an end when the money was spent . The Arts Council, with the co-operation of C .O.R.T., has nowpromoted a scheme for trainin g those who wish to gain experience in theatre administration as well a s young managers who wish to widen their theatre administrative ex- perience. This scheme is to be put into operation in 1963/64 . The Arts Council, in co-operation with the Council of Repertor y Prospective Producers Theatres, is also to promote a scheme, the main purpose of which will be to provide an opportunity for entry into professional production b y prospective producers who will be drawn mainly, though not exclusively, from people already working in the profession . This scheme also begin s operating in the year 1963/64 . In 1956 an anonymous donor made a generous gift to the Arts Counci l Travel Grants. to be spent, on the recommendation of the Drama Panel, for the benefi t and encouragement of young artists in the theatre ; additional annual sums have been received from the same donor until the end of 1962 when the gifts came to an end . The total amount received during thos e seven years is £366, and we herewith record our gratitude to the donor , who still wishes to remain anonymous . This gift has provided travel grants for producers and designers to widen their experience by visitin g theatres on the Continent . The Drama Panel has decided that in future. travel grants will only be awarded to carry out a specific project and the recipient will be asked to prepare a report which may be made available to other theatres by the Arts Council. During 1962/63 awards were mad e to Miss Elizabeth Sweeting, the General Manager of the Oxford Playhouse , to carry out a study of the relation between university and professional

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Drama Subsidies

£ 2,692 (0.81 - New Designers & Travel grants for Producers 0.81 6,631 (1.97%) im pin 7,969 (2.37%) tans p Capital Eepen itu

30,000 (8.93%)

113,000 (33.64%)

175,600 (52.28%) im £ 335,892 Total 100.00

16 theatres in Great Britain and abroad. An award was also made to Mr . Anthony Richardson, the Director of the Belgrade Theatre, Coventry , to study the conditions of playing true repertory in certain Continental theatres. In April, 1962, the Arts Council revised the scale of transport subsidies, Transport Subsidies which are given to encourage theatres to extend their services and increase their attendances by providing a reduction in transport costs . The purpose of the subsidy is to enable theatres to attract a new an d additional audience of people who are at present discouraged from goin g to the theatre because of the relatively high cost of combined transport and ticket prices. The scheme has been far more widely used tha n ever before and the Arts Council's expenditure has increased during th e year. There is every indication that in 196364 even more people will make use of this service . On the facing page and in Appendix D, the details of items of expendi- Accounts ture in Drama Department for the year under review are given, and i t will be seen from these exactly how much has been allocated, and wher e it has been allocated, for the various special schemes which have bee n referred to above. New Drama absorbed a total of £6,630, Transport Subsidies took £7,969 and the various training schemes (some of whic h were only started part of the way through the year) needed £2,692 . This expenditure of £17,292, together with £30,000 spent on various capita l schemes is additional to the grants and guarantees offered for the revenu e needs of the various theatre companies listed on the chart, and a valuabl e supplementary source of help to those theatre companies prepared t o make the effort required to earn the offered rewards . The first steps towards the formation of a National Theatre Company The National Theatr e were taken in October and November, 1962, with the appointment of Sir Laurence Olivier as Director and Mr. Stephen Arlen as Administrator . The first season at the Old Vic Theatre, which is now being reconstructe d internally to provide a newly designed stage and improved facilities for technical staff and artists, will begin in October this year ; the first seaso n of plays, it has been announced, will include Hamlet, St. Joan, the Recruiting Officer, Hobson's Choice and Othello. The South Bank Theatre and Opera House Board, in consultation wit h the R.I.B.A., appointed an Advisory Panel composed of Sir Rober t Matthew, Sir William Holford, Mr . John Piper, Mr. Norman Marshall, an d Mr. Hubert Bennett, to assist in a final selection of the Architect for th e National Theatre. It is expected that the appointment of the architect will have been made by the end of this calendar year. The final season of plays to be presented by the Old Vic Trust, under The Old Vi c the Direction of Mr . Michael Elliott, opened with Peer Gynt in a new translation by Michael Meyer, and was followed by The Merchant of

17

Venice, The Alchemist, Othello and Measure for Measure . This last play was chosen for the final performance of the season at the Old Vic o n June 15th last, after which the Theatre was closed for the necessar y alterations to be made before the National Theatre Company takes over. This final performance was given in the presence of Her Royal Highues s Princess Marina, President of the Old Vic : after the final curtain, Dame Sybil Thorndike spoke from the stage in the presence of company and staff and reminded everyone that the coming of the National Theatr e Company to the Old Vic was the fulfilment of forty-nine years of magnifi- cent endeavour to establish a National Theatre in Britain . The Governors of the Old Vic Theatre are now on the point of conclu- ding negotiations with the National Theatre Board to lease the Theatr e to the Board for use as the home of the National Theatre Company unti l a new building is completed on the South Bank site . The Old Vic Theatre will thereafter continue as the second auditorium of the National Theatr e for an indefinite period . English Stage Three of the productions presented during the year at the Royal Cour t Company in Sloane Square were successfully transferred to the West End-The Keep by Gwyn Thomas, Period of Adjustment by Tennessee Williams and Chips with Everything by Arnold Wesker . The latter play ran fo r thirty-five weeks at the Vaudeville Theatre, toured the provinces and i s about to be presented in the United States . In connection with this play, the English Stage Company, at the author 's request, readily agreed tha t it should be released to provincial repertory theatres one week after th e London opening, and this offer was immediately taken up by the Sheffield Playhouse and the Glasgow Citizens Theatre, with considerable success . This release of a play to provincial companies while it is still being given in London is an immense stimulus to theatre companies outside th e metropolis, which might otherwise have to wait many months for th e end of the West End run and possibly also of a tour before they could present it to their own audiences . Once again the English Stage Company has pointed the way to a fruitful relationship between London an d Provincial theatre managements . The Company has also developed and extended its arrangements fo r visits of small parties of selected students from senior schools in the hom e counties to the Royal Court Theatre, where a week is spent in a thoroug h and exhaustive study of the daily work going on there, as well as visit s to performances at other London theatres . These visits are not conducted with any idea of glamourising the theatre, but of demonstrating ever y facet of the technical and artistic work which goes into the preparation of a production. The reports which are compiled at the end of every visi t show without any doubt that the students have gained a clear under- standing of how the combined skills and professional training of writers ,

18 designers, musicians, producers, actors and technicians are integrated i n the creative arts . This scheme is a most valuable contribution to the training of tomorrow's audiences . During 1962 the Royal Shakespeare Theatre Company which playe d Royal Shakespeare at the Edinburgh Festival undertook a provincial tour immediately Theatre following Edinburgh and played for one week each at Newcastle, Leeds , Manchester and Liverpool . This tour was made possible because of a limited guarantee against loss from the Arts Council and was the first occasion on which financial assistance had been offered to this Company . The plays were Troilus and Cressida, The Devils and Curtmantle . On February 15th, 1963, with a performance of King Henry VIII, the Birmingha m Birmingham Repertory Theatre celebrated the 50th anniversary of th e Repertory Theatre opening by the late Sir Barry Jackson of the first repertory theatre to b e built in Great Britain . This also marked the beginning of a ten-wee k season of plays in repertory, with Troilus and Cressida and Titus Andronicus as the second and third plays . These productions complete d the plan to present the full cycle of plays by Shakesperae at this famous theatre-the first professional theatre, apart from the Old Vic, to hav e attained this distinction . A memorable year was made even more memorable by the announcement of the City Council 's decision t o build a new home for the Repertory Theatre, on the Civic Centre site, to cost about £500,000 . Mr. Graham Winteringham, a distinguished Birmingham Architect, has been appointed, with the unanimous approval of the Directors of the Repertory Theatre and of the City Council, t o design the new building . It is perhaps worth recording that, in all th e preliminary discussions which led up to this decision by the City Council , the idea of a new theatre was at no time allowed to become a part y political issue and, when put to the vote at the full meeting of the City Council was approved unanimously . Discussions took place during the year between representatives of the Bristol Theatre Trustees of the Theatre Royal, the City Council, the Old Vic Trust and Royal the Arts Council on the future of this historic building, the present leas e of which expires in November, 1963. These discussions resulted in a mos t satisfactory arrangement whereby the City Council has agreed to negotiat e a new lease from the Trustees and a new Trust-The Bristol Old Vi c Trust Limited-has been set up to manage the theatre and to receiv e financial assistance from the City Council and the Arts Council . The new Trust consists of four representatives of the City Council, two of th e Governors of the Old Vic, one of the University, one nominated by th e Arts Council, and with Sir Philip Morris as independent Chairman . A further development followed immediately upon the formation of the Trust, when the City Council invited the Trust to accept artisti c responsibility for operations at the Little Theatre in the Colston Hall .

19

The financial responsibility, at least in the first year, will be borne by the City Council. Bristol therefore becomes the most interesting theatre centre in Great Britain, with its Theatre Royal, the Little Theatre an d Drama School all under the control of the new Trust, and closely linke d with the Drama Department of the University . The season of plays at the Theatre Royal has been of the highest quality and, in the spring of 1963, the box office returns showed the bes t average recorded since the theatre was reopened as a playhouse in 1942 . Coventry As part of the Coventry Festival, which followed the Dedication of th e Belgrade Theatre new Cathedral in 1962, the Belgrade Theatre presented a season of play s in true repertory, alternating with the more conventional short run policy . The difficulties and the expense of this kind of policy are well known, and have discouraged most managements in the past, but the Belgrade Theatre has successfully demonstrated the practicability and the value , especially in improved artistic standards, of this system . The theatre is also developing its own group of regional playwrights, and under this plan has had success with David Turner 's Semi-Detached which wa s subsequently bought for production in London with Sir Laurence Olivier playing the lead, and in 1964 is to be produced in New York by a company from the Belgrade Theatre. Nottingham The Nottingham Playhouse, a converted cinema, was opened on Playhouse November 8th, 1948, with a production by Andre Van Gyseghem of Shaw's Man and Superman.The building finally closed as a playhouse on July 13th, 1963, with the same play directed by the same producer . But this last performance was not an occasion for regret or dismay ; it was th e end of nearly fifteen years of distinguished work by companies successively under Andre Van Gyseghem, John Harrison, Val May and Frank Dunlop , making this theatre one of the outstanding repertory theatres in the country. A new era will begin in the beautiful theatre now being buil t by the Corporation as a new home for the Playhouse Trust and due t o open in December, 1963. The Artistic Directors for the new company wil l be Frank Dunlop, John Neville and Peter Ustinov, with Patrick Robertson as chief Designer and Peter Stevens as General Manager. During the year under review a company from the Playhouse, sponsore d by the British Council and led by John Neville, Paul Daneman and Judi Dench visited Guiana, Nigeria and Sierra Leone ; it was the first pro - fessional company of players from Great Britain ever to visit thos e territories. They produced Macbeth, Twelfth Night and Arms and the Man with outstanding success and to the great delight of their new audiences . Oxford The noteworthy productions of the Meadow Players at the Oxford Play- Meadow Players house during the year under review include The Genius and the Goddess by Aldous Huxley and Beth Wendel, Shaw 's Misalliance (which was success - fully transferred to the Royal Court Theatre, London) Camus' The Just and

20 Genet's The Maids. The theatre itself is now closed while major recon- struction to the auditorium is taking place ; it will be ready to re-open in January, 1965 . Meanwhile, Meadow Players were able to announce a n offer of a first grant of £1,000 from the Corporation of Oxford which is to be increased in subsequent years to £3,000 provided that the Company continues to receive the approval and financial assistance of the Arts Council. Financial support for its general artistic policy was given for the first Sheffield time in 1962 to this distinguished and long established Sheffield Company . Repertory Company The main purpose of the Arts Council's contribution was to enable th e company to undertake more prestige productions than would have bee n possible with their own resources, since these would involve extra cost s and a larger permanent staff. The result has been most satisfactory ; the Management Committee, after an experimental season, decided to institute a number of three-weekly runs, and after the success of these th e Committee adopted a full three-weekly repertory policy for the future . As from April 1st, 1963 the company has been brought into forma l Association with the Arts Council. Two new theatres, for which the entire cost was borne by the loca l Local Authorities and authorities in each case, were built and opened in 1962. One was at New Theatres : Eastbourne where the spacious and splendidly equipped theatre costin g Eastbourn e £387,000-"The Congress"-has been built on a site also provided free of charge by the Corporation. It is now in full operation with a programme of events of an attractively varied character. The other theatre is "The Ashcroft " at Croydon, which is part of a Croydon group of buildings forming an impressive centre for the Arts and com- prising an art gallery and large concert hall as well as the theatre . Regular drama at the Ashcroft is provided by the New Pembroke Company and the auditorium is also available to visiting small-scale opera and ballet companies as well as amateur companies at certain times of the year. The cost to the Corporation of the full scheme for the thre e buildings was in the region of £1,250,000 . Though actual building did not begin till 1963, the Corporation too k Leiceste r the decision in 1962 to provide a site, build a theatre costing £20,000 an d to support the new Phoenix Theatre Trust, set up to establish a permanent theatre company once again in the city . The building will be ready for opening this autumn, and the Artistic Director and Manager have alread y been appointed . This commendable action by the Corporation is th e direct result of the efforts made in 1961/62 by a small company of player s who established themselves in a derelict Sunday School Hall and provide d a young and eager audience with a most impressive programme of plays .

21 Music

The Council 's Music Advisory Panel, whose advice is also sought on opera and ballet policy, consists of the following members:- Professor Anthony Lewis (Chairman ) Paul Beard The Countess of Harewood Anthony Besch Roy Henderso n Geoffrey Bush, D .Mus. Miss Imogen Hols t John Cruft John Horton Meredith Davies Professor Ivor Keys, D .Mus. Norman del Mar Gerald Moore Geraint Evans Miss Thea Musgrave Keith Falkner Dennis Pilcher Roger Fiske, D .Mus. Andrew Porte r William Glock Ernst Roth Professor Sir Jack Westrup

22 Last year's Report referred to the comprehensive proposals of the The orchestral Orchestral Employers ' Association to revise the wages and working scene conditions of players in the permanent symphony orchestras based outside London . The Council did not know at that time how far it would be able to increase its financial assistance to these orchestras, whose total salary costs would rise by £165,000 per annum if the proposals were to be implemented . In December 1962, the Council was able to inform th e orchestras that expectations from the Treasury were such that it would be in a position to increase its present grants by an amount equivalent to approximately 50 per cent of the estimated additional costs . With this news the orchestras, after consultation with their respectiv e Local Authorities, were able to inform the players that the proposal s could be put into operation as from April 1st, 1963 . This offer was accepted. While the greater part of the cost of these proposals will be borne in equal shares by the Arts Council and Local Authorities, most orchestra s have made some increase in their prices of admission to concerts for th e 196364 season-a not unfair contribution for the concert-going publi c to bear in the circumstances . The orchestras hope, for their part, to be able to offer programmes and performances of an even higher standard than hitherto ; receipts as well as press reports from local centres an d London suggest that these hopes are beginning to be fulfilled . Although arrangements for the London orchestras have not bee n worked out in such detail, new rates of pay for the London Symphony , London Philharmonic and Philharmonia Orchestras have been agree d with the Musicians' Union. These increases, of 25 per cent over the fees generally paid for the last two or three years, are bound to be followe d by corresponding increases in the rates of pay applicable to othe r orchestral activities and will undoubtedly add to the financial burdens o f most promoting bodies . The Council has been able to set aside a large r sum for the London concerts given by these orchestras during the comin g season. A new scheme for allocating these funds has been established with the London County Council, whereby an equal contribution from both bodies now forms a pool from which each of these orchestras are offered guarantees against loss on their series of concerts in the Royal Festival Hall, throughout the year . A representative joint committee, after scrutiny of each orchestra's proposals, will determine the detaile d amounts to be offered. It is hoped that the joint committee representin g the two Councils will also be able to ensure an improvement in the co - ordination and selection of all programmes given by these orchestras, although an overall integration will take some time to achieve . Both Councils are considering the possibility of sponsoring a series o f special programmes in which all three orchestras would participate whe n

23

the Hall re-opens after next year 's closure for major improvements and alterations. The number of concerts given in the last two years by the permanen t symphony orchestras associated with the Arts Council are these:- 1961-62• 1962-63 • City of Birmingham Symphony 201 2121 Bournemouth Symphony 220 2001 Halle 250 23 4 Royal Liverpool Philharmonic . . 189 19 6 Northern Sinfonia 85 15 9 Orchestras associated with the Council for specific concert promo- tions:- London Philharmonic 104 1 London Symphony 2 7 City of Birmingham The City of Birmingham Symphony Orchestra continued to draw larg e Symphony Orchestra audiences in most centres of the Midlands . The high standards of playing, which Hugo Rignold has achieved was becoming more widely recognized . Last year's excellent attendance figures at the Birmingham Town Hal l included full houses at most of the regular Thursday concerts . A notable item in the programmes was the first performance in Birmingham o f Benjamin Britten's War Requiem which had received its world premiere by the orchestra in Coventry earlier in the year . In addition to the Coventry Cathedral Festival, the orchestra took par t in the Cheltenham Festival of Contemporary Music and was invited t o give the inaugural concert in the new Civic Hall in Solihull. The leader of the orchestra is now John Georgiadis and, at the close of the year, the orchestra's Musical Director and Conductor, Hugo Rignold, took the orchestra on an extensive tour of Germany and Switzerland . The Feeney Trust commissioned new symphonies by Humphrey Searle (Fourth) and Robert Simpson (Third) . Both works received thei r first performances during the season. Bournemouth Under Constantin Silvestri the Bournemouth Symphony Orchestra ha s Symphony Orchestra been acclaimed as an instrument of great sensitivity and finesse in man y parts of the country beyond its own regional territory, which extend s from Portsmouth to Gloucester and down to Penzance . It continues t o provide a generous and regular service of orchestral music throughout this region and the increasing popularity of both Silvestri and the assistan t conductor, James Loughran, has secured increased concert attendances . A total of 110 participating local authorities, mainly small ones i n rural areas, combined to provide over £8,400 towards the maintenance o f the orchestra . The orchestra appeared for the first time in the Three Choirs Festiva l Excluding television and sound broadcasting . t Including performances abroad and engagements with opera companies . $ Including sixty-two concerts presented in centres outside London, eleven industrial concerts and thirty - one in the series presented by the London Philharmonic Society.

24 at Gloucester. The programme, conducted by Sir Adrian Boult, include d the Fourth Symphony of Mahler and the first performance of a Te Deum by Tony Hewitt Jones, a composer resident in that city . The Hall6 Orchestra's programmes at the Free Trade Hall, Manchester, Halle Orchestr a contained a high proportion of new and unfamiliar works . First per- formances in Manchester included works by Bergmann, Boulanger , Hindemith, Orff and Shostakovich ; Sir John Barbirolli introduced for the first time in this country a Violin Concerto by the Norwegian composer Harald Saeverud in which the soloist was Andr6 Gertler . With the help of Associated-Rediffusion and with the collaboration o f the Society for the Promotion of New Music, public orchestral rehearsals again featured in the orchestra 's schedule of engagements . No fewer than twenty-five first performances of works by young British composer s have now been given since the series began. Visits to the Royal Festival Hall were frequent and included the opening concert of the Royal Philharmonic Society's 150th anniversary season with Artur Rubinstein as soloist. The orchestra played in town s which had not been visited for several years and the success of these will be followed up by further concerts next season. The Manchester Corporation decided to increase its grant to £22,500 , while the Lancashire and Cheshire Joint Local Authorities scheme, whic h aids both the Hall6 and Royal Liverpool Philharmonic Orchestras, will also increase its contributions during the year 196364 . After nine years with the Royal Liverpool Philharmonic Orchestra, Royal Liverpool John Pritchard relinquished his post as Musical Drector-ai period upon Philharmonic which he can look back with much pride in many remarkable achieve- Orchestra ments. Charles Groves has succeeded him and the season 19636 4 maintains the orchestra 's reputation for musical enterprise . During the year the Society staged its Second International Conductor s' Competition, which produced in Dietfried Bernet, a 22-year-old Austrian, a young conductor destined to make a considerable mark in the musica l world. The Competition will become a regular fixture in the Society's calendar and will be held in alternate years (the third will take place fro m June 1st-12th, 1964) . A'Special Activities Fund', to which business organisations and private individuals have subscribed most generously, proved to be singularl y successful in the event. A capital sum in excess of £25,000 has becom e available for projects requiring special financial cover which cannot b e met from receipts in the normal revenue account . Invitations from Festivals and from other promoting bodies outside Liverpool have risen sharply and attendances at concerts in both the Summer and Winter series at the Philharmonic Hall have shown a gratifying increase .

25

London Philharmonic A record total of sixty-two concerts in twenty different centres of th e Orchestra South East region and East Anglia shows that the London Philharmoni c Orchestra's work is an important feature of musical life in an area which has no professional orchestra of its own . An improvement in quality as well as quantity is to be noticed now that the Orchestra's policy is t o integrate the programmes as far as possible with those being given at th e Royal Festival Hall using the same distinguished conductors and artists. The co-operation and financial support from Local Authorities is encourag - ing. Many have already agreed to share with the Council, in equa l measure, the substantially increased costs which must be faced during th e coming season . The Industrial Concert series at the Royal Albert Hall now approache s its tenth season and is supported by no fewer than 400 industrial and commercial organisations, whose employees make up the audiences fo r the specially planned programmes . London Philharmonic Thirty concerts were presented by the London Philharmonic Society as Society part of the 196263 season at the Royal Festival Hall . The Londo n Philharmonic Orchestra was engaged for the entire series under its own Musical Director, John Pritchard, with guest conductors including Jose f Krips, Paul Kletzki, Massimo Freccia, Bernard Haitink, Dietfried Berne t (winner of the 1962 Liverpool International Competition), Sir Adria n Boult and Sir Malcolm Sargent . Hindemith's An American Requiem was conducted by the composer. Louis Kentner joined the orchestra in th e first performance of Bartok's hitherto unknown Scherzo for Piano and Orchestra . The programmes also included both symphonies by Si r William Walton, Britten 's Sinfonia da Requiem and the Sinfonia Antarctica by Vaughan Williams, as well as important contemporary works from abroad . The Society launched a membership scheme for individual subscriber s which aims at both building up a nucleus of regular listeners and securin g further financial support for the Society 's activities. London Symphony The London Symphony Orchestra's concerts at the Royal Festival Hall, Orchestra under their distinguished principal conductor Pierre Monteux and a larg e number of guest conductors, fully maintained the very high international reputation of this orchestra . Festivals in Edinburgh, Strasbourg, Vienna , Paris and Lisbon were among the more important engagements outsid e London. A recent visit to Japan was the first appearance of a British orchestra in that country and the success of the visit resulted in an invitation t o return in 1964. The formation of the L.S.O. Trust was announced recently. It aim s to provide an endowment which will be used for special activities both a t home and abroad, and to provide some measure of security benefits to

26

the members of the orchestra, none of whom is on permanent con- tract. An early contribution to the Trust came in the shape of th e proceeds from a memorable concert in the Royal Albert Hall on Ma y 29th, when the programme included a performance of Stravinsky 's The Rite of Spring conducted by Monteux who had d irected the notorious premiere in Paris exactly half a century before . The future of the Northern Sinfonia Orchestra looks brighter now that Northern Sinfoni a the North East Association for the Arts has emerged as a major force in Orchestra the cultural life of the region . One of its principal responsibilities is the maintenance and development of the orchestra into a body of national status . The permanent strength has now been increased to twenty-fiv e musicians . This nucleus is augmented on many occasions during the yea r for the regular series of concerts now presented in Newcastle, and othe r large towns in the North-East and in Carlisle . The Newcastle pro - grammes form the basis of those given elsewhere and, although these ar e planned to be popular in appeal, enterprise is by no means forsaken . One programme was devoted entirely to works by Benjamin Britten and mos t others included contemporary or native works, or both . A regula r schedule of schools concerts for Education Authorities in the region ha s been established and this should prove invaluable in building up audience s for the future . An invitation to take part in the Menton Chamber Music Festival , under Milton Katims, shows that the standard of playing is already appreciated and recognised in the international field . The Philomusica of London appointed George Malcolm as Artistic Chamber Orchestras Director in October 1962 . Since that time he has directed the orchestr a and played with them both in London and in the Provinces . A busy season included tours in South Wales, Scotland and Italy, as well a s normal provincial engagements and the Summer series of concerts at th e Victoria & Albert Museum . An opportunity to play in the London Festival of the International Society for Contemporary Music at the Royal Festival Hall demonstrated the orchestra's ability to interpret new and avant-garde music as successfully as the music of earlier periods fo r which it is so well known . During the year the English Chamber Orchestra and Music Societ y presented its second season of eight concerts in London . The orchestra is much sought after by concert promoters and appeared at no fewer tha n six festivals in this country . Two continental tours were undertaken during the first of which, in Germany and Switzerland, a new Concerto fo r Trumpet and Strings by John Gardner was introduced . The 196263 season was designed to celebrate the 150th anniversary of Royal Philharmoni c the. Society's foundation . Five of the six concerts were given by some Society of the world's oldest-established orchestras, namely the Royal Liverpool

27

Philharmonic, the Halle, the New York Philharmonic and the Vienn a Philharmonic. The latter appeared with the Philharmonia Choir at th e final concert in which Beethoven's ninth symphony, dedicated to the Society, was performed under Herbert von Karajan . The programme included many works that had been introduced to Great Britain in earlie r concerts given by the Society. Sir William Walton's Variations on a them e by Hindemith, specially written for the anniversary concert, was per - formed by the Royal Philharmonic Orchestra and conducted by the composer. During the season Aaron Copland 's Connotations for Orchestr a was also heard for the first time in this country . An exhibition for the Society 's unique collection ofmanuscripts and letters was displayed at the Royal Festival Hall. The Society's Gold Medal was awarded to Mr. Yehudi Menuhin and Sir Arthur Bliss . Brighton Philharmonic The Brighton Philharmonic Society presented fifteen concerts at th e Society Dome of which eight were given by the Brighton Philharmonic Orchestr a and the remainder by the London Symphony, London Philharmonic , Philharmonia, BBC Symphony and English Chamber Orchestras. The Society 's conductor Herbert Menges appeared at nine of the concerts an d visiting conductors included Sir William Walton, Rudolf Schwarz, Josef Krips and Sir Adrian Boult . The season was a notable one for the very large audiences it attracted throughout the season and on four occasion s more than 2,000 people paid for admission . Chamber concerts were resumed in the Royal Pavilion after a lapse of several years . The Amadeus and Allegri String Quartets both played to audiences who had purchased every seat well in advance of the concert dates . Contemporary Music In the field of contemporary chamber music, the London season was Societies enriched by the enterprise and quality of the eight concerts presented by The Macnaghten Concerts . Of the thirty-five composers represented, no fewer than twenty-six were of British or Commonwealth origin, and nine of these were young composers whose work had not featured in previou s programmes. Two specially planned events were notable for their originality ; one concert consisted of a programme of new works for ol d instruments, and another, which by public demand had to be repeated on two further occasions, comprised a programme of films with outstand - ing musical scores. The first concert of the season was of choral and organ music and was recorded by the BBC for subsequent use on its Third Programme . The presentation of Studio Recitals and Experimental Rehearsals o f new orchestral works continued to be the main policy of the Society fo r the Promotion of New Music . As in previous years concerts were given i n various festival centres. The Institute of Contemporary Arts (Music Section) mounted two concerts in the latter half of the season . The LaSalle Quartet played

28

music by Carter, Schoenberg, Schuller and Webern, and a mixed ensemble, including the John Alldis Choir, presented new British chamber music. The number of Societies affiliated to the National Federation of Musi c National Federation Societies at January 1st, 1963, was 838, and the proportion of performin g of Music Societies Societies to Music Clubs still remains at approximately 4 : 1. Under the general scheme of financial assistance toward the cost of professional artists taking part in public concerts, 539 clubs and societie s were offered guarantees against loss on their Concert Account as follows : England 338 Choral and Orchestral Societies were offered £25,495 139 Music Clubs were offered £6,240 Scotland 26 Choral and Orchestral Societies were offered £1,21 0 13 Music Clubs were offered £990 Wales 21 Choral and Orchestral Societies were offered £830 In addition 35 smaller clubs were offered £420 The claims on the 529 guarantees offered in the previous seaso n (196162) were as follows :- Englan d 317 Choral and Orchestral Societies offered £22,985 ; claimed £20,943 91 per cent 118 Music Clubs offered £5,335 ; claimed £4,621 87 per cen t Scotland 22 Choral and Orchestral Societies offered £1,675 ; claimed £1,640 98 per cen t 13 Music Clubs offered £910 ; claimed £875 96 per cen t Wales - 18 Choral and Orchestral Societies offered £875 ; claimed £792 91 per cen t The winners of the Award for Chamber Music Clubs, described in las t year's Report, were as follows :- Class I . Bridport and West Dorset Music Club £7 5 Class II . Seaford Music Club and Keswick Music Club tied £25 each Class III. Stonehaven Music Club £2 5 As in previous years many regional committees arranged choral rehearsals under a well-known conductor as part of the Regional Annua l Meeting and Conference and there is no doubt that this type of rehearsa l is growing in popularity . Several new works are now included in th e repertoire of Societies as a result . The extensive range of both orchestral and choral music performed by affiliated societies is remarkable . A complete list of works given durin g the 196263 season, together with the aggregate number of performance s of each, appears in Appendix F . The N.F.M.S. Award for Young Artists took the form of a competitio n for tenors. The adjudicators, who were Miss Astra Desmond, Sir Adria n Boult and Mr. David Galliver, awarded the prize jointly to David Palmer , Jack Irons, Carl Duggan and Alan Mayall . These four singers share d some 32 engagements, during the 196263 season, offered by the affiliated clubs and societies.

29

A course for conductors was inaugurated and held at the Roya l Academy of Music in September 1962 . Nearly 80 conductors from societies from all over the United Kingdom attended . The tutors were Sir Adrian Boult, David Willcocks, Meredith Davies, Frederic Jackson , Bernard Shore, and John Carewe . It is hoped that this course may become an annual event, alternating between centres in the north an d south of the country . In addition to the above course, three regions held `Conductors ' Days ' at each of which some dozen conductors spent the afternoon and evening discussing their problems with a well-known conductor . It is hoped that more regions will hold similar courses . There was no Annual National Conference during the year unde r review because the Federation recently decided to hold it in April o r May as a two-day event. The first under the new arrangement took plac e in May 1963 at Lytham St . Anne's. Other Musical There are still many concert organisations and local festivals whos e Activities varied activities fall outside the scheme of financial aid administered through the National Federation of Music Societies. Forty-four of them continued to receive assistance from the Council in an aggregat e total of two hundred and thirteen performances . Festivals took place a t Warwick, Bromsgrove, Dawlish, Little Missenden, St. Bees, Tilford an d in the Lake District. Chester Federation of the Arts organised a musi c festival to coincide with the presentation of the Mystery Plays in that city and, in a small mining community outside Barnsley, a two-da y Festival of Music by Purcell and Handel was held at Worsbrough Dale. The Redcliffe Festival of British Music in London again received assistance from the Council. Provincial orchestral concert schemes included those promoted by th e Haydn-Mozart Society, the Orchestra da Camera in Birmingham and the Lemare Orchestra in York . Chester and Hounslow received aid for th e first time for their series of winter concerts . The Newbury String Players and Southern String Orchestra again gave concerts in their own localitie s and a recently formed small professional orchestra-Midland Sinfonia- appeared at Corby, Derby and Bedford. Orchestras of national an d international repute took part in concerts sponsored by Ipswich Civi c Concerts and the Sutton Coldfield Philharmonic Society ; support was given to concerts given by the Polyphonia Symphony Orchestra, now re - organised on a professional basis, at St . Pancras Town Hall . In chamber music, the old-established South Place Sunday Concert s at the Conway Hall, London, received a substantially increased grant , while in the North of England the Manchester Tuesday Midday Concert s continued to receive Council support for the 48th annual series . Other activities in London supported by the Council included concert s

30 given by the Elizabethan Singers, the Francis Chagrin Ensemble, Music a Antica e Nuova, and the Renaissance Society. The London Bach Society completed its series of Bach Cantata concerts, each programme bein g varied by the inclusion of a contemporary choral work . Chelsea Opera Group continued their annual programme of concer t performances of opera with visits to both Oxford and Cambridge o n occasions during the year .

31

Opera and Ballet

Retirement of Lord Robbins, a Director of the Royal Opera House, Covent Garde n Dame Ninette de Ltd., writes : Valois Fortunately for us all, the retirement this summer by Dam e Ninette de Valois from the directorship of the Royal Ballet does no t mean her retirement from active concern with the future of ballet i n this country, for she intends to devote herself to the work of th e Ballet School and, in all sorts of other ways, her influence will con- tinue to be felt . But it does provide an opportunity for reflection on one of th e most remarkable personal achievements of our age, her building u p from zero of the impressive and justly famous company which is no w the Royal Ballet . Thirty-five years ago there was no ballet in thi s country . The epoch-making appearances of the Diaghilev Compan y had kindled enthusiasm and a sense of need . But there was no organisation to meet it . Today the renown of the Royal Ballet is

32 world-wide: even the Russians deal with it on equal terms . In bringing this about, Dame Ninette has had the co-operation of man y helpers, themselves famous in their own right . First there was Lilian Baylis who gave her the chance to build up her company o f dancers at Sadler 's Wells; and then there were Ashton, Fonteyn , Lambert, Markova . . . . But no one would ever question her position as leader and creator. How she did it is a matter which defies short description. She wa s a dancer of exquisite accomplishment, a choreographer of masterl y vision and imagination . But the qualities which went to the creation of her ballet, both as an internal organisation and as an artistic forc e in the land, transcended all those ; there was a jewel-like intensity o f purpose, an indomitable will and an authority of judgment, born of a marriage of intellect and taste, which without any affectation o r pretentiousness was apt to silence all objection . When Madam e spoke, she was the ballet. It is an extraordinary example of what dedication, allied to genius, can accomplish in a single lifetime. The manner of her departure, at the height of her powers and still covered with the laurels of a triumphant American tour, was characteristic of the whole story . With a quiet air of certainty, one day she volunteered to the Board that she had decided that the tim e had come for her to leave and for Sir Frederick Ashton to take over ; and we all knew that there was no arguing with her . She leaves the Ballet in supremely capable hands, with leading dancers of inter - national quality and a troop of talented juniors well capable o f sustaining the tradition . But there is a sadness about all partings , even though they be only partial ; and it will be long ere London ballet lovers cease to regret the absence from the stage box, nigh t after night, of that well-known profile, propped up on cuppe d hands, intent on the performance of the fleeting minute - a platonic archetype of creative concentration. The 196263 opera season at Covent Garden continued to attract a ver y Royal Opera House high attendance average despite the further increase in admission prices . Covent Garden Opera The box office receipts are indeed higher than any recorded since the and the Royal Ballet theatre re-opened in 1945 . After presenting the first performances o f Michael Tippett's second opera King Priam at the Coventry Cathedral Festival and Covent Garden in a brilliant and much acclaimed productio n by Sam Wanamaker, the Company introduced a triple bill consisting o f L'Heure Espagnole (Ravel), Erwartung (Schoenberg) and Gianni Schicchi (Puccini). This did not prove popular and seemed to underline once mor e the old operatic belief that an evening of one-act operas can never b e successful, unless they happen to be Cav. and Pag. Siegfried was added in in September to the new productions of the Ring cycle ; La Forza del

33 Destino (Verdi) opened inauspiciously with a much criticised production by Sam Wanamaker, but a new Turandot (Puccini) proved to be a grea t triumph for Amy Shuard, although the production and designs were no t universally admired . In April 1963, Lohengrin was presented under Ott o Klemperer's direction and provided a memorable experience of musica l splendour . The Marriage of Figaro came back into the repertory durin g June in a new production by Oscar Fritz Schuh with an international cas t under the Musical Director, George Solti. The last new production of th e season was Khovanschina by Moussorgsky in the version recently prepare d by Shostakovitch. Conducted by Constantin Silvestri, produced by Vlad o Habunek, Artistic Director of the Dubrovnik Festival, and cast wholly from the resident company, who sang in English, the performance wa s warmly received by Press and public . A short appreciation of the work of Dame Ninette de Valois on he r retirement as Director of the Royal Ballet appears at the beginning o f the section. She is succeeded by Sir Frederick Ashton, her friend and associate for many years . The Company and its audiences must count themselves fortunate that their future is in the hands of such a distin- guished figure in the world of ballet who has, moreover, already con- tributed so much to the achievements and status of the Company, at hom e and abroad . During Dame Ninette's final year, the Royal Ballet adde d no less than nine new works to the repertory . These included The Rite of Spring (Stravinsky/Macmillan), Symphony (Shostakovitch/Macmillan) , The Good-humoured Ladies (Searlatti/Massine), Toccata (Bach/Carter) , Electra (Arnold/Helpmann) and Sir Frederick Ashton 's Marguerite and Armand to the Liszt Dante Sonata specially created for Dame Margot Fonteyn and Rudolf Nureyev, whose regular appearances with th e Company have created great excitement among the ballet public . The larger section was at Covent Garden throughout the winte r season and has since, during the summer, completed a successful sevent h visit to the United States. The smaller section, in addition to sustainin g a season at Covent Garden during the American tour, has undertaken thirty weeks of touring in Great Britain and has visited Norwav, Sweden , Switzerland, Denmark and Western Germany . The year has again been satisfactory from a financial point of view i n that the results will show a surplus on trading. Excellent attendance s have exceeded estimates and there have been some economies i n expenditure. The Directors will be able, therefore, to reduce th e accumulated deficiency carried forward from previous years and t o create a small reserve towards the deficit anticipated in 1963/64, whic h will not be fully covered by the subsidy available . The subsidy for 1963/64 will be calculated on the basis described in last year's Report, i .e. 17s. 6d. for every £1 of reckonable receipts accruin g

34 during the year 1962/63, but the arrangements are to be reviewed agai n for 1964/65 and will not, necessarily, be fixed for a further period of thre e years as was anticipated in last year's Report. The most notable feature of the year at Sadler's Wells has been the Sadler's Wells Opera choice of works presented both in London and on tour . The list of new In and Out of London productions alone is remarkable : Murder in the Cathedral by Pizzetti (first given at the Coventry Cathedral Festival), Puccini 's Girl of the Golden West, The Rise and Fall of the City of Mahagonny (Brecht/Weill) with a revival of Hans Werner Henze 's Boulevard Solitude in the New Opera Company's original production. Added to these were Count Ory by Rossini and Mozart's Idomeneo and Cosifan Tutte. Together with a well- balanced choice of more popular works, as well as operettas, this admir- able repertory has attracted large audiences throughout the year . A comparison of preliminary accounts with estimates indicates tha t the Trust will be able to show a small working surplus as at March 31s t last. As the new season approaches, however, there is some cause for anxiety because the estimates for the current year-even with som e adjustment of seat prices and an increased grant of £20,000 from the Council-anticipate a substantial deficit. This is accounted for mainly b y higher salaries for both choruses and orchestras . Forty playing weeks outside London, including a two-week tour o f Western Germany, imposed a heavy burden on the planning and technical staffs, but transport arrangements have been greatly facilitated by th e acquisition of a fleet of twenty vehicles specially designed to carry all scenery, wardrobe equipment and baggage from door to door . This ha s been made possible through a grant and interest-free loan generousl y provided by the Calouste Gulbenkian Foundation. The Consultative Committee, set up some years ago at the Council 's suggestion, continues to advise on and publicise the Trust's touring activities. Experiments have been made in developing local interes t through the setting up of temporary mobile offices some weeks ahead o f the Company 's visit. A senior member of staff is on the spot to provid e information, answer enquiries and stimulate publicity through a locally appointed committee under the chairmanship of the Consultative Com- mittee member for the area. Box office receipts continue to reflect th e public's appreciation of the high standard and variety of operatic fare . The average weekly takings on tour rose from £3,440 in 1961/62 to £3,70 0 in 1962/63 . While the London County Council provides substantial assistance t o Sadler's Wells (£45,000 in 1962/63) towards its performance-in London , help from Local Authorities elsewhere is almost non-existent . Honourable mentions are due to Bradford, Glasgow, Leeds, Nottingham, York , Wolverhampton and five smaller authorities near Liverpool, wh o

35

collectively contributed some £2,300 but with the weekly costs of tourin g opera running at some £8,000 (including proportional overhead expendi- ture and production costs) they will have to be joined quickly by every other town or city visited by Sadler 's Wells if the service of takin g professional opera round the country is to be maintained and improved . The London Opera The London Opera Centre for Advanced Training and Development Centre opened on September 23rd, 1963 . Premises in the Commercial Road have been acquired for use jointly by the Centre and the Royal Opera Hous e and a scheme to adapt the building is nearly completed . Many distin - guished teachers and instructors have accepted invitations to join th e staff. The first entry of students will include several from the Common - wealth countries. The Council has continued to provide financial assistance to the Nationa l School of Opera, both for general purposes and for the special expenses incurred on the production of Fra Diavolo, which received warm com- mendation in the Press . English Opera Group An exceptionally busy year for the English Opera Group began with two new productions at the Aldeburgh Festival ; Dido and Aeneas which was subsequently seen in Guildhall as part of the City of London Festival and in the historic theatre of Drottningholm near Stockholm ; Albert Herring was presented later at Sadler's Wells as part of a season with the New Opera Company, and at the Rosehill Theatre in Cumberland. In September the Group paid its first visit to the Edinburgh Festival , giving three performances of The Turn of the Screw, so successfully that it will be returning again in 1963 to present The Beggar's Opera and The Rape of Lucretia. The former was revived in a new production at th e 1963 Aldeburgh Festival followed by three further performances at th e Theatre des Champs-Elysees, Paris . New Opera Company The annual season of the New Opera Company at Sadler 's Wells was shared with the English Opera Group who brought Britten's Albert Herring to London from the Aldeburgh Festival. The Company presented the first English production of Boulevard Solitude by Hans Werner Henz e which was subsequently taken into the Sadler's Wells repertory for a further three performances. A modern British double-bill comprisin g Elizabeth Maconchy 's The Departure and The Mager by Buxton Orr wa s also given a Sunday `Workshop' production. The association between Sadler's Wells and the New Opera Company moved a stage closer in 1963 when a joint production of Prokofieff's The Love of Three Oranges took place in April . The New Opera Company contributed both financially and artistically to the venture by providing its own Musical Director, Leon Lovatt, as conductor, and some of th e choristers to augment the regular Sadler's Wells Chorus . Handel Opera Society The Handel Opera Society's annual London season at Sadler's Wells

36 introduced a new production of Jephtha, together with a revival o f Radamisto. Later in the year the Society presented Jephtha at the Liege Festival where a large Belgian audience acclaimed both the opera and it s performance with enthusiasm. The choral group of this Society also pre- sented Ulysses by Handel 's pupil, John Christopher Smith, in the 1963 St. Pancras Festival. Although it attracted diverse and critical comment , the production served an interesting and useful purpose in illustrating, fo r today's audience, something of the general operatic scene in Handel 's times. The comparison between master and pupil may only have con- firmed the genius of the former, but it would have been difficult to make at all until the Society began its valuable work of reviving these great an d nearly forgotten masterpieces some eight years ago . A total of sixty-two performances by Intimate Opera during the year Intimate Opera included a tour of Scotland and the Orkney and Shetland Islands, visits t o Music Clubs, schools, various festival centres and repertory theatres . Performances were also given in Bermuda to enthusiastic audiences . In Opera for All 's fourteenth season two groups toured Britain giving Opera for All 183 performances in all. Douglas Craig, who has an unbroken record of service since its inception in 1949, and Bryan Balkwill were responsible , respectively, for the production and musical preparation of all pro - grammes . Bryan Balkwill, who first became associated with Opera for Al l in 1935, has recently been appointed Musical Director of the Wels h National Opera Company and will be succeeded for the coming season b y Raymond Leppard. Both groups encountered, during the second half of the season's tours, the most severe road and climatic conditions fo r several weeks on end. That both groups were successful in getting throug h with their minibus and lorry to fulfil all engagements is an indication o f the hardihood and courage of these twenty young professionals and o f the assured and resourceful guidance of the two touring managers , Geoffrey Gilbertson and William Lawford . At a time when numerous other local events were being cancelled, particularly in the West Country , Opera for All's presentations were fervently applauded, not least at Tavistock, where after being stuck in deep snow on the edge of Dartmoo r the lorry arrived as the curtain was due to rise and the performance o f La Boheme had to be given without costume or scenery to avoid un- reasonable delay for the audience in getting home . With La Boheme this group carried two other programmes, The Marriage of Figaro and Cimarosa's The Secret Marriage. The productio n of the latter, a new addition to Opera for All's repertoire, was sponsore d jointly by five independent television companies . The other group als o introduced a new programme, in which Lennox Berkeley 's A Dinne r Engagement (the production of which was sponsored by H . J. Heinz Company Limited) was preceded by Gluck's Orpheus in an abbreviated

37

presentation . The Barber of Seville and La Traviata completed this group's repertoire . Opera for All members also took part in a demonstration performanc e of two new translations of Gounod's Faust presented by the Council i n London on January 18th . The translations were the work of Leonar d Hancock and Elwyn Nott-Bower, joint winners of the Council 's 1961 competition for a new English version of the opera . In 196364 three Opera for All groups will be on tour, two being base d on London and one on Cardiff. This additional group is being presente d for the Council by the Welsh National Opera Company and consists o f the young artists from the Company's training scheme initiated a year ago. In addition to covering all bookings in Wales this group will visit towns in Gloucestershire and the South West. Amateur and other The Council 's general policy is to encourage amateur societies to loo k Opera Societies beyond the normal opera house repertoire for works, suitable to thei r resources, which seem worthy of revival (or of first presentation) i n professionally assisted productions . The earlier works of Verdi provide a fruitful and popular field o f exploration. The Liverpool Grand Opera Company gave Ernani, and London audiences saw productions not only of that opera (given by the Philopera Circle) but also of Luisa Miller (City Opera Club) and The Two Foscaris (University of London Music Society) . Early Rossini yielded The Touchstone (La Pietra del Paragone) for performance by the fully professional Group Eight Productions . This last was one of the opera presentations of the Ninth St . Pancras Arts Festival . The others were John Christopher Smith's Ulysses, resuscitated by the Handel Opera Society's Chandos Chorus, and the Ernani production (mentioned above) staged by the Philopera Circle , which had earlier visited St . Pancras Town Hall with Weber's Euryanthe. Another London presentation was Mozart 's Titus (La Clemenza di Tito ) given by Morley College Opera Group; and the Sacred Music-Drama Society played a number of performances of three short medieval musi c dramas in a City church and at Kingston-on-Thames. Donizetti 's L'Elisir d'Amore was the choice of two societies, Bat h Opera Group and Hebburn Musical and Amateur Operatic Society ; Cimarosa 's The Secret Marriage was chosen by two others, Opera da Camera playing at Corby and Uppingham and the Kentish Opera Grou p playing at Orpington. The latter Society 's production was given in alternation with performances of Menotti 's The Saint of Bleecker Street, the first to be staged in this country . The Hintlesham Festival Club presented a double-bill consisting of Ibert 's Angelique and Monteverdi's Il Ballo delle Ingrate ; Oxford University Opera Club gave Russlan and Ludmilla ; at Birmingham 116rold 's Zampa was staged by the Midland

38 Music Maker's Grand Opera Society ; and Britten's Noye's Fludde was performed at Lancing College. The Unicorn Theatre Club at Abingdo n added Floridante to the list of its annual productions of Handel . The total number of performances given by these twenty-one societies wit h the Council's support was ninety-nine . The Ballet Rambert toured in the Provinces for a total of thirty-seven Ballet Ramber t weeks during the year . New ballets introduced to London during a most successful season included the classic Don Quixote, not seen previously in its full length version outside Russia, which was a notable addition to th e repertory . Conflicts, a new work by Norman Morrice to music by Ernest Bloch, introduced several ideas new to ballet production and it has als o been received warmly . The same choreographer 's work was featured in Associated Television 's programme Tempo, when Norman Morrice dis- cussed the ballets he had created and illustrated his talk with dancer s from the Company. During the year the Mercury Theatre Trust announced a scheme of collaboration with the Royal Shakespeare Company in th e new theatre to be built at Notting Hill Gate . The tragic death last year of Elizabeth West, as the result of an acci- Western dent, deprived the Western Theatre Ballet of its creative and organising Theatre Ballet force just at the time when the ambitions on which she had founded th e Company were within reach of fulfilment. The only memorial she woul d have wanted-the continuation and development of the Company-is assured by the Board of Directors ' unanimous decision to pursue vigorousl y the plans and policies which she had so carefully laid for the future. In this task they have the resolute support and loyalty of every member o f the group to their new artistic director, Miss West 's close friend and colleague Peter Darrell . Despite this setback the year has been fruitful artistically . Seven ne w ballets were introduced including an impressive short work by a membe r of the Company, Laverne Meyer. Set to music by Anton Webern, The Web was favourably received and the press welcomed this promising new choreographic talent . In addition to tours in Scotland, Wales, the West Country and many provincial centres, the Company made severa l visits to Europe including two weeks in Norway where they gave a Royal Command Performance .

39 Art

The present composition of the Art Panel is as follows :- John Witt (Chairman ) Ronald Alley Roland Penrose, C .B.E. Alan Bowness Professor Nikolaus Pevsner, C .B.E. Loraine Conran, F.M.A. Claude Rogers, O.B.E. Guy Dixon The Earl of Rosse, M .B.E. Professor L . D. Ettlinger John Russell Lawrence Gowing, C .B.E. Robert J. Sainsbury, A .C.A. Basil Gray, C.B.E. Mrs. Lilian Somerville, O .B.E . Francis Hawcroft Adrian Stoke s John Pope-Hennessy, C .B.E. David Sylvester F. E. McWilham, A .R.A. Professor Carel Weight, C .B.E., A.R.A., M. A. Palmer, F.M.A. R.B.A.

40 An inflationary year-by-year rise in the cost of the many service s Inflation involved in organising exhibitions of works of art has become one of th e constants of the Art Department's annual budget . Many of these services such as overseas packing, shipping by air and sea, security, mounting an d framing, the moving of sculpture and fragile objects, contractors ' work, etc., are inherently expensive and quite small percentage rises involv e large sums . Meanwhile, apart from such foreseeable increases, the cost o f insurance premiums, related as they are to valuations which still soa r out of all proportion to the `normal' inflationary process, have made i t harder still for the Department to use any increase in its grant for fres h enterprises . Among the year's major exhibitions the retrospective of the work o f Exhibitions Oskar Kokoschka opened in September 1962 at the Tate Gallery was the most ambitious . Not only was this an opportunity for Great Britain t o pay a rather belated tribute to the artist ; it enabled a proper critical estimate of Kokoschka 's position in 20th-century painting to be formed . In the following month we opened a large retrospective exhibition o f sculpture, mobiles and constructions by Alexander Calder . These black and vermilion organisms, ranging from the gigantic to the minuscule , swayed and gyrated uninhibitedly for six weeks under the vaults of th e Tate Gallery, whose Trustees have generously continued their practic e of allowing us space for our exhibitions . At the 1963 Edinburgh Festival two exhibitions were held concurrently, one consisting of 50 paintings by Modigliani and the other of a similar number by Soutine, the selections being made respectively by Mr. John Russell and Mr. David Sylvester. Both exhibitions were brought to the Tate Gallery after Edinburgh . A second festival enterprise was the large international exhibition o f Cartoon and Caricature from Hogarth to Hoffnung opened in June 1962 a t the Bath Festival and moved in July to the Royal Exchange as part of the first City of London Festival, later visiting Glasgow and Brighton . In November and December 1962 at the Tate, a large retrospectiv e exhibition of the work of Jean Arp was held. This included not only sculpture but paintings, reliefs and collages . From the end of 1962 to th e time of writing the Tate Gallery's other commitments have limited our activities there . Our first exhibition in 1963, of the paintings of John Opie , was thus held in March, while from mid-July to mid-August a retrospec- tive exhibition of the work of Ivon Hitchens was arranged. At the Arts Council Gallery, 4 St. James 's Square, in September 1962 , we showed a special exhibition of drawings and models of royal, domestic , public and ecclesiastical buildings from the office of Nicholas Hawksmoor. This was organised in conjunction with the Hawksmoor Committee's campaign to preserve two of his London parish churches . In Novembe r 1962 a remarkable exhibition of Ancient Peruvian Art from the collection

41 of Miss K . Kemper was arranged at the gallery, which is well adapted fo r exhibitions of small objects of rich or exotic craftsmanship . This wa s followed in January 1963 by a commemorative exhibition of the wor k of Lucien Pissarro, in forming which we were fortunate to be helped b y his daughter Orovida Pissarro . In April 1963, through the Society for Cultural Relations in Japan, we were able to show the remarkabl e exhibition of paintings and terracottas by the Zen priest and artis t Sengai . As in other European countries, it was warmly received by th e critics and an unusually wide public . As in the past several exhibitions have been specially organised for showing outside London . One of these, Victorian Paintings, consisting o f sixty-six genre paintings and landscapes selected by Mr . Graham Reynolds , was opened at the 1962 Aldeburgh Festival in the new art gallery there . Construction England, opened at the Whitworth Gallery, Manchester, i n April and still on tour at the time of writing, is the first comprehensive exhibition of three-dimensional works by the young, talented an d fastidious group of English constructionists led by Victor Pasmore , Kenneth Martin, Anthony Hill and Stephen Gilbert . A further exhibitio n of Contemporary British Sculpture for open-air showing was arrange d for the summer of 1962 and opened at Caerphilly Castle, being subse- quently shown at Stevenage, Chester, and in the grounds of Inverleit h House, Edinburgh, during the International Festival . Sixteen works by Adams, Armitage, Chadwick, Charoux, Ehrlich, Frink, Fullard, Hatwell , Hepworth, Hoskin, McWilliam, Meadows, Mitchell, Moore, Thornton and Wall were shown . During the winter of 1962/63, through the generosity of its Committee, we were able once more to borrow fifty paintings fro m the Bowes Museum, Barnard Castle, whose treasures of the French, Dutch, Italian and Spanish schools-still by no means well known-hav e helped us in the increasingly hard task of providing exhibitions of old master paintings for showing in civic galleries . At the opposite chrono- logical extreme during the same period we staged an exhibition of thirty-six large works by the abstractionist group associated under the title Situation, which includes Gillian Ayres, Bernard and Harold Cohen , Robyn Denny, Gwyther Irwin, Henry Mundy, Richard Smith, Willia m Turnbull and Brian Young . This exhibition opened at the Arts Council Gallery, Cambridge, which has continued to play its part in the life of th e town and university . A lively selection from the 1962 Young Contem- poraries was circulated in the summer and autumn of 1962, and we hav e continued to tour exhibitions formed from our growing collection of work s bought mainly from the younger painters. In April 1963, an exhibition of over 200 drawings, prints and paintings by George Gross, assembled in Berlin, was opened at the City of York Art Gallery, Mr . Hans Hess , Director of the Gallery, having been largely responsible for bringing the

42 exhibition to this country . It was shown subsequently at St. James's Square. Among exhibitions organised elsewhere and taken over for touring by the Arts Council should be mentioned a selection from the importan t retrospective exhibition of Keith Vaughan held at the Whitechapel Gallery in March 1962 and shown by us outside London from May t o September, and the retrospective exhibition of the work of William Coldstream which opened in April that year at the South London Galler y and afterwards visited five provincial galleries. We have continued to buy paintings, sculpture and prints and drawings Arts Council for the Arts Council Collection, our advisers on picture purchasing during Collectio n 1962 being Mr. Adrian Stokes and Mr. David Sylvester, and for sculpture Mr. F. E. McWilliam and Mr. Alan Bowness . Towards the close of th e financial year the Arts Council were fortunate enough to acquire a n important group of works from the studio of Mr . Henry Moore. This comprises seven medium-sized bronzes, a plaster model for the screen o n the Time-Life building in London and eight drawings, the whole group ranging in date from 1927 to 1962 . It will be available for three-month loans to art galleries and other institutions in the United Kingdom . Our numerous exhibitions of reproductions remain in strong demand and w e think they may have helped create a taste for originals in the schools and institutions where they are constantly on view . We have continued to support selected art film productions, the most notable, Francis Bacon , appearing at the time of writing .

43

Poetry

The present composition of the Poetry Panel is as follows : C . Day Lewis, C.B .E . (Chairman ) Thomas Blackburn William Plomer, D .Litt . Charles Causley Peter Redgrove Patrick Garland James Reeves Miss Rumer Godden Alan Ross Philip Larkin Miss Janet Adam Smit h George MacBeth Anthony Thwait e Miss Kathleen Nott Professor Constantine Trypani s National Manuscript For some time the Poetry Panel has been interested in the problem o f Collection of the preservation of the literary manuscripts of contemporary poets . The Contemporary Poets importance of this manuscript material, which may include rough drafts, worksheets, notebooks, corrected scripts, and original manu- scripts, is related partly to the value of a poet 's work as a whole, and partly to interest in the processes of poetic composition and revision .

44 This has been widely recognised in America in recent years . A numbe r of American institutions, particularly University Libraries, are buildin g up important manuscript collections, many of which include generous representation of contemporary English poets; and in this they are helped by the fact that in this country manuscripts less than one hundre d years old are excluded from the operation of the Export Licensin g regulations . At the Panel's suggestion, the Arts Council has approached the Britis h Museum on this matter, and the two bodies have agreed to collaborat e on a joint scheme to build up a National Manuscript Collection o f Contemporary Poets . The Arts Council, acting on the advice of the Panel, will get in touch with selected poets, inviting them to contribut e to this Collection, and will deposit the material, in the first instance on a loan basis, in the British Museum, where, having been separately liste d and indexed by the Department of Manuscripts, it will be available fo r exhibition and study. It is intended that eventually the bulk, if not th e whole, of the Collection will be handed over to the British Museum. The Pilgrim Trust has made the Arts Council a grant of £2,000 to start a fund which will enable this scheme to be launched . When a manuscrip t that has been bought for the Collection is finally transferred to th e British Museum, the Trustees intend to reimburse the fund with th e amount originally paid for it . It is hoped that in this way the origina l fund will be gradually replenished, and the reimbursements used fo r further purchases. Encouraged by the success of its original Poetry Festival at the Festival of Poetry Mermaid Theatre in 1961, the Poetry Book Society planned a further 1963 festival for 1963 and appointed Patric Dickinson as Director . This was held at the Royal Court Theatre during the week of July 15th-20th . Twelve different programmes were presented in the course of the week . Robert Lowell flew over from America specially to attend the Festiva l and took part in several of the sessions, including a programme o f American Poetry devised by Eric Mottram. This session was also attended by Muriel Rukeyser, John Hollander, Ronald Johnson and Jonathan Williams. The Apollo Society presented `The Rebel', a new programme devised by Patrick Garland on the theme of rebellion in literature; P.E.N. was responsible for a programme of European Voices (in translation) devised by Dannie Abse that ranged widely through European poetry ; and Live New Departures presented what was described as `a programme of poetry that jumps the book'. A certain amount of new work was commissioned. In a sessio n devoted to Poetry and Music, four new song settings of Robert Graves 's poem ` Counting the Beats ' were performed and discussed. These ha d been written specially for the Festival by Richard Arnell, Lenno x

45 D

Berkeley, Nicholas Maw and Humphrey Searle. A session of Dramati c Verse introduced the following new pieces : The Great American Bust by Michael Baldwin, Epithalamium by Ted Hughes and Reconciliation by Vernon Scannell . At other sessions a number of poets read their own poems, both published and unpublished ; a publisher, literary editor, public librarian , private gentleman and poet met on the stage to discuss Poetry and th e Public ; and homage was paid to Tennyson by John Betjeman who spok e about his poetry and by Marius Goring who read Maud. A recital , featuring William Devlin and Pauline Letts, Robert Lowell, C . Day Lewis, Roy Fuller, Stevie Smith and Peter Redgrove, was broadcas t live on the B.B.C. Third Programme . In the Souvenir Programme, T . S. Eliot wrote :- `Interest in poetry, and in the work of younger poets, is certainl y more widespread than it was in the twenties. Poetry prizes get more attention, and, owing to the wireless as well as to public poetry readings, many more people must have become accustomed to the sound of verse . But it remains true, that the number of poeple capable of appreciatin g the new and unusual-capable of distinguishing between the significan t and the negligible-and, what is more, with confidence in their ow n taste-remains very small '. This Festival certainly served an important purpose in offering so man y poets an attractive shop-window for their wares and attracted over 3,000 people to the Royal Court Theatre in the course of the week. Poetry Book The Poetry Book Society 's membership rose from 734 in 1961 to 768 in Society 1962. At the end of the year the Board of Management decided that in view of rising costs and the difficulty experienced by publishers in adjust- ing the published prices of books chosen by the Society to the level required, the annual subscription would have to be raised from two guinea s to £2 10s . It is possible that this may affect the Society's membership in 1963. For 1962 the Society appointed Ted Hughes and Anthony Thwaite a s its Selectors, and on their advice the following books were chosen :- A Row of Pharaohs Patrick Creagh Poems, Golders Green Dannie Abs e Downstream Thomas Kinsella Death on a Live Wire Michael Baldwin The following books received the Society 's recommendation :- The View from a Blind I George Barker A Sense of Danger Vernon Scannell Collected Poems Roy Fuller New Poems, 1962 Robert Graves Bulletins accompanying each Choice carried poems by Patrick Creagh ,

46 George Barker, Vernon Scannell, Roy Fuller and Robert Graves . A special poetry supplement edited by John Fuller was distributed t o members at Christmas . Members also received a Check List of New Verse published in 1962 . The Arts Council 's triennial prize awards for the publication of poetr y Poetry Prizes were announced in the autumn of 1962 . On the recommendation of the 1959/62 judges (Helen Gardner, C .B.E., G. S. Fraser, and Patrick Garland) th e Council awarded :- (A) £200 to Robert Graves for More Poems, 1961, as the best book o f original English verse by a living poet published during the perio d July 1st 1959 and June 30th 1962 ; and (B) £150 to Edward Lucie-Smith for A Tropical Childhood as the best first or second book of original English verse published during th e same period . The two prize-winners gave a short reading of their poems to an invited audience in the Great Drawing Room of the Arts Council on November 28th at the end of which the prizes were presented by C . Day Lewis , Chairman of the Poetry Panel . In pursuance of its policy of offering occasional help to little magazine s Poetry of general literary interest, provided they devote adequate space t o Publications poetry of good quality, the Council made grants to Ambit, Unicorn, Th e Review, Listen and Stand. Assistance was also given to the Universities ' Poetry Committee for the fourth issue of their anthology Universities' Poetry. A special grant was made to Poetry and Audience (Leeds) for the express purpose of buying books of poetry to help stock the new Poetr y Room at the University of Leeds. In the spring of 1963 the Council sponsored a poetry tour by Charle s Poetry Readings Causley and Peter Redgrove to six centres in the North East . Local arrangements were in the hands of the North Eastern Association for the Arts. Considerable interest was shown by the audiences in hearing an d meeting the poets . The Apollo Society presented two recitals at the Aldwych Theatre i n Apollo Society the autumn of 1962 and appeared at various arts festivals in different parts of the country . Under the direction of Elizabeth Jane Howard, the Cheltenha m Cheltenham Festival of Literature presented a particularly attractive programme . Festival of Literatur e The week of the festival (October 1st-6th, 1962) ended with a Party for 300 people in the Pittville Pump Room, the programme for which in- cluded an auction of manuscripts, books, letters, etc ., in aid of future festivals, and the awarding of three major literary prizes, viz . the Hawthornden Prize, the Cheltenham Festival Award and the Guinness Poetry Prizes. The judges for the Guinness Prizes were Sylvia Plath,

47 George Hartley and John Press, and on their recommendation prizes o f £75, £50 and £25 were awarded to Richard Murphy, H . W. Massingham and Marion Lineaweaver respectively . Stratford At Stratford-upon-Avon the ninth Poetry Festival was directed by Poetry Festival Patrick Garland. The Poet of the Year was R . S. Thomas; and as in previous years many of the readers were drawn from the company of th e Royal Shakespeare Theatre. The first eight Sunday readings were given at Hall's Croft (July 1st to August 19th), and the final recital (entitled The Vagaries of Love and devised by John Barton) was given in the Royal Shakespeare Theatre on August 26th . The Festival was accom- panied by an exhibition of manuscripts, books, and pictures relating t o Lord Byron selected and arranged by John Carroll. Death of It is with grief that we record the death of Christopher Hassall on Christopher Hassall April 25th, 1963 . Mr. Hassall was a founder member of the Poetry Panel and the first Director of the Stratford-upon-Avon Festival of Poetry . His services to poetry were manifold ; and he will be remembered with affection by many people all over the country who attended the numerou s recitals at which he appeared as a poetry reader .

48 Arts Festivals : Arts Associations , Centres and Clubs

The word `festival' is used to cover several types of activity . There is Arts Festivals the festival with classes and some sort of adjudication for amateurs o r amateur groups in music and drama . There is the festival which is th e equivalent of a special season of entertainment which certain towns , particularly those that are ill-served with music and drama during the rest of the year, promote as a kind of extension of the old wartim e `holidays at home' movement . And there is the festival which presents a first-class programme of professional artistic events in a unique setting . It is the last type of festival in which the Arts Council is mainly intereste d and which it is prepared occasionally to help, provided adequate support is forthcoming from box-office receipts, subscriptions and donations fro m individuals and organisations, and subsidies from the Local Authoritie s concerned. Contributions from the Arts Council to Arts Festivals which too k place in 1962 are listed in the Accounts (Appendices A, B, and C) . In

49

1963 subsidies were given to the following main Arts Festivals :- Bath Festival (June 6th-16th) Llandaff Festival (June 10th-151h) York Mystery Plays and Festival of the Arts (June 14th-July 6th) Aldeburgh Festival of Music and the Arts (June 20th-30th) Ludlow Summer Festival (June 23rd-July 7th) Cheltenham Festival of Music (July lst-12th) International Musical Eisteddfod, Llangollen (July 9th-14th) Haslemere Festival (July 12th-20th) Cambridge Festival (July 14th-29th) Poetry Festival, London (July 15th-20th) King's Lynn Festival (July 27th-August 3rd ) National Eisteddfod, Llandudno (August 5th-10th) Edinburgh International Festival (August 18th-September 7th) Three Choirs Festival, Worcester (September lst-6th) Cheltenham Festival of Literature (September 30th-October 5th ) Swansea Festival of Music and the Arts (October 7th-19th) Little Missenden Festival (October 9th-13th) Stroud Festival of Religious Drama and the Arts (October 20th-27th) Separate mention is made of the Edinburgh Festival in the Scottis h section of this Report, and of the Llandaff and Swansea Festivals an d of the International Musical Eisteddfod and the National Eisteddfod i n the Welsh section of the Report . North Eastern The North Eastern Association for the Arts differs from the other Art s Association Associations mentioned in this section because, unlike the Midlands Arts for the Arts Association and the South Western Arts Association, it has a clos e constitutional link with the Local Authorities in the North East and i s actively engaged on a general programme of encouraging the arts throughout the region. Reference to various aspects of N .E.A.A.'s activities will be found in the different sections of this Report . The Midlands Arts Association and the South Western Arts Associatio n are both federations of arts centres and arts clubs in their respectiv e regions. Midlands Arts In the case of the Midlands Arts Association, the 1962 Assembly wa s Association held at Hartlebury Castle in May . The annual exhibition of members' work was shown in the Herbert Art Gallery, Coventry, in September, an d the work of selection was carried out by Dr. Mary Woodall, Director of the Birmingham Art Gallery. There are thirty-one member societies of M.A.A., and responsibility for secretarial arrangements has now bee n taken over by the Birmingham & Midland Institute. South Western Arts The South Western Arts Association has twenty-eight full member Association societies and forty-three associate member societies . The outstanding event of the year was the launching of the Theatre

50 West Company under the direction of James Roose-Evans . Arrangements were made for the actors and actresses to spend three months of th e summer living and rehearsing in Halsway Manor, Somerset, before the autumn tour of centres and clubs opened . A second tour was carried out in the spring of 1963. The repertory consisted of Chekhov's The Seagull and a revue entitled Seven Bright Shiners (for the first tour), and o f Robert Bolt's The Tiger and the Horse and a double bill of Minerva Alone and In at the Kill both by Frederick Bradnum (for the secon d tour). These tours of the South West were complementary to the presen- tation of the plays at the Hampstead Theatre Club, London, N .W.3. The Association sponsored a seven-month tour of an exhibition o f abstract or near-abstract painting, New Painting in Devon, organised b y Frank Middleditch . Seventeen artists living in Devon were invited to submit work, and the final selection of paintings was made by Basi l Taylor. In addition to the usual conferences, the Association organised tw o forums (at Swanagc and Bruton) which catered for the special interests o f individual members . In July 1962 Cyril Wood, who had been Director of the Associatio n since its establishment in April 1956, announced his resignation . Warm tribute was paid to his pioneer work in creating the Association and t o his devotion to the cause of the arts in the South West.

51

Scotland

Two Disastrous During the past twelve months the arts in Scotland have suffered a Fires serious setback from the destruction by fire of two buildings housin g major artistic enterprises . In Glasgow, St . Andrew's Hall-the mai n concert hall and base of the Scottish National Orchestra-was com- pletely burnt out during the early hours of Friday, October 26th, 1962 . In Dundee, nine months later, the theatre in Nicoll Street-home of th e Dundee Repertory Company-suffered the same fate . To musicians everywhere the news of the loss of St . Andrew's Hall came as a great shock, for the hall was widely acknowledged as acousti- cally one of the finest in the world. To the Scottish National Orchestra and the concertgoers of Glasgow it was an even greater blow, for since its opening in 1877 St . Andrew's Hall had been the home of orchestral music in the city. It was the repository of a fine tradition handed on b y the old Scottish Orchestra and it was the only auditorium available to

52 house the weekly Saturday concerts from which the Scottish Nationa l Orchestra drew a large portion of its revenue . Fortunately, however, Glasgow Corporation under the dynamic leadership of the then Lord Provost, Dame Jean Roberts, came swiftl y to the rescue. A derelict theatre was acquired and, in the remarkably short time of twelve weeks, was converted into an attractive concert hall . Thus at the beginning of February, after a brief series of Sunday con- certs in Green's Playhouse, the orchestra was able to resume its tradi- tional Saturday series in the new `Glasgow Concert Hall ', which will be its temporary home until the Corporation's plans for a replacement of St. Andrew's Hall are realised . The acoustics of the new hall are sur- prisingly good but its seating capacity of only 1,700 will inevitably involve the Scottish National Orchestra Society in a continuing reductio n in revenue. More recently, on June 1st, 1963, a second major fire was responsible for the demolition of a building housing one of Scotland 's leading theatre companies . In January, with the help of a grant from the Arts Counci l and a donation from the Theatre Club, Dundee Repertory Theatre ha d undergone a complete redecoration and refurbishing under the directio n of Richard Buckle, exhibition designer, ballet critic and author, who was responsible for the Diaghilev and Epstein exhibitions at two recent Edinburgh Festivals. Four months later, a few hours before a matine6 performance was du e to begin, fire broke out suddenly at the back of the stage and in less tha n fifteen minutes was raging through the theatre . The stage, auditorium , foyer and coffee bar were completely destroyed, leaving only the oute r walls standing. All that was left of Richard Buckle 's imaginative decor was the large mural in the entrance hall by the Edinburgh artist Richar d Demarco, which was fortunately undamaged . This has been removed to the Art Gallery where it will be on view as a reminder that Dundee need s a new civic theatre to house its repertory company. In the meantim e the company are carrying on as best they can in temporary accommoda- tion. The 1962 Edinburgh Festival opened with a performance in the Usher Edinburgh Hall of Beethoven 's Missa Solemnis with the London Symphony International Festival Orchestra and the Leeds Festival Chorus conducted by Lorin Maazel . Other orchestras taking part in the Festival were the Philharmonia, th e Scottish National, the BBC Scottish and the Polish Radio Symphon y Orchestra. At the Freemason 's Hall and Leith Town Hall a number of internationally famous chamber ensembles and soloists appeared . At all three halls a special feature was made of the music (including some new works) of Dimitri Shostakovitch, who attended the Festival as Guest o f Honour.

53

There were several important premieres including new works fro m Luigi Nono and Don Banks, both commissioned by the Festival Society , as well as a new work by Michael Tippett and the first performances i n Britain of works by Falla and Prokofiev . On August 22nd a Debussy Recital was given in celebration of the centenary of his birth . Opera this year was provided by the Belgrade Opera, who presente d five operas and a programme of ballet ; the operas were Borodin's Prince Igor, Massenet's Don Quixote, Mussorgsky 's Khovanshchina and Prokofiev 's Love of Three Oranges and The Gambler. The English Opera Group, who appeared during the final week, gave three performances of Britten's The Turn of the Screw . The Royal Shakespeare Company were seen in Shakespeare 's Troilus and Cressida, John Whiting's The Devils and the premiere of Christophe r Fry's Curtmantle ; the Gateway Company presented Young Auchinleck, a new play about James Boswell, by Robert McLellan ; and the Festiva l Society was responsible for the Assembly Hall production of Dyla n Thomas's The Doctor and the Devils . Three Late Night Entertainment s were also given. Two experiments this year were the Writers' Conference and the use of the Murrayfield Ice Rink for the ballet spectacle from Brussels, The Four Sons of Aymon . Art Exhibitions sponsored by the Festival Society were The Henie- Onstad Collection from Oslo, which included works by Braque, Matisse , Klee and Baumeister ; and Yugoslav Modern Primitive Paintings . Edinburgh Corporation this year continued its grant of £50,000 an d the Scottish Committee increased its subsidy by £5,000 to £20,000 . Other contributions totalled £34,300 . The net deficiency was £17,995 an d the Festival Fund now stands at the figure of £18,235 .

Art Leaded, Concreted and By far the largest exhibition arranged by the Scottish Committee i n Sand Blasted Glass the year under review was Leaded, Concreted and Sand Blasted Glass , mounted in the Diploma Galleries of the Royal Scottish Academy i n February and March 1963 . Of the twenty-four exhibitors, eighteen were Scottish and six were from south of the border . As well as traditional methods, as used in William Wilson 's delightful domestic pieces, the exhibition contained examples of the newest techniques, e .g. Embryo II, by Geoffrey Clarke, which was made of cast pure aluminium, glass an d rock crystal. A series of colour slides was projected during the exhibitio n showing some of the exhibiting artists using these various techniques . Two of the exhibits, The Woman Clothed with the Sun by Sadie McLellan and All Hallow Fair by John Lawrie, were full-scale windows standing

54 twenty feet high and each weighing just under a ton . These, together with the difficulty of arranging satisfactory lighting, posed several fairly large display problems, which made it impossible to send the exhibitio n on tour . The Royal Scottish Museum made two purchases from the exhibition : Pieta by Sadie McLellan and Girl Brushing Her Hair by John Hutton . A new touring exhibition, Sculpture and Drawings by Benno Schotz, Touring Exhibitions had its first showing in the Committee's own Gallery in Edinburgh and , after various showings throughout the country, made its final appearance appropriately enough in Glasgow, where Mr . Schotz had been Head of the Department of Sculpture and Ceramics in the School of Art for ove r twenty years . This exhibition, consisting mainly of his most recent work , included a series of small figures inspired by tree forms . Amongst other touring exhibitions were A Selection from the 1962 Annual Exhibition of the Society of Scottish Artists ; Watercolours and Drawings from the Collectio n of the Scottish Committee ; and-continuing from the previous year- Figures in Costume and The J. D. Fergusson Memorial Exhibition . For the Citizens' Theatre a small exhibition called Allan Ramsay an d His Circle was specially mounted as a complement to their production o f Ramsay's `The Gentle Shepherd'. At the centre of this exhibition was the original manuscript for the play, kindly lent by the Edinburgh University Library. It was with a great deal of pleasure that The Jubilee of the Dovecot Edinburgh Festival Tapestries was celebrated in the Committee 's Gallery during the Festival. Exhibitions The Edinburgh Tapestry Company Limited, founded in 1912 and the only surviving tapestry works in Britain, is a direct descendant of Willia m Morris's works at Merton Abbey. Thirty tapestries representing the work of the Dovecot studios were exhibited . Their indication of tast e during the last fifty years was of considerable interest . The first tapestries, produced by the studio when it was under the patronage of the Marquess o f Bute, showed incidents in Scottish history, such as the Prayer for Victory , Prestonpans . The latest tapestries included the abstract Cruciform, designed and woven by Archie Brennan, and Armada, designed by Hans Tisdall, which was cut off the loom only a week before the exhibitio n opened. Six of the exhibits were sold . A loom was set up in the Gallery and the Dovecot's master-weaver, Mr. Richard Gordon, who was himself trained by the Morris weavers , gave daily demonstrations . Several tapestries by the Dovecot, includin g Phases of the Moon designed by the late John Maxwell and specially commissioned some years ago by the Scottish Committee, were late r toured by the Victoria and Albert Museum . Another exhibition mounted specially for the Festival was the Scottish National Portrait Gallery 's selection of 18th- and 19th-century pictures,

55

Sport in Scotland, showing the sporting activities of our immediat e forebears ; these included curling, shinty, bowling and, not unexpectedly , golf. The Arts Council 's exhibition of Contemporary British Sculpture occupied the lawns in front of the Scottish National Gallery of Moder n Art, and at the Royal Scottish Academy the Henie-Onstad Collection was on view . Support to Financial assistance was given to the Stirling Festival-which has now other bodies gained momentum and a particular character of its own-for a selection of pictures lent by the Aberdeen Galleries; to the Citizens ' Theatre for a further series of one-man shows ; to the '57 Gallery in Edinburgh ; and to the Edinburgh College of Art for a showing of the Venice Today exhibition. Art Films and There was a further increase in the number of film shows and lecture s Lectures arranged by the Committee ; film programmes went up from sixteen t o twenty-one ; and ninety-two lectures were given as against sixty-one las t year. Purchases During the year the Committee bought ten pictures ; six of these came from the annual exhibitions of the Royal Glasgow Institute of the Fin e Arts, the Royal Scottish Society of Painters in Watercolours, and the Society of Scottish Artists ; the other four were selected from individual one-man shows . The Committee's collection of paintings and drawing s by Scottish artists now totals 167 .

Music Scottish Though the loss of St. Andrew's Hall in October 1962 deprived th e National Scottish National Orchestra of its full quota of concerts, the orchestr a Orchestra performed on no less than 180 occasions during the year, including thirteen appearances with Scottish Opera . Eleven concerts were broad - cast by the BBC and two concerts were seen on the television screen . The orchestra gave three concerts at the Edinburgh Festival and thirty - five children's concerts in co-operation with local education authorities . The series of promenade concerts in Glasgow was again a big attraction . Grants totalling £47,552 were again received from 121 local authorities , of which nearly £43,000 came from the four counties of cities : Aberdeen, Dundee, Edinburgh and Glasgow . Orchestral Twelve entries were received for the competition for an overture or Competition other short orchestral work of ten minutes' duration . The Panel of Adjudicators-Dr. Hans Gal, Dr. Herbert Wiseman, and Dr . Herbert Howells-were unanimous in their decision that the prize should b e awarded to Mr. Anthony Hedges for his Comedy Overture . Mr. Alexander Gibson, who also saw the scores, was in entire agreement with th e decision and will conduct the winning score at the opening concerts of th e

56 Scottish National Orchestra 's main series in Edinburgh and Glasgow next season. During the year 110 concerts were presented by the thirty-nine music National societies receiving guarantees against loss through the Scottish Com- Federation mittee of the N .F.M.S.* Thirty-three of these concerts were given b y of Music nineteen choral societies and included six performances of Messiah, three Societies of Bach's St. Matthew Passion and two of Elijah, as well as single per- formances of the Mass in B minor, Samson, The Creation ., St. Paul, the Requiems of Brahms and Faure, The Childhood of Christ, The Hymn of Jesus and Sea Drift. Seven amateur orchestral societies gave a total of thirteen concerts, and sixty-four recitals of chamber music were provided by thirteen music clubs. Twenty-four of these chamber music recitals were given by strin g quartets. The following organisations continued their valuable series of concert s Other Concert with help from the Scottish Committee-The Saltire Society, th e Societies Edinburgh Lunch-Hour Concerts in the National Gallery of Scotland , the Connoisseur Concerts Society, the College of Piping and the Edinburg h Organ Recitals Committee . Guarantees were also given for single concerts in Ayr, Banff, Dumfries, Dunbar, Gretna, Helensburgh and other towns . Outstanding among the music tours was that undertaken by Philo- Music Tours musica of London early in the season . In all, ten concerts were given ranging from Stranraer and Kirkcudbright in the south to Orkney an d Shetland in the extreme north. This was Philomusica's first tour i n Scotland and it was, on all counts, a most successful one . The programm e included Handel's Concerto Grosso in A major, Rossini's Sonata in C major for Strings, Mozart's Divertimento in D, Tchaikovsky's Serenade for Strings and a violin or harpsichord concerto, played by Carl Pini an d George Malcolm respectively . Visiting chamber music groups included the Chantry Ensemble, th e Camden Trio and the Neaman-Wolf-Isepp Trio . The latter was singularly unfortunate in that its arrival in Scotland coincided with the blizzar d which swept the country. No praise can be too great for the determina- tion and professional integrity of the artists who arrived on time for al l their thirteen engagements despite the almost complete dislocation o f transport arrangements. Praise should also be given to the determine d enthusiasm of the audiences which turned out to hear them under such conditions. A particularly warm welcome was given to Martha Schlamme who, wit h Alasdair Graham, presented her unique programme of Songs of Many Lands.

* See also page 29 .

57

Nine concerts were given by the Edinburgh Quartet whose repertoire this year included Haydn's The Lark, Dvorak's American and opus 105 quartets, Beethoven's opus 18 No . 2 and Schubert 's G major . The Glasgow Trio was engaged for eleven concerts with a repertoire rangin g from Haydn to Shostakovitch . In all, 129 concerts were given, including thirty-four under the heading of Opera (q .v.) and fifty-three by artists resident in Scotland ; among these, special mention should be made of the Eglinton Singers, a new vocal ensemble formed during the 19616 2 season. Opera and Ballet Scottish Opera In last year's report we referred briefly to the newly formed Scottish Opera Society which in June, 1962 embarked on the bold experiment o f presenting, for a week in Glasgow, fully professional productions o f opera with international soloists and a Scottish chorus, accompanied b y the Scottish National Orchestra . The two operas performed-Pelleas e t Melisande and Madama Butterfly-were highly praised by the critics an d drew large audiences to the King's Theatre . At the time of writing (Jun e 1963) this experiment has just been repeated and has also been extende d to Edinburgh where the company has scored a further success . We shall report on this event more fully in the next Annual Report which wil l cover the twelve months beginning on April 1st, 1963 . Sadler's Dells Sadler's Wells Opera again made two visits to Scotland : the first in Opera October 1962, when the company appeared in Aberdeen, Edinburgh an d Glasgow with a repertoire consisting of The Magic Flute, Tosca, The Bartered Bride, Rigoletto and Iolanthe ; the second in February 1963 , when the company revisited Glasgow for one week with a complet e change of programme. This time they brought with them Carmen , Cavalleria Rusticana and Pagliacci, La Traviata, The Girl of the Golde n West and The Mikado. Opera Tours Opera continues to be very popular among Scottish audiences and th e Scottish Committee's tours of Opera for All and the Intimate Opera Company were greatly appreciated. The total audience of 6,361 falls somewhat short of last year 's record but this was only to be expected in the arctic weather experienced at the time . In its tour of three and a half weeks, Opera for All gave seven performances of La Boheme, seven performances of The Marriage of Figaro and two performances of Cimarosa 's The Secret Marriage . The Intimate Opera Company brough t a repertoire which included The Enraged Musician (Arnold), The Bachelor's Bond (Offenbach), Jacques and Jacqueline (Offenbach) and The Telephone (Menotti) . Amateur Opera Financial assistance towards the cost of engaging professional musicians was given again this year to the Glasgow Grand Opera Society for

58 performances of The Pearl Fishers and Lucia di Lammermoor ; to Bellahouston Music Society for Cosi Fan Tutte; and to the Edinburgh Opera Company for L'Elisir d'Amore . Two Arts Council-assisted ballet companies visited the two chief citie s Ballet Ramber t during the year : The Ballet Rambert appeared at The Lyceum Theatre and Western in Edinburgh for one week and the Western Theatre Ballet was engage d Theatre Ballet by the Citizens ' Theatre for a week in Glasgow . There was no visit fro m either of the Royal Ballet companies this year. Of particular interest was the welcome return visit of the Spanish Ballet Tours Dance Company Susana y Jose. In 1960/61, following their appearance at the Edinburgh Festival, they were engaged for a tour of one week . This year a three weeks ' tour was undertaken, culminating in a week a t Perth Theatre . At the most northerly point, Tain (which was receivin g its first visit from a ballet company), the artists were greeted by a Spanis h flag, borrowed for the occasion from the Spanish consulate in Edinburgh. 4,107 people saw the company in the course of their tour . Equally welcome were the Western Theatre Ballet undertaking thei r third tour in Scotland. After a week at the Citizens' Theatre, Glasgow, the company sailed for Stornoway, visiting Skye, Fort William, Oban an d Greenock before touring the south western and border counties . Drama With increased grants from the Arts Council and the Town Council as Dunde e well as the incentive of a larger bonus for approved plays, the Dunde e Repertory theatre has been able to pursue a more adventurous policy . The reper- Theatre toire for the year included productions of Shakespeare, Moliere, Ibsen , Shaw and Chekhov as well as of the modern playwrights, Delaney , Wesker, Pinter, and Bolt. This change of policy was rewarded by a marked increase in attendance which continued up to the time of th e fire, mentioned at the beginning of this chapter. At the time of writing the future is uncertain, but it is to be hoped that , wherever the .company may temporarily perform, the same bold policy will be continued . The Gateway Company's tenth season opened with the Edinburgh Edinburgh Festival premiere of Robert McLellan's Young Auchinleck-the story of Gateway James Boswell's hunt for a wife . Shakespeare's Twelfth Night and Othello Company were both produced during the season which also included plays b y Sheridan, O 'Casey, Beckett, Pinter, Tennessee Williams and Rober t Kemp. The New Year production of Barrie 's The Little Minister was so successful that the run was extended to five weeks . An imaginative and well-planned policy under a resident producer has resulted in a n increased average attendance of thirty-eight per cent over the previou s season .

59

Glasgow It is pleasant to be able to report larger audiences at yet another of th e Citizens' Scottish theatres . In a season of plays of very high quality the Citizen's Theatre Theatre increased the number of its patrons by over twenty-five per cent . The centrepiece of the autumn season was a production of Brech t's Good Woman of Setzuan. This was the first time this author 's work had been produced professionally in Scotland and the large audiences it attracte d have encouraged the Citizens ' to give Brecht 's plays a place in futur e programmes . Other plays presented during the autumn were A Mid- summer Night 's Dream, A Streetcar Named Desire, Uncle Vanya and Arms and the Man . The Christmas Show, written by a local writer, Clifford Hanley, dre w the usual crowds during its eight weeks' run and was followed by Sergeant Musgrave's Dance and The Importance of being Earnest. But the high - light of the year was the appearance of Albert Finney in Pirandello 's Henry IV. This was one of the most successful plays ever presented at the theatre, and Mr. Finney stayed on to produce Pinter 's The Birthday Party and a stylish School for Scandal. A new play, The Partridge Dance by Ronald Mavor, received a special guarantee against loss under th e Arts Council 's Scheme for the Promotion of New Drama. Perth Perth Theatre Company continued its policy of playing two plays i n Repertory repertory on alternate nights over the period of a fortnight . This polic y Theatre remains popular with audiences and actors and appears to be the mos t suitable way of obtaining a fortnight's rehearsal for each play in a small town which cannot sustain one production for a fortnight . Attendances up to Christmas were satisfactory compared with previous years but the cold weather after Christmas sent the figures down to an unprecedente d level. The gap between expenditure and income (after allowing fo r grants) amounted to £2,600 ; this gap was once more bridged by th e successful Playgoers Aid Fund . A thirteen weeks ' touring programme was carried out by the Perth company in the rural areas of Scotland in the summer of 1962 with The Rivals and Deep are the Roots . Productions at Perth Theatre include d Macbeth, A Month in the Country, The Devil's Disciple, Long Day's Journey into Night, The Rehearsal, Becket, Ondine, Billy Liar, The Miracle Worker and I'm Talking about Jerusalem as well as a number of lighter plays and two musicals . Pitlochry Continuing its policy of six plays in six days, Pitlochry 's twelfth season , Festival lasting twenty-four weeks, began on April 21st with Shaw's Pygmalion, Society which played to a record attendance averaging eighty per cent o f capacity throughout . There followed a revival of Charles Macklin 's The Man of the World, John Patrick's The Hasty Heart, and the British premiere of Werner Egk 's The Magic Bed (adapted by Miles Malleso n from a German translation of a Calderon play). Ronald Mavor's Scottish

60 epic Muir of Huntershill-awarded a guarantee against loss of £300 unde r the Arts Council 's Scheme for the Promotion of NewDrama-received exciting treatment from a large cast directed by Toby Robertson, wh o was also responsible for a fine production of Pirandello's Henry IV. Despite increased takings, the theatre's working loss for the year was over £9,000, compared with £2,000 in 1961 . The root of the trouble lies of course in the continually rising cost of production, the final result being a reduction in the Society's liquid assets from £9,565 to £4,481 . To off-set this, the Governors have launched a public appeal for funds . For the second year running the Committee made a grant of £300 t o St. Andrews the St. Andrews Players for their season of plays by a professional com- Byre Theatre pany in the tiny Byre Theatre . With £150 from the Cross Trust, £10 0 from the Town Council and an anonymous donation of £25 the company just made ends meet. Interesting productions included Miss Julie, Desire Under the Elms, Blithe Spirit, Rosmersholm, The Birthday Party and The Playboy of the Western World. The company also visited the new town of Glenrothes where they gave five performances of Sardou's Cock-a- Doodle- Do. The increase in the rate of bonus offered to the Scottish repertory Approved Plays theatres for the inclusion of more than one `worth-while' play in every Scheme three productions resulted in a big rise in the number of plays approve d by the Committee's Play Panel. The improvement due to the scheme over the three years of its operation is shown in the following table :- Rate of Approved Play s Year Bonus (per cent of total) 1959/60 - 36 % (estimated) 1960/61 £100 52 % 1961/62 £100 56 % 1962/63 £200 76

Several new plays were submitted by theatres for guarantees against New Drama Scheme loss on their first productions, but only two succeeded this year in obtaining the Play Panel 's recommendation ; these were :- The Partridge Dance by Ronald Mavor at the Glasgow Citizens ' Theatre (March, 1963). Muir of Huntershill by Ronald Mavor at the Pitlochry Festival Theatr e (1962 Festival) . In addition Young Auchinleck by Robert McLellan, which received it s first production by the Gateway Company at the 1962 Edinburg h Festival, was approved under the Approved Plays Scheme . Following the usual practice, two main drama tours were arranged b y Drama Tours the Committee . The New Scottish Touring Theatre presented a double - bill consisting of Shaw 's Man of Destiny and Christopher Fry 's A Phoenix

61 E

too Frequent. After successful visits to the Isles of Lewis and Skye the company met with a disappointing setback owing to September fo g which, for the first time in years, resulted in the cancellation of the tw o performances booked for Lerwick. Apart from this, the four-week tour followed the usual circuit, mainly in the Highlands. For their third tour for the Scottish Committee, the Citizens ' Theatre Company chose Shaw 's Heartbreak House. Despite appalling weather conditions (blocked roads caused the cancellation of one performance) the total audience for this compan y's tour again showed an increase ove r the previous year. The ever-popular Children's Theatre had its usual highly successfu l tour in May and June and was seen altogether by 8,676 people . For financial reasons no puppet tour was undertaken this season . Specially intended for the smaller places without facilities for mountin g plays was the tour by Rosalinde Fuller in her programme of dramatise d short stories . Miss Fuller was another who had the misfortune to mee t with blizzard conditions ; in spite of this, her performances were enjoyed by well over 600 people . Travel Grants The Committee awarded travel grants to two theatre designers workin g in Scottish theatres to enable them to study stage design and methods abroad. David Lovett visited theatres in Italy and France, and Sall y Hulke made a tour of the chief German theatres . As on all previous occasions invaluable help was received from the International Theatr e Institute. Old Vic In October 1962 the Old Vic Company visited Aberdeen, Edinburg h and Glasgow with a repertoire consisting of Julius Caesar and The Tempest. Poetry Spoken Poetry In the course of a short tour arranged by the Committee in Novembe r 1962, the late Christopher Hassall gave recitals of poetry in Edinburgh , Glasgow, Elgin and Greenock. Other programmes with an emphasis o n poetry were given in various towns and villages by Nan Scott, Ia n Gilmour and Meta Forrest. In addition guarantees against loss were given to the Scottish Associa - tion for the Speaking of Verse for series of recitals in Glasgow an d Edinburgh . Appointments and The following retired from the Committee during the year : Mr. Retirements Ernest Boden, Mr. Esme Gordon, Councillor Kelly, the Honourable Mrs . Michael Lyle and Sir William MacTaggart . Mr. Gordon, Councillo r Kelly and the Honourable Mrs . Lyle were reappointed for a further term . In addition the following were appointed to serve on the Scottis h Committee : Mr. Ian Finlay, Dr. J. A. Greig and Mr. Guy McCrone. Mr.

62 Finlay had previously served on the Committee from January 1st, 1947 , to December 31st, 1957 . Following the death of Sir John McEwen, Mr . T. Grainger-Stewart acted as Chairman until the middle of October when Mr . C. H. Mackenzie , took over the Chairmanship with Mr. Grainger-Stewart as Deput y Chairman.

63 Wales

There are more people living within a bus ride of the centre of Birmingham, Manchester or Glasgow than in the whole of Wales . Even today Cardiff, the capital city, has a population of only 256,000 . In the latter part of the 19th century, when in other cities theatres and art galleries were being built and orchestras founded, its population was a mere 80,000 or so . The absence of really large towns and the lack of an urban tradition are the major hindrances to the development of the arts in Wales. This problem is intensified because the main centres of population are scattered along the coastal fringe and isolated one from the other b y hills. It takes over six hours to wind one's way from north to south Wales ; psychologically the distance is much greater . Wales is a land o f self-contained communities, and co-operation with outside bodies is difficult to achieve. Despite these difficulties there is probably more concern for the art s by the community as a whole in Wales than elsewhere in Britain . The

64 strength of the amateur tradition, epitomised in the eisteddfod, ensures support for the arts by people of every class and background . The problem of the Welsh Committee is not so much to counteract apathy , but rather to ensure provision at a high professional standard despit e dificultiesf imposed by geography, by the lack of promoting organisations and by the meagre facilities for housing the arts inherited from the past . Music Each of the arts has its own problems . For example, the difficulties of Orchestral Concerts organising orchestral concerts in Wales are formidable ; not only is ther e a lack of suitable halls and a complete absence of professional promotin g organisations but, as orchestras have to travel some distance to get to Wales, costs are inevitably high . It is not surprising, therefore, that in the past almost the only orchestral concerts to be held in Wales were part of the major festivals at Swansea, Llandaff and Newtown and a t the National and International Eisteddfodau. In recent years, however , committees have been established in Barry and Pembrokeshire specifi- cally to organise orchestral concerts . Encouraged by their success, the Welsh Committee has this year initiated a plan to establish a number o f concert centres in various parts of Wales . The choice of these centre s has been largely determined by the availability of halls . Although the Brangwyn Hall at Swansea is the only hall with adequate facilities, it i s also possible to hold concerts at the civic halls at Aberystwyth, Barry an d Rhyl, at school halls in Haverfordwest and Fishguard, the William Asto n Hall at the Technical College, Wrexham, and at the Grand Theatre , Merthyr Tydfil . Local committees have been set up in each of thes e areas. In Rhyl, orchestral concerts are organised by the local music club with some financial aid from the Rhyl Urban District Council . The loca l Borough Council is represented on the Barry Joint Concerts Committe e to which it gives financial aid. In other areas the initiative has been take n by the local councils themselves . At Merthyr Tydfil and Swansea , orchestral concerts are organised by the County Borough Councils an d financed by them in co-operation with the Welsh Committee . At Wrexham there is a Joint Concerts Committee set up by the Boroug h and Rural District Councils who co-operate to both organise and financ e concerts . In Pembrokeshire all the local authorities have joined together to form a Joint Concerts Committee so that, although full orchestra l concerts can only be held at Fishguard and Haverfordwest, there is active support throughout the country . This type of organisation is particularly well suited to rural areas and, after a successful concert a t Aberystwyth in November, a Joint Committee was also established i n Cardiganshire . In order to gain experience of the difficulties involved in this plan for

65 orchestral concerts, the Welsh Committee organised two tours during th e year, one by Philomusica of London to smaller centres (Narberth, Cros s Hands, Barry and Brecon) and another by the Royal Philharmonic Orchestra to larger towns (Aberystwyth, Barry, Haverfordwest, Merthy r and Swansea). Both tours were very successful and this has encouraged the Welsh Committee to plan eight orchestral tours (thirty-five concerts ) during the financial year 1963-64 . Festivals As a result of this policy it is likely that Welsh festivals, in the cours e of time, will become more specialised . This is already happening to some extent . In recent years the Swansea Festival has tended to concentrate on virtuoso conductors and soloists while the Llandaff Festival has pu t greater emphasis on more specialised programmes which always include some contemporary Welsh works . This year the Festival commissioned an oratorio St. Peter by Daniel Jones and a processional overture by Grace Williams . The two new festivals initiated in 1962-63 also have quite distinctive aims . The festival at Llantilio Crossenny in Monmouth - shire concentrates on rarely heard works, the first programme includin g three musical morality plays by Carissimi. The Caerphilly Festival, organised directly by the Urban District Council, is very different. It has a missionary purpose : to bring the arts to a community which normall y has little or no opportunity of hearing concerts by professional artists o r of attending art exhibitions . Music Clubs Despite these developments in orchestral music and festivals, the musi c club remains the main agency for ensuring regular concerts by pro- fessional artists . Although entirely dependent on the enthusiasm o f voluntary workers, there are now thirty-six clubs in Wales, four bein g formed during the year 1962-63 ; 159 concerts were given during the year , an increase of thirty on the year 1961-62 . These concerts included 11 0 recitals by soloists and small ensembles, thirty-four performances by th e Opera for All Group and fifteen performances by the Western Theatre Ballet . Opera It is paradoxical that opera should thrive in Wales where there are s o few facilities for its cultivation . Yet thrive it does. The Welsh National Opera Company had capacity audiences when they played for a fortnight at Cardiff in October and for a week at Swansea in March ; over 8,00 0 people saw the company at Llandudno during the last week in August. In 1962-63 two new productions were introduced into the repertoire : Lohengrin and Il Seraglio . These were the last productions to be directe d by Charles Groves, who was recently appointed musical director of th e Royal Liverpool Philharmonic Orchestra ; his post of musical director o f the Welsh National Opera Company has been taken by Bryan Balkwill . Despite the success of the Opera Company there remains some anxiet y about the future. The Company has reached the limit of developmen t

66 that is possible with an amateur chorus . Indeed, it may be difficult to maintain present standards. It will certainly be impossible to present more than about seven weeks of opera in any one year. An attempt ha s been made to alleviate some of the Company 's problems by establishing an opera training scheme . It is intended that the eight students wh o joined the scheme in October should, during the 1963-64 season, becom e members of an Opera for All Group and also take minor parts in th e Company's full-scale productions . This does nothing to lessen the problems of an amateur chorus, but it does ensure a larger supply of trained soloists and also enables the Company to take opera to all parts of Wales. Art The greatest hindrance to planning a coherent exhibitions policy fo r Wales is the lack of galleries with adequate facilities and supervision . Major exhibitions can be shown only at Cardiff, Swansea and Aberystwyth , although there are three galleries-at Newport, Welshpool and Wrexham -where smaller exhibitions of original works can be properly mounted . To these has now been added the small gallery at the new Arts Council headquarters in Cardiff. There is still, however, a pressing need for a Bangor Gallery gallery in North Wales . This was recognised by the Housing of the Arts Committee in their report published in 1959. The Committee had talks with the Developments Committee of the University College, Bangor, about the possible conversion into a gallery of the old Canonry, which had been acquired by the College and is conveniently sited in the centre of the town. With the help of a grant of £1,000 from the Welsh Committee of the Arts Council, the University College is now going ahead to creat e a temporary gallery in the Canonry. This is an enlightened step forward which should command the enthusiastic support of public bodies i n North Wales. Unfortunately this hopeful development in North Wales was counter- National Museu m balanced by the decision of the Council of the National Museum o f Wales, Cardiff that, because of the pressure of space, it will not b e possible next year to house large temporary exhibitions in the Museum. This is a decision which will seriously affect the whole exhibitions polic y of the Welsh Committee and focuses attention on yet another recommen- dation of the Housing of the Arts Report : the need for providing a municipal art gallery in Cardiff with adequate space to show larg e temporary exhibitions. Paradoxically the decision of the Museum Council Exhibition s was announced soon after the Welsh Committee, in co-operation with th e Museum, had mounted one of the most important and successful exhibi- tions ever held in Wales . Entitled British Art and the Modern Move- ment, this exhibition brought together for the first time a number of the

67 most significant works of the thirties . It was opened by Sir Herbert Read and had wide critical notice ; over 12,000 people attended and requests for catalogues were received from all over the world. The Museum arranged a number of lectures and two film shows which evoke d the atmosphere of the period . A residential weekend course organised b y the Extra Mural Department of the University College, Cardiff, i n association with the exhibition, attracted members from many parts o f Wales. It has also been the custom of the Welsh Committee to organis e annually a comprehensive exhibition of the work of Welsh artists . This year, instead of an open exhibition selected by a panel, some of Wales 's best-known artists were invited to show three recent works . A conspectus of the best of contemporary Welsh art was thus obtained . This exhibition was opened on St . David's Day by the Minister of State for Welsh Affairs and was later shown at Aberystwyth, Swansea, Bangor and Wrexham . In the latter two places it was not possible to show the whole of th e exhibition because of lack of space . The Committee also continued its policy of mounting small group exhibitions of the work of contemporary Welsh artists . This year's exhibition entitled Two Artists of West Wales was of paintings by Alfred Janes and Will Roberts . The first showing coincided with th e National Eisteddfod at Llanelly . There were five other showings in Wales, at Tenby, Penarth, Dolgellau, Bangor and Merthyr Tydfil, and two others at Coventry and Bradford . Perhaps the most remarkable response engendered by any exhibitio n organised during the year was that of the work of Epstein shown as part of the Llandaff Festival and later at Swansea and Haverfordwest . At Llandaff, 3,664 people saw the exhibition in six days . There was also a very good attendance at Swansea. This was the first Arts Council exhibition to be held at Haverfordwest. It was made possible becaus e of the work of a local committee who prepared a disused school hall for showing sculpture and did all the local organisation and publicity . So effective were they that the exhibition was seen by over 6,500 peopl e during its three weeks' showing : an astonishing response for a town with a population of 8,800 . Therefore, despite the lack of facilities, some progress has been mad e by the Welsh Committee in providing both major and minor exhibition s of original works as well as of reproductions . Some of these latte r exhibitions have an avowedly educational purpose . The two didacti c exhibitions tracing the Impressionist Movement and the evolution o f sculpture have been popular with schools and colleges as well as with th e general public . In all, there were sixty-eight showings of Arts Council exhibitions in Wales during 1962-63 . Six exhibitions (thirty-four show-

68 ings) were mounted by the Welsh Committee and twenty-seven (thirty - six showings) by the Arts Council 's London Office . In addition there were two showings of a Welsh exhibition in England . Drama Nowhere are the problems inherent in the Welsh situation more Welsh Theatre vividly seen than in the provision of drama . In the autumn the Welsh Company Committee formed the Welsh Theatre Company with Warren Jenkins a s artistic director. The Committee took this step because, with the excep- tion of the weekly repertory companies at Swansea and Colwyn Bay , there is no professional theatre in Wales . In retrospect it seems an amazing act of faith by the Welsh Committee to form a company withou t a theatre base, workshops or even adequate storage facilities . The only inheritance from the past was the system of tours of Welsh theatreles s areas that had been established by the Arts Council over the years . A series of `one-night stands' in makeshift halls is, however, hardly a n encouraging starting point for creating a company aiming at the highes t standards . From the beginning, therefore, the establishment of a new pattern o f tours was attempted . In the autumn two plays were taken on a nin e weeks tour: Alun Owen 's The Rough and Ready Lot and MoUre 's The Miser. The tour opened with a week's performance at Colwyn Bay , followed by a fortnight at Cardiff and it ended with a week at Swansea . Other places were encouraged to engage the company for a minimum o f two nights . Over the Christmas period a five weeks' season was given at Cardiff. The programme included an adaptation of R . L. Stevenson's Treasure Island, the premiere of a play by the Cardiff poet Dannie Abse , House of Cowards, and Tennessee Wilhams 's Period of Adjustment. This initial period showed that if the company is to prosper it mus t have a home base in Cardiff-a theatre and adequate rehearsal rooms , workshops and other facilities . The Welsh Committee was therefore alarmed at the news that the New Theatre, the only theatre remaining in Cardiff, was in danger of closing . This would not only have put the Welsh National Opera Company into jeopardy but would also have made almost impossible the development of professional theatre in the city . The Cardiff City Council has, however, temporarily saved the situatio n by renting the theatre for seven years and establishing a Trust to manag e it. The Welsh Committee has offered the Council a grant of £6,000 toward s renovating the building . A number of problems, however, remain for the Welsh Theatre Company. It is, for example, extremely difficult to mount the same plays in the New Theatre (which has a seating capacity o f 1,400) as in small halls in rural Wales . It is also difficult to attract actors to a company which has to undertake tours which include so man y

69

centres. The main aim must, therefore, be to establish four or five centre s in Wales with adequate facilities and set up local committees, similar to those established for organising concerts in Pembrokeshire and Cardigan - shire, to engender interest over a wide area . At the same time it is intended to initiate a transport subsidy scheme . It has always been the hope of the Welsh Committee that the company should include a percentage of Welsh-speaking artists so that plays in the Welsh language might be produced . Unfortunately this year only two members could speak Welsh fluently. It is hoped, however, that with further experience it will be possible to create a Welsh speakin g company of professional actors even if this has to have a separat e existence to the English company. Poetry Reading Two series of poetry readings, English and Welsh, were arranged during the year. The English programme Rhyme or Reason was compiled by D. J. Thomas and based on a series of programmes he produced fo r B.B.C. television; it included sections on Man and Woman and Birth and Death. The readers were Kenneth Griffith, Emrys James, Paulin e Letts and Helen Lindsay . The recital was given at Cardiff, Swansea , Carmarthen and Aberystwyth . The Welsh programme Cerddi'r Haf a'r Gaeaf was compiled by Joh n Gwilym Jones from the works of R. Williams-Parry. Mr. Jones also introduced the poems, which were read by W. H. Roberts and J . O. Roberts. The programme was given at Cardiff, Swansea and Newcastl e Emlyn . Aid to Literary The Welsh Committee continued to give financial aid to the `Anglo Journals Welsh Review' and also gave a grant of £100 towards the publication o f `Taliesin, ' the journal of the Welsh Academy . Welsh Committee The following retired from the Committee during the year : Sir Emrys Evans, Mrs. Eileen Llewellyn-Jones, Miss Frances Rees, Mr . Ceri Richards, and Professor D . E. Parry Williams . Sir Emrys Evans wa s re-appointed . New appointments to the Committee were : Colonel W . R. Crawshay, D.S.O., E.R.D., Mr. Josef Herman, Mr . A. K. Holland, Mr. John Gwilym Jones and Mr. Kenneth Loveland. Honours The Welsh Committee was particularly pleased that the University of Wales resolved to confer the honorary degree of D .Litt. on Sir William Emrys Williams .

70 Accountant's Notes

These notes are given in amplification of the Annual Accounts which ar e contained in Appendices A, B and C following . 1. The Trustee Investments Act 1961 conferred new powers upon Trustees and, in consequence, the Council accepted a Scheme, prepare d by its brokers, to revise its investment portfolio. In August 1962 th e Council placed 50 per cent of its investments in the Equities Investment Fund for Charities . The investments purchased are shown on th e Balance Sheet and in Schedule 6 . The loss and profit on sales of invest- ments are shown on the Revenue and Expenditure Account and i n Schedule 5 . It is expected that this rearrangement of investments will increase the Council 's income by about £150 per annum . 2. The expenditure of £1,508 7s . 2d. out of the Reserve for Specia l Art Projects on the Balance Sheet was incurred o n (a) the Leonardo Appeal Fund to which the Council made a contribu- tion of £1,000, and

71 (b) a claim of £508 7s . 2d. out of a guarantee against loss of £1,00 0 offered towards presenting the Henie/Onstad Exhibition at the Walker Art Gallery, Liverpool, from September 23rd to October 28th , 1962. 3. The details of `Loans to Associated and other Organisations ', hitherto shown in Schedule 4, are now included under this heading on the Balance Sheet . 4. In previous years the Income and Expenditure on Art Exhibition s was shown in Schedule 1 in total . A more detailed Income and Expendi- ture Account for Exhibitions is included now as a new Schedule 4. 5. Expenditure on the Drama schemes for Capital Expenditure , Transport Subsidies and New Drama guarantees are no longer indicated by footnotes in the Drama section of Schedule 3 but are detailed in th e chart which can be found as Appendix D . 6. The subsidy for the Royal Liverpool Philharmonic Society Limite d shown in Schedule 3 under Symphony Orchestras comprises a grant of £29,000 for the Orchestr a's work during the year ended 31st March, 1963 , and a special grant of £1,000 towards the International Conductors ' Competition. 7. The Music Section of Schedule 3 includes an amount of £2,889 15s. lld. for the Institute of Contemporary Arts . This amoun t comprises £500 for the Music Section of the Institute and £2,389 15s. lld. being the deficit claimed out of a guarantee of £2,500 offered to Th e International Society for Contemporary Music Festival . D.P.L.

72 Appendices

Ap p e n d i 1x A The Arts Council of Great Britain

1961/62 £ s. d . £ s. d . £1,438,946 General Expenditure on the Arts in England (See Schedule 1) 1,793,513 6 0 124,783 General Operating Costs in England (See Schedule 2) 127,160 15 1 9,271 Capital Expenditure Transferred to Capital Account 9,433 16 9 3,000 Specific Reserve-Coventry Cathedral Festival - - - - Transfer to Theatre Royal Bristol Reserve Fund (See Schedule 5) 1,250 0 0 - Reserve for Loans to Associated Organisations 1,000 0 0 Sale of Investments Loss on sale of 3 per cent Savings Bonds 1960/70 748 12 3 Less profit on sale of 3j per cent Defence Bonds (Conversion Issue) 1 15 4 - 746 16 1 1 123,267 Grant to Scottish Committee 144,666 0 9 78,345 Grant to Welsh Committee 108,290 0 0 ]'),I) pi Balance carried down 32,726 11 3

91,758,572 £2,218,787 6 9

£7,427 Balance carried forward to Balance Sheet 40,153 4 4

£7,427 £40,153 4 4

74

Revenue and Expenditure Account for the year ended 31st March, 196 3

1961/62 £ s. d . £ s. d. £1,745,000 Grant in Aid : H.M. Treasury 2,190,000 0 0 1,320 Repayment of Loans 7,570 0 0 Cancellation of Grants, Guarantees and provision 5,783 for expenses in previous year not required 13,881 15 5 - Amount Transferred from Reserve for Special Art Projects 1,508 7 2 Amount Transferred from Specific Reserve- Coventry Cathedral Festival 3,000 0 0 55 Amount Transferred from Reserve for Capital Purchase - - - Sundry Receipts Interest: Bank and Investment 2,704 18 8 Proceeds of Sale of Asset 21 8 3 Miscellaneous 100 17 3 6,414 2,827 4 2

£1,758,572 £2,218,787 6 9

£26,467 Balance as at 1st April, 1962 7,426 13 1 19,040 Balance brought down 32,726 11 3

£7,427 £40,153 4 4

75

The Arts Council of Great Britai n

Liabilities 1962 Capital Account £ s. d . £ s. d. £ s. d . Balance as at 31st March, 1962 108,847 18 1 0 Add Capital Expenditure during year transferred from Revenue and Expenditure Account 9,433 16 9 118,281 15 7 Less Book Value of Assets written off: Office Equipment 115 14 6 Opera for All Equipment 18 13 10 Book Value of Assets sold : Office Equipment '21 8 3 155 16 7 £108,848 118,125 19 0 54,881 Grants and Guarantees Outstanding 47,295 10 8 Credit Balances 31,945 Sundry Creditors and Accrued Liabilities 26,963 17 6 17,162 Special Funds (See Schedule 5) 15,669 3 5 Reserve for Special Art Projects Balance as at 31st March, 1962 30,000 0 0 Less amount transferred to Revenue and Expenditure Account 1,508 7 2 30,000 28,491 12 10

242,836 Carried forward 236,546 3 5

76

Balance Sheet as at 31st March, 196 3

Assets

1962 Office Equipment £ s . d. £ s. d. At valuation as at 31st March, 1956, and addition s at cost less items sold to 31st March, 1962 17,549 19 5 Additions at cost during year 596 14 4

18,146 13 9 Less items sold and written off during year 137 2 9 £17,550 18,009 11 0 Motor Vans and Cars 13,661 At cost 13,660 13 0

Cello Account 100 At valuation as at 31st March, 1960 100 0 0

Theatre and Concert Hall Equipment At valuation as at 31st March, 1956, and addition s at cost less items sold to 31st March, 1962 11,341 15 0 Additions at cost during year 72 11 9

11,414 6 9 Less items written off during year 18 13 1 0 11,342 11,395 12 1 1 Art Exhibition Equipment At valuation as at 31st March, 1956, and addition s at cost less items sold to 31st March, 1962 10,926 1 4 Additions at cost during year 1,854 14 2 10,926 12,780 15 6 Lithographs 571 At cost 571 11 2

Pictures and Sculpture s At cost as at 31st March, 1962 48,226 13 9 Additions at cost during year 6,221 0 7 48,227 54,447 14 4 Reproductions At valuation as at 31st March, 1957, and addition s at cost to 31st March, 1962 6,471 5 2 Additions at cost during year 688 15 1 1 6,471 7,160 1 1 248 Wigmore Hall Canteen Stock 401 11 0

Loans to Associated and Other Organisation s Secured by Mortgage Balance as at 31st March, 1962 3,000 0 0 Less repaid during year 125 0 0 2,875 0 0 Secured by Investment 3,330 0 0

109,096 Carried forward 6 1 205 0 0 118,527 10 0

7 7 F

The Arts Council of Great Britain

Liabilities 1962 £ s. d . £ s. d .

£242,836 Brought forward 236,546 3 5 Specific Reserve-Coventry Cathedral Festival Balance as at 31st March, 1962 3,000 0 0 Less Amount transferred to Revenue and Expenditure Account 3,000 0 0 3,000 Revenue and Expenditure Account 7,427 Balance as at 31st March, 1963 40,153 4 4

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

Chairman: COTTESLOE Secretary-General : NIGEL J. ABERCROMBI E

£253,263 £276,699 7 9

I have examined the foregoing Account and Balance Sheet . I have obtained all the information and explanations that I have required and I certify, as the result of my audit, that in my opinion this Account and Balance Sheet are properly drawn up so as to exhibit a true and fair view of the transactions of the Arts Council of Great Britain and of the stat e of their affairs . Signed : E . G . COMPTON, Comptroller and Auditor General, Exchequer and Audit Department, 14th August, 1963 .

78

Balance Sheet as at 31st March, 196 3

Assets 1962 £ s. d . £ s. d. £ s. d. £109,096 Brought forward 6,205 0 0 118,527 10 0 Loans to Associated and Other Organisations (continued) Unsecured and only conditionally recoverable Balance as at 31st March, 1962 8,070 0 0 Add new loan made during year 1,000 0 0 9,070 0 0 Less loans previously reserved repai d during year 7,570 0 0 1,500 0 0 7,705 0 0 Less Reserve 1,500 0 0 6,330 6,205 0 0 Special Fund Investments (See Schedule 6) At cost or at Market value at date of transfer 15,742 (Market value £12,619 7s . 2d .) 14,114 12 1 0 Investments 41 per cent British Electricity Guarantee d Stock 197479 (Market value £2,481 14s . 4d.) 2,419 7 3 Equities Investment Fund for Charities (Market value £2,591 Os . 6d .) 2,431 16 0 5,599 4,851 3 3 Debit Balances Sundry Debtors and payments in advance 83,854 9 5 Expenditure on future exhibitions in preparation 5,206 5 4 Due from Scottish Committee 46 10 0 Due from Welsh Committee 242 5 5 45,217 89,349 10 2 Cash On Bank Deposit 40,250 0 0 On Current Account 2,738 17 8

Add Imprests 378 3 4 In hand 284 10 6 71,279 43,651 11 6 £253,263 9276,699 7 9

7 9

The Arts Council of Great Britain Schedule I General Expenditure on the Arts in England for the year ended 31st March, 1963

£ s. d . £ s. d . £ s . d . Music Opera and Balle t Grants and Guarantees (See Schedule 3) 1,143,676 7 7 Directly Managed Performances (Opera for All) : Gross Expenditure 19,724 3 1 1 Less : Gross Revenue 14,300 9 2 5,423 14 9

1,149,100 2 4 Symphony Orchestras Grants and Guarantees (See Schedule 3) 153,750 0 0 Other Activities Grants and Guarantees (See Schedule 3) 51,727 9 4 Wigmore Concert Hall (including costs o f repairs to building) : Gross Expenditure 13,795 1 0 Less: Gross Revenue 10,543 17 3

3,251 3 9 Less : Surplus on Wigmore Hall Catering 376 14 0 2,874 9 9 Audition Expenses 63 0 0 1,357,515 1 5

Drama Grants and Guarantees (See Schedule 3) 335,892 2 8

Art Grants and Guarantees (See Schedule 3) 8,852 15 6 Net Cost of Exhibitions (See Schedule 4) 59,286 19 4 Art Films Tours : Gross Expenditure 2,397 6 0 Less: Gross Revenue 1,431 1 6 - 966 4 6 69,105 19 4

Festivals Grants and Guarantees (See Schedule 3) 17,848 14 1 1

Poetry Grants and Guarantees (See Schedule 3) 3,285 0 8 Poetry Library and Miscellaneous Expenses 1,046 7 0 4,331 7 8

Arts Centres Grants and Guarantees (See Schedule 3) 3,195 0 0 and Arts Associations (See Schedules 3) 5,625 0 0 Arts Clubs 8,820 0 0

Net Expenditure transferred to Revenue and Expenditure Accoun t

8 0

The Arts Council of Great Britain General Operating Costs for the year ended Schedule 2 31st March, 1963

£ s. d . £ s. d. £ s. d. Salaries: Music 11,974 13 4 Drama 8,470 5 6 Art 22,934 0 8 Finance 14,584 2 9 Secretarial and General 24,282 13 9 82,245 16 0 Superannuatio n 7,421 10 8 89,667 6 8 Travelling and Subsistenc e 5,879 4 5 Rent, Rates and House Expense s 17,124 17 2 Publicity and Entertainmen t 5,340 10 2 Office and Sundry Expenses 9,148 16 8

Transferred to Revenue and Expenditure Accoun t £127,160 15 1

Note : Endowment benefits due to members of the Pension Fund are assured by Policies held by the Council .

81

The Arts Council of Great Britai n Schedule 3 Grants and Guarantees for the year ended 31st March, 1963

£ s . d . £ s . d. Music Opera and Ballet tRoyal Opera House, Covent Garden Limited 690,041 7 7 Sadler's Wells Trust Limited 380,000 0 0 *Royal Ballet School Limited 15,000 0 0 Mercury Theatre Trust Limited (Ballet Rambert) 24,000 0 0 Western Theatre Ballet Limited 7,000 0 0 National School of Opera 5,000 0 0 London Opera Centre for Advanced Trainin g and Development Limited 6,500 0 0 English Opera Group Limited 7,000 0 0 New Opera Company Limited 2,000 0 0 Intimate Opera Society Limited 1,500 0 0 Handel Opera Society 1,250 0 0 tDirect Grants and Guarantees to other Opera and Ballet organisations 1,520 0 0 tAmateur Opera and Ballet Societies 2,865 0 0 1,143,676 7 7 'Grant for Capital Expenditure Symphony Orchestras tCity of Birmingham Symphony Orchestra 29,000 0 0 tHalle Concerts Society 29,000 0 0 tLondon Philharmonic Orchestra Limited 10,750 0 0 London Philharmonic Society Limited 7,500 0 0 tLondon Symphony Orchestra Limited 7,500 0 0 Northern Sinfonia Concerts Society 5,000 0 0 tRoyal Liverpool Philharmonic Society Limited 30,000 0 0 Western Orchestral Society Limited (Bournemout h Symphony Orchestra) 35,000 0 0 153,750 0 0 Other Activitie s tBrighton Philharmonic Society Limited 1,600 0 0 British Institute of Recorded Sound : Administration £750 0 0 Central Gramophone Library 1,500 0 0 2,250 0 0 English Chamber Orchestra and Music Society 750 0 0 tInstitute of Contemporary Arts (Music Section) 2,889 15 1 1 Philomusica of London Limited 2,000 0 0 The Royal Philharmonic Society 1,750 0 0 Society for the Promotion of New Music 1,500 0 0 Payments to Music Societies and Clubs affiliated to the National Federation of Music Societies in respect o f guarantees (including Federation Administration) 31,124 10 9 tDirect Grants and Guarantees to Musical Organisation s for special Concert Activities 7 9 863 2 8 51,727 9 4

Carried forward £1,349 9 153 16 1 1 tMaximum commitments are given, not necessarily the amounts paid .

82

E s. d . £ s. d . Brought forward 1,349,153 16 1 1 Drama tBarrow-in-Furness : Renaissance Theatre Trust Company Limited 2,850 0 0 tBirmingham Repertory Theatre Limited 14,062 15 1 Birmingham : Alexandra Theatre (Birmingham) Limited 64 0 0 tBristol : Old Vic Trust Limited 14,400 0 0 tBromley Productions Limited 1,069 5 4 tCambridge Arts Theatre Trust 1,250 0 0 tCanterbury Theatre Trust Limited 4,200 0 0 tCarlisle Theatre Trust Limited 4,800 0 0 Centre 42 Limited 200 0 0 tCheltenham Everyman Theatre Company Limited 6,055 0 0 tChesterfield Civic Theatre Limited 3,100 0 0 Chichester Festival Theatre Trust Limited 10,000 0 0 tColchester Repertory Company Limited 5,475 0 0 tCoventry : Belgrade Theatre Trust (Coventry) Limited 15,025 0 0 tCroydon : New Pembroke Theatre (Croydon) Limited 1,450 0 0 tDerby Playhouse Limited 5,114 12 10 Farnham Repertory Company Limited 2,595 0 0 tGuildford Theatre Club Limited 6,681 14 7 Guildford : Yvonne Arnaud Theatre Trust 5,000 0 0 tHarrogate (White Rose) Theatre Trust Limited 2,300 0 0 Hornchurch Theatre Trust Limited 5,000 0 0 Ipswich Arts Theatre Trust 5,700 0 0 tLeatherhead Repertory Company Limited 5,750 0 0 Leicester Theatre Society 1,000 0 0 tLincoln Theatre Association Limited 10,000 0 0 Liverpool Repertory Theatre Limited 5,250 0 0 London : tEnglish Stage Company Limited 20,000 0 0 Hovenden Players Limited 150 0 0 tMermaid Theatre Trust 7,000 0 0 Old Vic Trust Limited 83,000 0 0 tPioneer Theatres Limited (Theatre Workshop) 3,000 0 0 Loughborough and District Theatre Association Limited 1,500 0 0 tNorthampton Repertory Players Limited 6,099 11 5 tNottingham Theatre Trust Limited 14,750 0 0 tOldham Repertory Theatre Club 2,000 0 0 Oxford : Meadow Players Limited 12,200 0 0 Oxford : University Playhouse Reconstruction Appeal 5,000 0 0 tRichmond Theatre Productions Limited 1,200 0 0 tSalisbury Arts Theatre Limited 7,750 0 0 tSheffield Repertory Company Limited 6,250 0 0 Windsor Repertory Company : Capoco Limited 1,000 0 0 tYork Citizens' Theatre Trust Limited 2,150 0 0

Carried forward 311,441 19 3 1,349,153 16 1 1 tMaximum commitments are given, not necessarily the amounts paid .

83

£ s. d . £ s . d. Brought forward 311,441 19 3 1,349,153 16 1 1 Drama Touring : (continued) tCentury Theatre Limited 3,750 0 0 Mobile Theatre Limited 1,000 0 0 Prospect Productions Limited 300 0 0 Royal Shakespeare Theatre 10,000 0 0 tStudio Theatre Limited (Theatre in the Round) 4,901 3 5 The British Centre of the International Theatre Institute 250 0 0 Council of Repertory Theatres 350 0 0 tAwards for New Designers 2,392 0 0 Bursaries and New Drama Expenses 1 9207 0 0 Travel Grants for Producers 300 0 0 335,892 2 8 Art tBournemouth Arts Club 100 0 0 Brentwood Art Society 25 0 0 tBromley Art Society 50 0 0 tBruton Art Society 50 0 0 tCambridge University Centre of Architecture 15 0 0 Caterham Art Group 40 0 0 Christchurch : Red House Museum and Art Gallery 60 0 0 tCirencester Arts Club 100 0 0 Colchester Art Society 30 0 0 Leonardo Appeal 1,000 0 0 Liverpool : Walker Art Gallery 508 7 2 Lake District Art Gallery Trust 200 0 0 London : Institute of Contemporary Arts 2,800 0 0 tSociety for Education through Art 175 0 0 tThe Finsbury Art Group 40 0 0 Free Painters Group 50 0 0 The London Group 400 0 0 Trustees of the Whitechapel Art Gallery 300 0 0 United Kingdom National Committee of th e International Association of Plastic Arts 50 0 0 tWomen's International Art Club 250 0 0 tYoung Contemporaries 1963 250 0 0 tMidland Group of Artists 850 0 0 Newcastle Society of Artists 30 0 0 tThe Newlyn Society of Artists 250 0 0 Nottingham Theatre Trust Limited 300 0 0 Oxford : Bear Lane Gallery Limited 100 0 0 tOxford University Art Club 40 0 0 The Penwith Society of Arts in Cornwall 350 0 0

Carried forward 8,413 7 2 1,685,045 19 7

tMaximum commitments are given, not necessarily the amounts paid .

84

£ s. d . £ s. d. Brought forward 8,413 7 2 1,685,045 19 7 Art Petersfield Arts and Crafts Society 25 0 0 (continued) tTruro and District Art Society 25 0 0 Francis Bacon Film 389 8 4 8,852 15 6

Festivals Aldeburgh Festival of Music and the Arts 2,500 0 0 tBath Festival Society Limited 1,750 0 0 tCheltenham Arts Festivals Limited : Cheltenham Festival of British Contemporary Music 2,000 0 0 Cheltenham Festival of Literature 196 5 6 Cheltenham Art Week 70 0 0 Coventry Cathedral Festival 7,500 0 0 The Dolmetsch Foundation (Haslemere Festival) 450 0 0 The St. George's Guildhall Limited (King's Lynn Festival) 727 9 2 City Arts Trust Limited (Festival of the City of London) 1,500 0 0 Ludlow Festival Society Limited 500 0 0 tStroud Festival of Religious Drama and the Arts 125 0 0 tThree Choirs Festival Association Limite d (Three Choirs Festival, Gloucester) 530 0 3 17,848 14 1 1

Poetry tThe Apollo Society 500 0 0 The British Institute of Recorded Sound (Recorded Literature Grant) 100 0 0 Cley Women's Institute (Little Festival of Poetry, Cley-next-the-Sea) 9 11 6 The Company of Nine 200 0 0 Contemporary Poetry and Music Circle 50 0 0 Little Missenden Festival 40 0 0 tThe Poetry Book Society Limited : General £500 0 0 Festival of Poetry 500 0 0 1,000 0 0 The Shakespeare Birthplace Trust 336 9 2 Society of Barrow Poets 10 0 0 Poetry Publications : "Ambit" 100 0 0 "Listen" 225 0 0 "Poetry and Audience" 150 0 0 "The Review" 200 0 0 "Stand" 90 0 0 "Unicorn" (South Western Arts Association) 144 0 0 "Universities Poetry" 130 0 0 3,285 0 8

Carried forward 1,715,032 10 8

tMaximum commitments are given, not necessarily the amounts paid .

85

E s . d. £ s, d. Brought forward 1,715,032 10 8 Arts Centres Alfreton and District Arts Association 150 0 0 and Basingstoke Theatre Association Limited 100 0 0 Arts Clubs tBeccles and District Arts Society 25 0 0 tCamberwell Arts Council 50 0 0 Coventry Arts Centre : The Umbrella Club 175 0 0 Cowes and District Arts Association 30 0 0 tCrewe and District Music and Arts Society 20 0 0 Cromer Society 50 0 0 Dudley Arts Council 50 0 0 tEston and Ormesby Guild of Arts 30 0 0 Frodsham Music and Arts Club 25 0 0 tHartlepools Arts Association 75 0 0 tHuntingdonshire Music and Arts Society 50 0 0 tKettering and District Three Arts Club 50 0 0 tKing's Lynn : St. George's Guildhall Limited 175 0 0 tLeek and District Arts Club 80 0 0 tLincoln Society of Arts 45 0 0 Manchester Institute of Contemporary Arts 325 0 0 tMarple Arts Group 30 0 0 Middlesbrough Little Theatre Limited 200 0 0 Newcastle-upon-Tyne : People's Theatre Arts Group 200 0 0 tNewmarket and Districts Arts League 40 0 0 Newport Arts Association 50 0 0 Potbeinos Limited 250 0 0 Rosehill Arts Trust Limited 375 0 0 tSolihull Society of Arta 40 0 0 tStafford and District Arts Council 100 0 0 tTamworth Arts Club 25 0 0 tTonbridge Theatre and Arts Club 15 0 0 Tring Arts Society 50 0 0 tWaltham Holy Cross Arts Council 50 0 0 West Wight Arts Association 30 0 0 tWhitby : Three Arts Club 75 0 0 Wolverhampton Civic Hall Arts Society 25 0 0 tWorcester: S .A.M .A. 100 0 0 tWorsley Art and Music Society 35 0 0 3,195 0 0 Arts South Western Arts Association : Associations Administration 2,000 0 0 Arts Centres and Clubs : tBlandford Arts Club 35 0 0 tBridgwater and District Arts Centre Limited 275 0 0 Chippenham and District Society of Arts 35 0 0 tCrewkerne Arts Club 35 0 0 tDawlish Arts Festival 30 0 0

Carried forward 2,410 0 0 1,718,227 10 8

tMaximum commitments are given, not necessarily the amounts paid .

86

£ s. d . £ s. d . Brought forward 2,410 0 0 1,718,227 10 8 Arts South Western Arts Association : Arts Centres and Clubs (continued) Associations Devon Guild of Craftsme n 20 0 0 (continued) Exeter: The Arts Group 100 0 0 Falmouth : Royal Cornwall Polytechnic Society 475 0 0 Isle of Purbeck Arts Club 50 0 0 Kingsbridge Music Club 25 0 0 tLaunceston Arts Society 30 0 0 tNewton Abbot and District Society of Arts 50 0 0 tPlymouth Arts Centr e 300 0 0 tSt . Austell Society of Art s 300 0 0 Shaftesbury and District Arts Club 575 0 0 Street Society of Art s 50 0 0 Taunton Deane Arts Society 50 0 0 tTruro Three Arts Society 90 0 0 Warminster Arts Club 25 0 0 Weston-super-Maze Society of Arts 50 0 0 tWeymouth and South Dorset Arts Centre 275 0 0

4,875 0 0 tMidlands Arts Association (Administration ) 250 0 0 North Eastern Association for the Art s 500 0 0 5,625 0 0

£1,723,852 10 8 tMaximum commitments are given, not necessarily the amounts paid .

Art Exhibitions Schedule 4

£ s . d. £ s . d. Expenditure : Transport 42,428 12 1 0 Organising 23,077 7 4 Insurance 8,660 6 4 Printing 10,788 9 10 Publicity 5,520 5 3 Materials 7,787 8 4 Hiring Fees 669 15 3 98,932 5 2 Less : Income: Admissions 21,483 6 7 Catalogue Sales 11,814 1 1 0 Exhibition Fees 6,347 17 5 39,645 5 10

Net Expenditure transferred to Schedule 1 £59,286 19 4

87

The Arts Council of Great Britain Schedule 5 Special Funds

£ s. d. £ s. d. £ s. d. Pilgrim Trust Special Fund As at 31st March, 1962 1,597 9 3 Add: Income during year 68 4 4 1,665 13 7 H.A . Thew Fund Capital Account Balance as at 31st March, 1962 9,094 10 9 Less: Loss on reinvestment 1,321 14 6 7,772 16 3 Income Account Balance at 31st March, 1962 290 19 6 Add: Income during year 263 0 5

Less: Payments during year 364 10 0 189 9 11 7,962 6 2 Mrs. Thornton Fund Capital Account Balance as at 31st March, 1962 5,426 14 1 Less: Loss on reinvestment 302 12 3 5,124 1 10 Income Account Balance at 31st March, 1962 302 13 9 Add: Income during year 226 18 7

Less: Payments during year 259 8 0 270 4 4 5,394 6 2 Arts Council : Theatre Royal Bristol Reserve Fund As at 31st March, 1962 449 8 5 Add: Income during year 750 0 0 Amount transferred from Revenue an d Expenditure Account 1,250 0 0 2,000 0 0 2,449 8 5 Less: Payments and commitments during year 1,802 10 11 646 17 6 Total Special Funds as per Balance Sheet £15,669 3 5

88

The Arts Council of Great Britain Special Fund Investments as at 31st March, 1963 Schedule 6 Nominal Book Market Value Value Value £ s. d. £ s. d. £ s. d.

Pilgrim Trust Special Fun d

5% Treasury Bonds 1986189 743 13 10 647 0 3 661 17 7

Equities Investment Fund for Charities 619 0 0 649 19 0 692 10 1

H. A . Thew Fund

3% British Transport Stock 1978188 2,104 17 4 1,936 11 11 1,399 14 9

3j% Conversion Stock 2,809 19 10 2,767 16 10 1,657 17 1 1

Equities Investment Fund for Charities 2,922 0 0 3,068 2 0 3,268 19 9

Mrs . Thornton Fund

21%Consolidated Stock 665 1 9 488 16 10 289 6 3

51% Conversion Stock 1974 (P.O. Issue) 200 0 0 203 7 6 200 0 0

5% Treasury Bonds 1986189 1,824 15 3 1,587 11 0 1,624 0 1 1

3% British Transport Stock 1978188 355 5 10 337 10 6 236 5 4

51% Funding Stock 1982184 110 2 4 100 0 0 108 9 3

Equities Investment Fund for Charities 2,217 0 0 2,327 17 0 2,480 5 4

Total Special Fund Investment s as per Balance Sheet 914,571 16 2 214,114 12 10 212,619 7 2

89

Appendix B The Council's Committee in Scotland

1961/6 2 £ s, d . £103,042 General Expenditure on the Arts (See Schedule 1) 132,143 5 2 16,24 5 General Operating Costs (See Schedule 2) 17,509 3 7 2,00 6 Capital Expenditure Transferred to Capital Accoun t 1,208 16 7 17 8 Reserve for Capital Purchase 6,000 Loans Cancelled During Year

£127,471 £150,861 5 4

9 -3 Balance brought down 4,869 11 7

6,973 Balance carried forward to Balance Sheet 2,103 14 1 1

£4,000 £6,973 6 6

90

Revenue and Expenditure Account for the year ended 31st March, 196 3

1961/62 £ s . d. £ s . d .

£123,267 Grant from the Arts Council of Great Britain 144,666 0 9 Cancellation of Grants and Guarantees in previou s 724 year not required 507 8 4 6,000 Cancellation of Reserve for Loans - - -

- Amount Transferred from Reserve for Capital Purchase 105 16 7 Sundry Receipts : Interest on Deposit Accounts 152 6 8 Dundee Repertory Theatre Limited- Rent of Electrical Equipment 1 0 0 Proceeds of Sale of Assets 550 0 0 Miscellaneous 9 1 5 453 712 . 8 1 2,973 Balance carried down 4,869 11 7

£127,471 £150,861 5 4

4,000 Balance as at 1st April, 1962 6,973 6 6

£4,000 £6,973 6 6

91

The Council's Committee in Scotland

Liabilities 1961/6 2 £ s . d. £ s . d . Capital Account Balance as at 31st March, 1962 27,595 15 1 Add Capital Expenditure during year transferre d from Revenue and Expenditure Account 1,208 16 7

28,804 11 8 Less Book Value of Assets sold : Motor Car 836 11 1 £27,596 27,968 0 7 7,779 Grants and Guarantees Outstanding 10,784 17 0 Credit Balances Sundry Creditors and Accrued Liabilitie s 3,275 17 4 Due to Headquarters 46 10 0 2,984 3,322 7 4 Reservefor Capital Purchas e 177 18 7 Less Amount transferred to Revenu e and Expenditure Account 105 16 7 178 72 2 0

38,537 Carried forwar d

92

Balance Sheet as at 31st March, 196 3

Assets

1962 £ s . d . £ s . d . Property £8,307 11 Rothesay Terrace, Edinburgh 8,307 4 2 Office Equipmen t At valuation as at 31st March, 1955, and additions at cost to 31st March, 1962 3,327 7 1 0 Additions at cost during year 105 16 7 3,327 3,433 4 5 Motor Cars At cost as at 31st March, 1962 2,384 1 7 Additions at cost during year 550 0 0

2,934 1 7 Less Items sold during year 836 11 1 2,384 2,097 10 6 Piano Accoun t 200 At valuation as at 31st March, 1955 200 0 0 Theatre and Concert Hall Equipmen t 4,106 At cost 4,105 19 9 Pictures, Sculptures and Tapestry At cost as at 31st March, 1962 8,175 8 9 Additions at cost during year 553 0 0 8,175 8,728 8 9 Reproductions 672 At cost 671 10 0 Lithograph s 424 At cost 424 3 0

27,595 Carried forward 27,968 0 7

93

The Council's Committee in Scotland

Liabilities

1962 £ s. d . £ s . d .

£38,537 Brought forward 42,147 6 1 1 Revenue and Expenditure Account 6,973 Balance as at 31st March, 1963 2,103 14 1 1

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

Chairman of the Scouish Committee : C . H. MACKENZI E Secretary-General : NIGEL J . ABERCROMBI E

£45,510 944,251 1 10

I have examined the foregoing Account and Balance Sheet . I have obtained all the information and explanations that I have required an d I certify, as the result of my audit, that in my opinion this Account an d Balance Sheet are properly drawn up so as to exhibit a true and fair view of the transactions of the Arts Council's Committee in Scotlan d and of the state of their affairs. Signed : E . G. COMPTON, Comptroller and Auditor General, Exchequer and Audit Department, 14th August, 1963

94

Balance Sheet as at 31st March, 196 3

Assets

1962 £ s. d . £ s. d.

£27,595 Brought forward 27,968 0 7 Loans to Associated and other Organisations Unsecured and only conditionally recoverable 12,000 0 0 Less Reserve 12,000 0 0

Debit Balances 3,332 Sundry Debtors and payments in advance 4,309 12 1 1

Cas h On Deposit Account 10,000 0 0 On Current Account 1,888 8 4 In hand 85 0 0 14,583 11,973 8 4

£45,510 944,251 1 1 0

95

The Council's Committee in Scotlan d Schedule 1 General Expenditure on the Arts for the year ended 31st March, 1963

£ s. d . £ s . d . £ s. d . Music Opera Grants and Guarantees (See Schedule 3 ) 1,649 16 7 Ballet Grants and Guarantees (See Schedule 3) 300 0 0 Tours 3,208 17 5 Less : Receipts 1,251 3 3 1,957 14 2 2,257 14 2 Symphony Orchestr a Grants (See Schedule 3 ) 38,500 0 0 Other Activities Grants and Guarantees (See Schedule 3 ) 3,887 12 9 Directly Provided Concert s 10,822 19 2 Less : Receipts 3,969 16 5 6,853 2 9 10,740 15 6

Drama Grants and Guarantees (See Schedule 3 ) 48,384 4 8 Tours 5,800 18 8 Less : Receipts 2,483 16 1 - 3,317 2 7 - 51,701 7 3

Art Grants and Guarantees (See Schedule 3 ) 387 17 6 Exhibition Expenses 5,771 4 3 Less : Receipts 1,000 16 11 4,770 7 4 Art Film s 438 17 1 Less : Art Film Fees and Catalogue Sales 57 12 6 381 4 7 Guide Lecturers' Fees and Expense s Less : Fees received 827 3 1 6,366 12 6

Festivals Edinburgh Festival Society Limite d 20,000 0 0

Poetry Grants and Guarantees (See Schedule 3 ) 181 16 1 0

Arts Centres and Arts Clubs Grants and Guarantees (See Schedule 3 ) 745 2 4

Net Expenditure transferred to Revenue and Expenditure Account £132,143 5 2

96

The Council's Committee in Scotland General Operating Costs for the year ended Schedule 2 31st March, 1963

£ s . d . Salaries and Wages 12,086 2 7 Superannuatio n 904 0 9 Travelling and Subsistence 827 11 6 Rates and House Expense s 1,740 13 4 Publicity and Entertainmen t 327 9 8 Office and Sundry Expenses 1,623 5 9

Transferred to Revenue and Expenditure Accoun t £17,509 3 7

Note : Endowment benefits due to members of the Pension Fund ar e assured by Policies held by the Council

97

The Council's Committee in Scotland Schedule 3 Grants and Guarantees for the year ended 31st March, 1963

£ s . d. £ s . d . Music Oper a tAmateur Operatic Societies 1,649 16 7 Ballet Scottish Ballet School 300 0 0 Symphony Orchestra Scottish National Orchestral Society Limited 38,500 0 0 Other Activitie s tCollege of Piping 175 0 0 tDunbar and District Musical Society 57 17 1 1 Edinburgh Churches' Choir 200 0 0 tEdinburgh Lunch Hour Concerts 300 0 0 Edinburgh Organ Recitals Committee 80 0 0 Glasgow Churches' Oratorio Society 100 0 0 tNational Federation of Music Societies 2,760 0 0 Saltire Society 89 14 1 0 tDirect Grants and Guarantees to Music Clubs (£50 and under) 125 0 0 3,887 12 9

Drama *Dundee Repertory Theatre Limited 10,800 0 0 *§Edinburgh Gateway Company Limited 6,908 3 0 * .*F §Glasgow : Citizens' Theatre Limited 15,309 16 8 *§Perth Repertory Theatre Limited 10,891 5 0 *$Pitlochry Festival Society Limited 4,000 0 0 St. Andrews Play Club (Byre Theatre) 300 0 0 Travel Grants 150 0 0 Direct Grants and Guarantees 25 0 0 48,384 4 8 *Includes Approved Plays Scheme Subsidies totalling £7,600 . *Includes New Drama Scheme Guarantees totalling £500 . §Includes Transport Subsidies totalling £309 4s . 8d .

Art Edinburgh College of Art 25 16 8 Edinburgh : '57 Gallery 25 0 0 Falkirk Arts and Civic Council 12 10 0 tGalashiels Arts Club 75 0 0 tGlasgow: Citizens' Theatre Limited 85 0 0 Helensburgh and District Arts Club 75 0 0 Stirling : Smith Art Institute and Museum 89 10 10 387 17 6

Festivals Edinburgh Festival Society Limited 20,000 0 0

Carried forward 113,109 11 6

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

98

£ s. d . £ s. d . Brought forward 113,109 11 6 Poetry "New Saltire" Magazine 150 0 0 tScottish Association for the Speaking of Verse 31 16 10 181 16 1 0

Arts Centres tAberdeen : Haddo House 35 0 0 and Dumfries Guild of Players 47 6 3 Arts Clubs Dundee Art Society 20 0 0 tGlasgow : Pollok House Art Society 100 0 0 tGreenock Arts Guild 290 0 0 Inverness Arts Centre 32 16 1 tTroon Arts Guild 220 0 0 745 2

£114,036 10 8

tMaximum commitments are given, not necessarily the amounts paid .

99

Appendix C The Council's Committee in Wale s

1961/62 £ s. d £56,212 General Expenditure on the Arts (See Schedule 1) 83,219 4 1 1 13,160 General Operating Costs (See Schedule 2) 19,088 18 2 3,462 Capital Expenditure Transferred to Capital Account 9,420 0 1 4,054 Reserve for Capital Purchases 1,860 17 6 2,699 Balance carried down

£79,587 £113,589 0 8

- Balance brought down 89 4 2 2,961 Balance carried forward to Balance Sheet 2,871 14 8

£2,961 £2,960 18 1 0

100

Revenue and Expenditure Account for the year ended 31st March, 196 3

1961/62 £ s. d . £ s. d . £78,345 Grant from the Arts Council of Great Britain 108,290 0 0 Cancellation of Guarantees and provisions for fees 356 and expenses in previous year not required 451 13 7 - Amount Transferred from Reserve for Capital Purchases 4,054 7 1 1 SundryReceipts : Interest on Deposit Account 656 11 6 Proceeds of $bid of Assets 7 0 0 Miscellaneous 40 3 6 886 703 15 0 - Balance carried down 89 4 2

£79,587 9113,589 0 8

262 Balance as at 1st April, 1962 2,960 18 1 0 2,699 Balance brought down - - -

£2,961 £2,960 18 1 0

10 1

The Council's Committee in Wales

Liabilities 1962 £ s. d . £ s. d . £ s. d . Capital Account Balance as at 31st March, 1962 10,584 3 4 Add Capital Expenditure during the year transferred from Revenue and Expenditure Account 9,420 0 1

20,004 3 5 Less Book Value of Assets sold and lost through damage : Office Equipment 100 7 0 Pictures 30 11 4 130 18 4 £10,584 19,873 5 1

7,395 Grants and Guarantees Outstanding 17,968 12 4 Credit Balances Sundry Creditors and Accrued Liabilities 1,737 17 9 Due to Headquarters 242 5 5 4,376 1,980 3 2 Reserve for Capital Purchases Balance as at 31st March, 1962 4,054 7 1 1 Plus Additional Reserve required as a t 31st March, 1963 1,860 17 6

5,915 5 5 Less Amount transferred to Revenue and Expenditure Account 4,054 7 1 1 4,055 1 9 860 17 6 Revenue and Expenditure Account 2,961 Balance as at 31st March, 1963 2,871 14 8 Note : No provision has been made for Depreciation of Assets : renewals are charged to Revenue.

£29,371 £44,554 12 9 I have examined the foregoing Account and Balance Sheet . I have obtaine d all the information and explanations that I have required and I certify, a s the result of my audit, that in my opinion this Account and Balance Shee t are properly drawn up so as to exhibit a true and fair view of the trans - actions of the Arts Council's Committee in Wales and of the state of their affairs . Signed : E . G . COMPTON, Comptroller and Auditor General. Exchequer and Audit Department . 14th August, 1963 .

102

Balance Sheet as at 31st March, 196 3

Assets

1962 £ s. d . £ s. d .

Office Equipment At cost as at 31st March, 1962 1,976 5 2 Additions at cost during year

Less items sold during year 100 7 0 £1,976 4,370 16 3 Motor Vans and Cars At ^ as at 3lst March, 1962 966 14 9 Additions at cost during year 2,490 19 10 967 3,457 14 7 Theatre Properties and Equipment At cost as at 31st March, 196 2 873 0 8 Additions at cost during yea r 625 1 10 873 1,498 2 6 Pictures and Sculptures At cost as at 31st March, 196 2 6,607 2 0 Additions at cost during yea r 1,256 10 0

7,863 12 0 Less items lost through damag e 30 11 4 6,607 7,833 0 8 Art Exhibition Equipmen t - At cost during yea r 2,552 10 4 Reproductions 161 At cos t 161 0 9 50 Loans to Associated and other Organisations 50 0 0 Debit Balances 1,051 Sundry Debtors and payments in advanc e 2,534 4 1 Cas h On Deposit Account 15,713 11 1 1 On Current Account 6,308 11 8 In hand 75 0 0 17,686 22,097 3 7

£29,371 £44,554 12 9

Chairman of the Welsh Committee : GWYN JONES Secretary-General : NIGEL J . ABERCROMBI E

103

The Council's Committee in Wales Schedule 1 General Expenditure on the Arts for the year ended 31st March, 1963

£ s. d . £ s. d . £ s . d . Music Opera Grants and Guarantees (See Schedule 3) 38,000 0 0 Directly Managed Performances : Opera for All : Gross Expenditur e 3,531 4 6 Less : Revenue 2,189 14 6 1,341 10 0 39,341 10 0 Other Activities Grants and Guarantees (See Schedule 3) 5,692 18 5 Directly Provided Concerts : Gross Expenditure 9,248 7 1 1 Less : Revenue 5,818 7 2 3,430 0 9 9,122 19 2

Drama Grants and Guarantees (See Schedule 3 ) 7,067 0 0 The Welsh Theatre Company : Gross Expenditure 21,911 17 10 Less : Revenu e 7,460 0 9 14,451 17 1 21,518 17 1

A rt Grants and Guarantees (See Schedule 3 ) 2,061 13 0 Exhibition Expense s 6,596 13 1 0 Less : Exhibition Fees and Catalogue Sales 1,486 0 8 5,110 13 2 Art Film s 267 0 0 Less : Art Film Fees and Catalogue Sales 203 15 0 63 5 0 Guide Lecturers' Fees and Expense s 38 11 0 7,274 2 2

Festivals Grants and Guarantees (See Schedule 3 ) 5,393 14 5

Poetry and Grants and Awards (See Schedule 3) 215 0 0 Literature Recitals 458 11 1 Less : Revenue 105 9 0 353 2 1 568 2 1

Net Expenditure transferred to Revenue and Expenditure Account £83,219 4 1 1

104 The Council's Committee in Wales General Operating Costs for the year ended Schedule 2 31st March, 1963

£ s . d. Salaries 9,569 1 1 Superannuation 648 6 8 Travelling and Subsistence 2,735 15 1 1 Rent, Rates and House Expenses 2,595 3 1 1 Publicity and Entertainment 1,457 4 0 Office and Sundry Expenses 2,0083 6 7

Transferred to Revenue and Expenditure Accoun t £19,088 18 2

Note: Endowment benefits due to members of the Pension Fun d are assured by Policies held by the Council .

105

The Council's Committee in Wales Schedule 3 Grants and Guarantees for the year ended 31st March, 196 3

£ s. d . £ s. d . Music Oper a tWelsh National Opera Company Limited 38,000 0 0 Other Activities tDirect Grants to Music and Arts Clubs for Concerts 3,316 17 3 tNational Federation of Music Clubs 970 0 0 tPromotion of New Music : Commission Fees 415 0 8 Barry and District Concerts Committee 374 0 6 Pembrokeshire Joint Concerts Committee 375 0 0 Rhyl Music Club 192 0 0 Guild for Promotion of Welsh Music 50 0 0 5,692 18 5

Drama Arena Theatre Company 750 0 0 Llangefni Drama Society 200 0 0 Guild of Welsh Playwrights 17 0 0 Cardiff Corporation : New Theatre 6,000 0 0 Neuadd Idris Art Society 100 0 0 7,067 0 0

Art Society for Education through Art 192 2 0 Anglesey Art Societies 50 0 0 North Wales Group 50 0 0 Merioneth Artists Society 25 0 0 South Wales Group 50 0 0 Swansea Art Society 25 0 0 Glynn Vivian Art Gallery 19 11 0 tLlanelly Art Society 25 0 0 Contemporary Art Society for Wales 200 0 0 Powys Fine Arts Association 200 0 0 "56" Group 100 0 0 University College : Bangor 1,000 0 0 Neuadd Idris Art Society 75 0 0 Aberystwyth Students Arts Festival 50 0 0 2,061 13 0

Festivals Llangollen International Music Festival 500 0 0 Llantilio Crossenny Festival of Music and Drama 75 0 0 Anglesey Music Festival 160 0 0 Dee and Clwyd Festival of Music 200 0 0 Caerphilly Festival of the Arts 75 0 0 Montgomery County Music Festival 600 0 0 Brecknock County Festival of Music 150 7 8 Llandaff Festival 1,000 0 0 Swansea Festival of Music and the Arts 1,250 0 0 Merioneth County Music Festival 20 0 0 Bangor Arts Festival 40 0 0

Carried forward £56,891 19 1

tMaximum commitments are given, not necessarily the amounts pai d

106

£ s. d. £ s . d. Brought forward 56,891 19 1 South Wales Combined Choirs Festival 399 2 3 Garthewin Drama Festival 299 4 6 International Drama Festival 150 0 0 Swansea Welsh Drama Festival 100 0 0 Anglesey Welsh Drama Festival 350 0 0 Drama Council of Wales (One Act Playwriting Festival) 25 0 0 5,393 14 5

Poetry and Anglo Welsh Review 100 0 0 Literature Yr Academi Cymreig 100 0 0 Merioneth Rural Community Council (Poetry Recital) 15 0 0 215 0 0

£58,430 5 1 0

107

Appendix D Drama Grants and Guarantees for the year ended 31st March, 1963

New Designers Revenue Grant and Capital New Transport Travel Grants Guarantee Expenditure Drama Subsidies for Producers Total £ e . d . £ s . d. £ e. d . £ s . d. £ s . d . £ s. d.

Barrow-in-Furness : Renaissance Theatre Trust Co . Ltd. 12,500 0 0 250 0 0 1100 0 0 2,850 0 0 Birmingham Repertory Theatre Ltd. 14,000 0 0 162 15 1 250 0 0 14,312 15 1 O 0 0 232 0 0 296 0 0 00 Birmingham : Alexandra Theatre (Birmingham) Ltd . 64 Bristol : Old Vic Trust Ltd . 14,000 0 0 1250 0 0 1150 0 0 170 0 0 14,570 0 0 Bromley Productions Ltd. t1,000 0 0 69 5 4 1,069 5 4 Cambridge Arts Theatre Trus t tl,250 0 0 1,250 0 0 Canterbury Theatre Trust Ltd . 14,000 0 0 t200 0 0 4,200 0 0 Carlisle Theatre Trust Ltd . 4,000 0 0 1500 0 0 t300 0 0 4,800 0 0 Centre 42 Ltd. 200 0 0 200 0 0 Cheltenham Everyman Theatre Co. Ltd . 5,500 0 0 275 0 0 1280 0 0 240 0 0 6,295 0 0 3,100 0 0 Chesterfield Civic Theatre Ltd . 3,000 0 0 t100 0 0 Chichester Festival Theatre Trust Ltd. 4,000 0 0 6,000 0 0 10,000 0 0 Colchester Repertory Co. Ltd . t4,500 0 0 1275 0 0 t700 0 0 5,475 0 0 15,025 0 0 Coventry : Belgrade Theatre Trust (Coventry) Ltd . 14,000 0 0 250 0 0 1775 0 0 Croydon : New Pembroke Theatre (Croydon) Ltd . 1,000 0 0 1450 0 0 1,450 0 0 Derby Playhouse Ltd. 4,000 0 0 750 0 0 364 12 10 5,114 12 1 0 Farnham Repertory Co. Ltd . 1,500 0 0 1,095 0 0 2,595 0 0 Guildford Theatre Club Ltd . 16,000 0 0 538 17 1 142 17 6 6,681 14 7

Guildford : Yvonne Arnaud Theatre Trust 5,000 0 0 5,000 0 0 Harrogate (White Rose) Theatre Trust Ltd. 12,000 0 0 1300 0 0 2,300 0 0 Hornehurch Theatre Trust Ltd . 5,000 0 0 5,000 0 0 Ipswich Arts Theatre Trust 5,500 0 0 200 0 0 5,700 0 0 Leatherhead Repertory Co. Ltd . t5,000 0 0 500 0 0 1250 0 0 5,750 0 0 Leicester Theatre Society 1,000 0 0 1,000 0 0 Lincoln Theatre Association Ltd . 6,500 0 0 13,000 0 0 1500 0 0 10,000 0 0 Liverpool Repertory Theatre Ltd . 5,000 0 0 250 0 0 5,250 0 0

London:

English Stage Co . Ltd. t20,000 0 0 416 0 0 20,416 0 0 Hovenden Players Ltd . 150 0 0 150 0 0 Mermaid Theatre Trust 17,000 0 0 200 0 0 7,200 0 0 Old Vic Trust Ltd . 83,000 0 0 83,000 0 0 Pioneer Theatre Ltd . (Theatre Workshop) 13,000 0 0 240 0 0 3,240 0 0 Loughborough and District Theatre Association Ltd. 1,500 0 0 1,500 0 0 Northampton Repertory Players Ltd . 5,500 0 0 599 11 5 275 0 0 6,374 11 5 Nottingham Theatre Trust Ltd 14,000 0 0 200 0 0 1550 0 0 145 0 0 14,895 0 0 Oldham Repertory Theatre Club 12,000 0 0 2,000 0 0 Oxford : Meadow Players Ltd . 12,000 0 0 200 0 0 224 0 0 12,424 0 0 Oxford : University Playhouse Reconstruction Appeal 5,000 0 0 5,000 0 0 Richmond Theatre Productions Ltd . t1,000 0 0 t200 0 0 1,200 0 0 Salisbury Arts Theatre Ltd . 15,000 0 0 12,000 0 0 1750 0 0 7,750 0 0 Sheffield Repertory Co . Ltd . 15,000 0 0 1,000 0 0 250 0 0 6,250 0 0 Windsor Repertory Co . : Capoco Ltd. 1,000 0 0 1,000 0 0 York Citizens' Theatre Trust Ltd. 12,000 0 0 1150 0 0 2,150 0 0 Touring :

Century Theatre Ltd . 13,500 0 0 1250 0 0 3,750 0 0 Mobile Theatre Ltd . 1,000 0 0 1,000 0 0 Prospect Productions Ltd . 300 0 0 300 0 0 Royal Shakespeare Theatre 10,000 0 0 10,000 0 0 ON Studio Theatre Ltd . (Theatre in the Round) 4,500 0 0 225 19 9 175 3 8 4,901 3 5 The British Centre of the International Theatre Institute 250 0 0 250 0 0 Council of Repertory Theatres 350 0 0 350 0 0 Travel Grants for Producers 300 0 0 300 0 0 New Drama Bursaries and Expenses 1,207 0 0 1,207 0 0

9288,600 0 0 £30,000 0 0 £6,630 16 10 £7,969 5 10 0,692 0 0 035,892 2 8

tMaximum commitments are given, not necessarily the amounts paid .

Arts Council Exhibitions Appendix E held in Great Britain during the perio d April 1962-March 1963

England Paintings, Drawings and Sculpture, etc . Ancient Peruvian Art Jean Arp British Self Portraits c.1580-1860 British Self Portraits from Sickert to the present da y Alexander Calder: sculpture, mobiles S Cartoon and Caricature from Hogarth to Hoffnun g W William Coldstream Construction England WS Contemporary British Sculpture 196 2 Diploma and other pictures from the collection of the Royal Academ y Drawings of the Camden Town Group W Drawing Towards Painting WS Ecole de Paris J. D . Fergusson 1874-1961 Five Thousand Years of Egyptian Art Hawk moor S Sonja Henie-Niels Onstad Collection Kokoschka London Group 1962 : a selection from the annual exhibitio n Modern Spanish Paintin g E Modern Stained Glas s Henry Moore : an exhibition of sculpture and drawings W John Opie 1761-180 7 S Paintings from the Bowes Museu m Lucien Pissarro 1863-194 4 Recent Australian Painting S Situation : an exhibition of recent British abstract art S Keith Vaughan : a selection from the exhibition held at the Whitechapel Gallery i n March-April 196 2 Victorian Paintings W Young Contemporaries 196 2

Exhibitions formed from the Arts Council Collectio n The Arts Council as Patron : a selection of paintings purchased 1957-196 2 British Drawings before 194 5 British Drawings 1945-196 0 W British Painting before 1940 British Painting 1940-194 9 S British Painting 1950-195 7 E New Painting 58-6 1 Recent Trends in Painting Sculpture and Sculptors' Drawing s

110 Graphic Arts, Books, Design, etc. Contemporary Japanese Print s Hanoverian in Caricature Recent British Graphic Art Stage Design in Great Britain since 194 5

Exhibitions formed from the Arts Council Collectio n British Etchings 1860-196 0 W Contemporary British Lithographs Contemporary Foreign Lithograph s W Contemporary Print s Designs for opera and ballet at Covent Garde n Designs for the Theatre Foreign Etchings 1890-196 0

Reproductions and Photographs W Abstract Ar t WS Architecture Today Art of Drawing . Part 1 : Italian Schoo l Art of Drawing . Part 2 : French Schoo l W Art of Drawing . Part 3 : English, Dutch, Flemish and German School s Art of the Sculpto r Georges Braque W Paul C6zanne Edgar Dega s W Ecole de Pari s W English Art W Paul Gauguin W Wassily Kandinsky W Paul Klee Landscape for Living : an exhibition of landscape architecture W Landscape in Art . Part 1 : Up to Impressionism W Landscape in Art . Part 2 : After Impressionism W Henri Matiss e W Joan Miro Modem German Painting 1900-196 0 Modem Gouaches and Watercolours W Pablo Picasso. Part 1 : 1900-192 5 W Pablo Picasso. Part 2 : 1925-1960 Portrait s W Rembrandt and his Contemporarie s Reproductions of Portrait s Les Sources du Vingtieme Siicle Still Life W Henri de Toulouse-Lautre c W Vincent van Gog h

NOTE : W Also exhibited in Wales S Also exhibited in Scotlan d E Also exhibited in Eire April 1st, 1962, to March 31st, 196 3 80 exhibitions were held in 198 separate buildings in 142 different centres (392 showings , including 15 exhibitions held in the Arts Council, National Gallery, the Royal Academy and the Tate Gallery) . Included in the above are 38 showings held in Wales, in 23 separate buildings in 1 7 different centres, 9 showings held in 7 separate buildings in 4 different centres in Scotlan d and 2 showings in 1 building and 1 centre in Eire .

111 Scotland Contemporary Scottish Painting s J . D. Fergusson Memorial Exhibitio n Figures in Costume-Fact and Fantas y The Jubilee of the Dovecot Tapestries Leaded, Concreted and Sand-blasted Glas s Allan Ramsay and his Circle Sculpture and Drawings by Bernard Schotz A Selection from the 1962 exhibition of the Society of Scottish Artists Sport in Scotland Watercolours and Drawings by Contemporary Scottish Artists 19 exhibitions (including 9 from England) were held in 28 buildings in 18 centres (4 1 showings in all) .

Wales The Arts Council Welsh Collection British Art and the Modem Movement, 1930-4 0 Epstein Impressionis m Two Artists of West Wale s Welsh Painting and Sculpture

33 exhibitions (including 27 from England) were held in 52 buildings at 42 centres (7 2 showings in all) .

Eire Arts Council Collection : New Painting 1958-1961 Modem Stained Glass (1 showing only of each)

112

List of Works Performed Appendix F during the 1962/63 Season, by Societies affiliated t o the National Federation of Music Societies.

N .B . Where the work was performed more than once, the number of performance s is shown in italics.

A . Orchestral ABEL, Karl GOUNOD I . Symphony in E flat Little Symphony for Wind Symphonie s BACH, J. C. HAYD N Symphony in B flat, Opus 18, No . 2 No. 45-Farewell (2) BALAKIREV No. 49-Passion Symphony in C No. 85-The Queen BEETHOVEN No. 88 in G No . 1 in C (2) No. 94-The Surprise No . 2 in D No. 99 in E flat (3) No . 3 in E flat-Eroica (4) No. 100-The Military (3) No . 4 in B flat No. 102 in B flat No . 5 in C minor (4) No. 103-The Drum Rol l No . 6 in F-Pastoral (4) No. 104-The London (3 ) No . 7 in A (3) Toy Symphony No . 8 in F (6) MAHLER No . 9 in D minor-Choral (3) No . 4 (2) BERLIOZ Adagietto from No . 5 Symphonie Fantastique (2) MENDELSSOHN BIZET No . 3-Scottis h No. 1 in C (4) No . 4-Italian (5) BORODIN MOZART No. 2 in B minor (4) No . 29 in A major (2) BRAHMS No . 31-Pari s No. 1 in C minor (4) No . 32 in G major No . 2 in D (6) No . 35-Haffner No . 3 in F (3) No . 36-Lin z No . 4 in E minor (2) No. 38-Prague (2) BRITTEN No. 39 in E flat (2) Simple Symphony No. 40 in G minor (5) BRUCKNER No. 41-Jupiter No . 1 in C minor RICHTER, Franz DVORAK Sinfoni e No . 2 in D minor (5) SCHUBERT No . 4 in G (5) No . 3 in D (3) No . 5 in E minor (7) No . 4-The Tragic (2) FRANCK No . 5 in B flat (5 ) Symphony in D minor (4) No . 6 in C (3 ) GILLIS, Don No . 7-The Great C major (3 ) Symphony No. 5i No . 8-The Unfinished (9)

11 3 SCHUMANN No. 2 in D (3) No . 1-Spring (2) No . 5 in E flat (1) No. 2 in C TCHAIKOVSK Y No. 3-Rhenish No . 2 in C minor No. 4 in D minor (3 ) No . 4 in F minor (3 ) SHOSTAKOVITC H No . 5 in E minor (4 ) No. 1 No . 6-The Pathetic SIBELIUS VAUGHAN WILLIAM S No. 1 in E minor (2) No . 5 in D (2)

II ARNOLD DOHNANY I Concertos Flute Concert o Variations on a Nursery Song BACH, J . S . DUPRE, Marcel other works for Brandenburg Concerto No . 1 in F (1) Organ Concerto Solo Instruments No . 2 in F (3 ) DVORAK with Orchestra No . 3 in G Cello Concerto (2 ) No . 4 in G F,LGA R No . 5 in D (2) Cello Concerto in E minor (6) Piano Concerto No . 1 in D minor (2 ) Violin Concerto in B minor (1 ) Concerto for 2 Pianos in C minor (2 ) FRANCK Concerto for 2 Violins in D minor (3) Symphonic Variations (2) Suite No . 2 in B minor (3) GABRIEL I BEETHOVEN Sonata Pian a Fort e Piano Concerto No. 1 in C (5 ) GARTH No . 2 in B flat Cello Concert o No. 3 in C minor (2) GERSHWIN No. 4 in G (8 ) Piano Concert o No. 5 in E flat (7 ) GRIE G Violin Concerto in D (6) Piano Concerto in A minor (3) Triple Concerto (2) HANDE L Romance in F for Violin an d Organ Concerto in G minor (2) Orchestra (2) Oboe Concert o BOCCHERIN I Piano Concerto in B flat Cello Concerto BRAHM S HAYDN Piano Concerto No . 2 in B flat (3 ) Symphonie Concertante for Oboe, Bassoon, Violin and Cello (2 Violin Concerto in D (5 ) ) Double Concerto for Violin and HINDEMIT H Cello in A minor (6 ) Trauermusik-Viola and String s BRUCH HOLS T Kol Nidrei for Cello and Orchestr a Fugal Concert o Violin Concerto in G minor (4 ) IBERT BUSH, Geoffrey Flute Concert o Concerto for Oboe and String s JACOB, Gordon CASTELNUOVO-TEDESC O Bassoon Concerto Guitar Concert o Oboe Concerto CHOPI N LECLAIR Piano Concerto No . 2 in F minor Flute Concerto CLARKE, Jeremiah LIPKIN, Malcolm Trumpet Voluntary (2) Violin Concerto

114 LISZ T NICHOLSON, Ralph Piano Concerto No. 1 in E flat Bassoon Concerto Oboe Concert o LEIGH, Walter PERGOLESI Concertino for Pian o Concertino LITOLFF QUANTZ Scherzo from Concerto Symphonique Flute Concerto MANEN RACHMANINOV Chanson et Etude for Violin and String s Piano Concerto No . 2 (12) MARCELL O Piano Concerto No . 3 Oboe Concerto Rhapsody on a Theme of Paganini REGE R MARTIN, Frank Piano Concert o Petite Symphonic Concertante SAINT-SAEN S MENDELSSOHN Le Carnival des Animaux (2 ) Concerto for 2 Pianos Piano Concerto No. 2 Violin Concerto in E minor (4) SCHUMANN MOZAR T Piano Concerto in A minor Piano Concerto No . 12 in A major Concertstucke for 4 Solo Horns No . 14 in E fla t Introduction and Allegro Appassionata fo r No . 15 in B flat Piano and Orchestra No . 23 in A majo r STRAUSS, Richard No . 24 in C minor (4) Oboe Concerto (1 ) No. 27 in B. flat STILES, Fran k Concerto for 2 Pianos in E flat Viola Concert o Concerto for Flute and Harp (2 ) TCHAIKOVSKY Bassoon Concerto (3) Piano Concerto No . 1 (5 ) Clarinet Concerto (6) Variations on a Rococo Them e Horn Concertos-Various (5 ) Violin Concerto in D (2) Oboe Concerto (1 ) TELEMA N Violin Concerto No . 2 in D Viola Concerto No. 4 in D (2 ) VAUGHAN WILLIAM S Sinfonia Concertante for Violin and Viola Five Variants of Dives and Lazarus Sinfonia Concertante for Oboe, Clarinet , The Lark Ascending Bassoon and Horn WEBER Concert Rondo for Horn and Orchestra Horn Concertino

ARNOLD BLISS III English Dances-Set 1 (2 ) Checkmate : Ballet Suite (2 ) Suites Dances from "Solitaire " BLYTO N Little Suite for Orchestra (3 ) Suite : Cinque Port BAC H BUTTERWORTH Suite No . 3 in D (4) Suite for String Orchestra Suite No . 4 in D (2) CHABRIER BARTO K Suite Pastorale Seven Rumanian Folk Dance s DELIBES BERKELEY, Lenno x Ballet Suite : La Source Nelson Suite Ballet Suite : Sylvia (4) BINGE, Ronald DVORAK Elizabethan Suite Czech Suite

115

EISLER LAWES, Henry Suite Suite from "Comus" ELGAR MUFFAT Wand of Youth Suite I (2) Orchestral Suite Wand of Youth Suite 1I NIELSEN FAURE Little Suite in A minor Dolly Suite PITFIELD FOLDES, Andor Suite of North Country Tunes (2) Little Suite PURCELL FOSTER Dido and Aenea s Suite on English Folk Airs From the Dramatick Musick GRIEG Holberg Suite (3) RAVEL Fountains of Rome Peer Gynt Suite No . 1 (2) HANDEL Le Tombeau de Couperin Amaryllis RIMSKY-KORSAKO V The Faithful Shepherd (2) Le Coq d'Or-Shortened version The Gods go a-begging Scheherazade-Part III only The Royal Fireworks (2) SCARLATT I The Water Music (5) The Good Humoured Ladie s HOLST SEIBE R The Planets (3) Besardo Suite No. 11 (2 ) St . Paul's Suite (5) SIBELIU S Suite in E flat, Opus 10 (2) Karelia Suite JACOB STRAVINSKY Essex Suite for Strings (1st Per£) Suite for Orchestra No . 1 Old Wine in New Bottles Suite for Orchestra No. 2 William Byrd Suit e JERVOISE CLERKE TCHAIKOVSKY Ballet Suite : La Chasse Casae Noisette (3) KABALEVSKY Swan Lake (4) The Comedians WALTON KHACHATURIAN Facade Suite No . 1 (3) Waltz from Masquerade Suite The Wise Virgin s LARSSON WARLOC K Pastoral Suite Capriol Suite (2)

IV ADAM BERLIOZ Overtures Si J'6tais Roi Benvenuto Cellini ANSELL Carnaval Romain (4) Plymouth Hoe Les Francs Juge s ARNOLD BORODIN Tam 0' Shanter (2) Prince Igor (2 ) BEETHOVEN BOYC E Coriolanus (5) Overtur e Egmont (7) BRAHM S Fidelio (3) Academic Festival Overture (4) Leonora No. 3 Tragic Overture Prometheus (3) BRUCKNE R Consecration of the House Overture in G minor

11 6

CHERUBINI NICOLAI The Water Carrier s The Merry Wives of Windsor CIMAROSA OFFENBACH The Secret Marriage Orpheus in the Underworld (2) COLERIDGE-TAYLO R QUILTER A Christmas Overtur e A Children's Overtur e DONIZETT I Don Pasquale ROSSIN I Linda di Chamounix The Barber of Seville (2) DVORA K La Cenerentola (2) I1 Signor Bruschino (3) Carnaval Overture (4) ELGA R The Italian Girl in Algiers ) Cockaigne (2) The Silken Ladder (6 FENB Y Tancredi Rossini on Ilkley Moor Turk in Italy GLINKA Semiramid e Russlan and Ludmilla S d INT-SAEN S HANDEL La Princesse Jaune Occasional Overture SCHUBERT Overture in D minor In D in the Italian Style (2) Ptolemy Rosamunde (2 ) Theodora SMETANA HAWES, J . R . The Bartered Bride Concert Overture (1st Performance) HUMPERDINC K STRAUSS, J. Hansel and Gretel Die Fledermaus (4) IRELAND SULLIVAN A London Overture Di Ballo (2) KELA-BEL A TCHAIKOVSKY A French Comed y Romeo and Juliet (6) MEHUL VAUGHAN WILLIAMS La Chasse du Jean Henri The Wasps (2 ) MENDELSSOH N VERD I A Calm Sea and A Prosperous Voyage (2 ) La Forza del Destino (3) Fingal's Cave-The Hebrides (2) The Fair Melusine WAGNE R Ruy Blas The Mastersingers (6) MOZART Tannhause r Cosi fan Tutte WEBE R Don Giovanni Abu Hassan Il Seraglio Euryanthe (4) Impresari o Der Freischutz (4 ) The Magic Flute (4) Oberon (4 ) Titus Peter Schmol l

ALBINONI ARENSKY V Sonata for Strings Variations on a Theme of Tchaikovsky Miscellaneous ALV.YN, William BACH Suite of Scottish Dances (2) Prelude and Fuge in A minor

117 Sinfonia for Double Orchestr a Prelude a 1'Apresmidi d'un Faun e BARBER DELIUS Adagio for Strings (5) Fenimore and Gerda: Intermezzo (2) Buckaroo Holiday Koanga : La Calinda (2) Elegy A Song Before Sunrise BARTOK On Hearing the First Cuckoo in Spring (9 ) Divertimento Summer Night on the River (3 ) Hungarian Sketche s The Walk to the Paradise Garden (5 ) BEETHOVEN DODGSON, Stephen Ballet Music from Prometheus Villanelle (2 ) BERKELEY DOWLAND Divertimento in B fla t Lachrima e Four Poems of St . Teresa of Avila (2 ) DVORA K BIZET Nocturne in B Opus 4 0 Prelude to Carmen Serenade Opus 22 (3) Suites : Jeux d'Enfants (3) Slavonic Dances (4 ) L'Arlesienne (4 ) Symphonic Variations Op . 7 8 BLIS S ELGAR Welcome to the Queen Carillon BLOC H Enigma Variations (4) Concerto Grosso (2) Introduction and Allegro (3) BOCCHERIN I Serenade Opus 20 (5) Quintet FALLA BORODIN Nights in the Gardens of Spain (2) Polovstian Dances (2 ) FAURE BRAHMS Pavan e Serenade in D Pelleas et Melisande : Incidental Musi c Variations on a Theme of Haydn Masques et Bergamasque s BRITTE N ) FINZ I Soirees Musicales-Rossini-Britten (4 Dies Natali s Variations on a Theme of Frank Bridg e a ) Introit for Orchestr Serenade for Tenor, Horn and Strings (2 Prelude The Young Person's Guide to the Orchestr a (2) FLETCHER s BROUGHTON Rustic Revel Three Folk Dances GANNE BURKHARD, Willy Marche Lorraine Toccata for Strings GEMINIANI BUTTERWORTH Concerto Grosso in C minor A Shropshire Lad : Rhapsody (2) GOEHR, A BERLIO Z Japanese Lyrics Marche Hongroise (2) GOUNO D CANNON Faust-Ballet Music Symphonic Study: Sprin g GRAENE R CHABRIER Die Flote von Sanssouci Joyeuse Marche GRAINGER Rhapsody: Espana Clog Dance-Handel in the Stran d CORELLI GRIE G Concerto Grosso Op. 6 No. 8 (2 ) Two Elegiac Melodies DEBUSSY HALVORSEN Danse Sacree et Danse Profane (2) Entry of the Boyards

118

HANDEL MOZAR T Concerto Grosso (4) Divertimenti : In D major (4 ) Entry of the Queen of Sheba (2) Eine Kleine Nachtmusik (3) Trio in G minor Pantalon and Colombin e HINDEMITH Serenade K. 20 3 Five Pieces for String Orchestra Serenta Notturn a String Pieces Set No. 2 MUNCHASTER HOLST Two Creations for String Orchestra A Somerset Rhapsody MURRIL Scherzo L Country Dances IBERT Divertimento MUSSORGSKY IRELAND Pictures at an Exhibitio n Concertino Pastorale Gopak from " Sorochintsy Fair" JACOB PACHELBE:L Fantasia on the Alleluia Hymn Chaconne Passacaglia on a Wcll-Kno-,~n Theiue PALMER JOHNSTONE, Maurice Denne Welsh Rhapsody PONCHIELLI KODALY Dance of the Hours Variations on a Hungarian Folk-Son g PROKOVIEV KOMAZ Peter and the Wolf (4 Two Pieces ) LALO PURCEL L Two Aubades Chacony in G mino r Symphonie Espagnole RESPIGH I LAMBERT Ancient Airs and Dance s Aubade Heroique RIMSKY-KORSAKO V LEIGHTON Capriccio Espagnole (3) Nocturne Polonaise from "Christmas Night" LEONCAVALLO RUBBRA Selection from "Pagliacci" Moving Wate r LISZ T Les Preludes SAINT-SAENS MAHLER Le Rouet d'Omphale Lieder Einer Fahrenden Gesellen Danse Macabr e MAINE, Basil SCHUBERT Concert March and Waltz Ballet Music: Rosamunde (2 ) MASCAGNI SCHOENBERG Excerpts : Cavalleria Rusticana Music for a Film Scen e MASSENET Pelleas and Mellisande March from "Le Cid" SIBELIUS MENDELSSOHN Valse Trist e Incidental Music-Midsummer Night's STANFORD Dream Irish Rhapsody No . 1 MILHAUD La Creation du Monde STRAUSS, Johan n Scaramouche Concert Walt z MOERAN Emperor Walt z Whythorne's Shadow STRAUSS, Richard MOSKOWSKI Alte Wiener Reigem Prelude and Fuge Rosenkavalier Waltzes-1st series (1)

11 9 STRAVINSKY Job Apollon Musagete The Lark Ascending Ode VINTER, Gilbert Orpheus Hunters Moon (1 ) The Firebird VILLA-LOBOS Symphony in C Little Train of the Cadir a SU K WAGNE R Serenade for String s Lohengrin-Prelude and Introduction t o TCHAIKOVSK Y Act III (6 ) March from Tannhauser Andante Cantabile Serenade for Strings (2) Siegfried Idyll WALTON Slavonic March Opus 3 1 March-Crown Imperial TIPPETT Music for Childre n Concerto for Double String Orch . (2) WIREN, Dag TURINA Serenade Opus II (3) La Oracion del Tore o WOLF-FERRARI VAUGHAN WILLIAM S Serenade for Strings Concerto Grosso for String s WOOD, Haydn Folk Songs of the Four Seasons Three Dale Dance s

B. Choral

BACH, J . S . Missa Solennis in D (5) Cantatas-Sacred, 6, 11, 22, 28, 31, 34, 39, BERGER 55, 57, 61, 65, 72, 79, 80, 85, 106, 109, 110, Brazilian Psalm (5 ) 140, 150, 159, 191 (30 ) BERLIOZ Cantatas-Secula r The Childhood of Christ (3) Coffe e Part only (2) Peasant (5 ) BIZET Christmas Oratorio (18 ) Carmen-Concert version (5) Parts I and II (4) Excerpts (1) Parts III and IV (2 ) BLISS Magnificat (7 ) Pastoral (7) Mass in B minor (15) The Beatitudes (2 ) Psalm 12 1 BLOCH Motets - Sacred Servic e Be not afrai d BORODI N Come, Jesu, come Polovstian Dances-Prince Igor (7 ) Jesu, Priceless Treasure (5) BOULANGER, Nadia Sing ye to the Lord (2) Three Psalms The Spirit also helpeth u s BRAHM S St . John Passion (33) Alto Rhapsody (3 ) St . Matthew Passion (28) Liebeslieder (3) BALF E Requiem (22) The Bohemian Girl Zigeunerliede r BAX Song of Destin y The Morning Watc h BRITTE N BEETHOVEN A Boy was born Choral Fantasia Cantata Academica (2 ) Mass in C (3) A Ceremony of Carols (7 )

120 Five Flower Song s Sweet Thames, run softly Gloriana-Choral Dance s ELGA R Hymn to St. Cecilia (2 ) The Apostles (3) Hymn to the Virgin The Dream of Gerontius (11) Jubilate De o From the Bavarian Highlands (5) Rejoice in the Lamb (6) The Kingdom (2) Spring Symphony The Music Makers (4) St. Nicolas (12) O Wild West Wind Te Deum (2 ) FAUR E BRUCKNE R Requiem (21) Te Deum (3 ) FERGUSON, Howard BUSH, Alan Amore Langue o The Winter Journey (2 ) FINZ I BUSH, Geoffre y Dies Natali s Christmas Cantata (4) For St. Cecilia (2 ) In Praise of Mary In Terra Pax (2) Twelfth Night Magnificat BYRD GABRIEL I Magnificat and Nunc Dimittis from "Th e Magnificat Great Service" GERMAN CASHMORE, Donal d Merrie England-Concert version (9 ) This Child Behold Tom Jones-Concert version (2) CHERUBINI GIBB S Mass in C The Highwayman Requiem Mass in C minor (3 ) The Turning Yea r COLERIDGE-TAYLO R GOMBERT, Nicolas Hiawath a Motet-In illo tempore (1540 ) Hiawatha's Wedding Feast (3) HADLEY, Patrick Hiawatha's Departure Fen and Floo d COPLAND, Aaro n My Beloved Spake In the Beginning HANDE L CRUFT, Adrian Acis and Galatea (12) Passiontide Carol Alexander's Feas t DALLAPICCOLA Apollo and Daphn e Canti di Prigionia (2 ) Belshazzar DEBUSSY Dettingen Te Deum (2 ) The Blessed Damozel Israel in Egyp t DELIU S Jephth a Appalachia (2) Judas Maccabeus (5) Sea Drift (2 ) Messiah (84) DIXON, J . H. R . Parts I or I and II only (7 ) Panis Vitae O come, let us sin g DURUFLE O Praise the Lord (3) Requiem (2 ) St . Cecilia's Day (2) DVORAK Samson (6) Requiem (2 ) Sau l Stabat Mater (5) Semele (5 ) Te Deum in G (4) Solomon (2) DYSON Theodora (2) Agincourt Zadok the Priest (6) The Canterbury Pilgrims (5 ) HARRISON, Juliu s Hierusalem Mass in C

121 HARTY MENDELSSOHN The Mystic Trumpeter Come, let us sing-Psalm 95 (2) HAYDN Elijah (21 ) The Creation (18) Hymn of Praise (6) Part only (6) St. Paul (5) Mass in B flat-Theresien (7) Psalm 11 4 Mass in C-In tempore belli MILNER, Anthony Mass in D minor-Imperial (5) City of Desolation The Seasons (5) Salutatio Angelica Part II and III only (1) MONTEVERDE Te Deum Magniflcat HEWITT-JONES, Tony Vespers 161 0 Seven Sea Poems MOZAR T HOLST Mass in C-Coronation (2 ) Christmas Day Mass in C minor (2) The Hymn of Jesus (4) Requiem (15 ) King Estmere Vesperae Solemnes de Confessore Rig Veda OFFENBAC H Two Psalms (86 and 148) Tales of Hoffmann (2) Psalm 148 ORR, Robin HOPKINS, Antony Spring Cantata Carillon PALESTRINA HONEGGER Stabat Mater (3) King David (3) PARRY HOWELLS Blest Pair of Sirens (17) Hymnus Paradisi Coronation Anthem-"I Was Glad " King of Glory Never Weather-Beaten Sail JACOB The Pied Piper of Hamelin Highways PERGOLES I Laudate Dominum Stabat Mater The Newborn King PIZZETT I The Nun's Priest's Tale (2) Requiem JACOBSON POULENC A Cotswold Romance:(2) Gloria JENKINS, Cyril Motet The Yam of Loch Achray (2) Christmas Motets JOUBERT PUCCINI Te Deum Messa di Gloria (2 ) KODALY PURCELL Missa Brevis (4) Come, ye sons of Art Pangue Lingue Dido and Aeneas (2) Psalmus Hungaricus (3) The Masque in Dioclesian (3) LAMBERT The Fairy Queen Rio Grande (5) King Arthur (2) LE FLEMING, Christopher Ode on St. Cecilia's Day (3 ) Five Psalms Te Deum in D The Valley of Arun (2) 0 Sing unto the Lord LEIGHTON, Kenneth RAMEA U Cmcifixus Pro Nobis In Convertendo LLOYD, William RATCLIFFE-SWINYAR D Fen and Flood Bethlehem's Babe

12 2 ROSSINI SZYMANOWSK I Petite Messe Solennelle (6) Stabat Mater Stabat Mater (2) THIMAN, Eric RUBBRA The High Tid e Song of the Soul The Nativity SANDERS, E Songs of England (2) Festival Te Deum A Spring Garland 100th Psalm TIPPETT SCARLATTI A Child of our Time (2) Mass in D VAUGHAN WILLIAMS Stabat Mater (2) Benedicite (8) SCHUBERT Dona Nobis Pacem (3) Mass in A flat (2) Fantasia on Christmas Carols (5) Mass in E flat (2) Five Mystical Songs (3 ) Mass in G Hodie (3 ) 23rd Psalm (2) In Windsor Forest (5) Song of Miriam Jubilate Song of the Spirits (2) Mass in G minor (3) Spring (2) A Pilgrim's Journe y SCHUETZ Sancta Civita s ) The Christmas Story (3) A Sea Symphony (7 St . Matthew Passion Serenade to Music (4 ) SEIBER A Song of Thanksgiving (3) Yugoslav Folk Songs Three Choral Hymns Toward the Unknown Region (6 ) SHAW, Geoffrey VERDI Shakespeare Songs Aida-Concert Version (6) SMETANA Nabucco-Concert Version (3) The Bartered Bride (11) Excerpts only (1) STANFORD t equiem MagniScat (2) RStabaVIVALDMateer Songs of the Fleet (6) IVA I Songs of the Sea (3) Gloria (6) STRAUSS, J . WALTON Die Fledermaus (2) Belshazzar's Feast (3 ) STRAVINSKY Coronation Te Deum (3) Mass Gloria (1 ) Symphony of Psalms WARLOCK, Peter Paternoster and Ave Maria Three Carol s SULLIVAN WHITNALL, Albert The Golden Legend (2) Easter Story

12 3

A rt Catalogues 3s. 6d. Modighani postage 6d. 1963. Introduction by John Russell. Chronology . 23 pp. 32 ill . including 7 in colour. Chaim Soutine 1893-1943 3S. 6d. 1963. Introduction by David Sylvester . Biographical Note. 27 pp. 32 ill. including postage 6d. 7 in colour . Opus Anglicanum 7S. 6d. 1963. Introduction and catalogue by Donald King, Deputy Keeper of Textiles at th e postage 8d. Victoria and Albert Museum . 64 pp . 27 ill. including 3 in colour . Ivon Hitchens 10s. A retrospective exhibition. 1963. Introduction by Alan Bowness. Biography. Select postage 8d. Bibliography . 64 pp. 60 ill . including 25 in colour. George Grosz 1893-1959 4S . 6d. 1963. Introduction by Hans Hess . George Grosz. Instead of a Biography, by Georg e postage 5d. Grosz, translated by Hans Hess. 30 pp . 12 ill. Kokoschka 1962. Paintings, Drawings, Prints, Stage Designs and Books . Introduction by E . H. 7s. 6d. Gombrich. Kokoschka as a Graphic Artist, by Fritz Novotny . The Poetry of Kokoschka, by Hans Maria Wingler. Chronology . Short Bibliography. 120 pp . 75 ill . including 3 i n ppostage 9d. colour and 3 in the text. William Coldstrea m 5s. 1962 . Introduction by Lawrence Gowing . Coldstream and the Sitter, by Adrian Stokes. postage 5d. 24 pp . 28 ill . Lucien Pissarro 3S. 6d. 1963 . A centenary exhibition of paintings, watercolours, drawings and graphic work . postage 4d. Introduction by Ronald Pickvance. 16 pp . 8 ill . Elias Martin 1739-1818 1 963 . An exhibition organised by the Arts Council in co-operation with the National 4S . Museum and the Swedish Institute for Cultural Relations, Stockholm . Introduction. postage 5d. Chronology . 46 pp . 15 ill. 5,000 Years of Egyptian Art 5S. 1962 . Introductions by 1 . E . S . Edwards, A. F. Shore, R . H . Pinder-Wilson . Chronology . postage 6d. 46 pp. 46 ill . Map of Egypt an d Nubia. Situation `ZS. 6d. 1962-63. An exhibition of recent British abstract art . Appendix . Introduction by postage 4d. Roger Coleman, reprinted from the catalogue of the first Situation, 1960 . 13 pp . 36 ill .

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Council The Lord COtteslOC, GBE, Chairman * Professor Sir William Coldstream, CBE, DLitt, Vice-Chairman' Dame Peggy Ashcroft T. E . Bean, CBE * Alan L . C. Bullock Colonel William Crawshay, DSO, ER D C . Day Lewis, CBE ' The Lady Hesketh Professor Gwyn Jones* Councillor J. D. Kelly, CBE, DL, JP, CA Professor Anthony Lewis * Colin H . Mackenzie, CMG ' The Viscount Mackintosh of Halifax, DL, LLD Hugh Marshall Hugh Willatt * John Witt* (*Member of Executive Committee) Scottish Committee Colin H. Mackenzie, CMG, Chairma n Charles Carter, FMA, FS A Ian Finlay G. E . Geddes Esme Gordon, ARSA, FRIBA, FRIAS T. Grainger-Stewart, CB, MC, TD, DL Charles Graves Dr . J . A. Greig Councillor J . D . Kelly, CBE, DL, JP, CA Mrs . Eric Linklater The Hon. Mrs. Michael Lyl e Guy McCrone J . McNaught Hugh Marshall Professor D . Talbot Rice, MBE, TD, DLitt, FSA George Singleto n Welsh Committee Professor Gwyn Jones, Chairman Colonel William Crawshay, DSO, ERD S . Kenneth Davies, CBE Sir Emrys Evans, LLD Alex J . Gordon, DipArch, ARIBA Josef Herman A. K . Hollan d Iorwerth Howell s David Dilwyn John, CBE, TD, DSc9 FM A Dr. Daniel Jones J . Gwilym Jone s Alun Llewelyn-Williams Kenneth Loveland Professor the Rev. W. Moelwyn Merchant, DLitt Principal Thomas Parry, DLitt, FB A Lady Amy Parry-William s Robert E . Presswoo d Professor Brinley Thomas, OBE, PhD Staff-Headquarters 4 St. James's Square, London, S.W.1 (Whitehall 9737) Secretary-General : Nigel J. Abercrombie Deputy Secretary and Finance Officer: M. J . McRobert Art Director : Gabriel White, CBE Music Director : John Denison, CBE Drama Director : J . L . Hodgkinson, OBE Assistant Secretary : Eric W . Whit e Accountant: D. P . Lund, FC A Scotland 11 Rothesay Terrace, Edinburgh, 3 (Caledonian 2769 ) Director : Dr . George Firth, OBE Deputy Director : Donald Mathe r Wales Holst House, Museum Place, Cardiff (Cardiff 32722) Director : Dr. J . R. Webster