The Observer from London, Greater London, England • 14

14 THE OBSERVER, SUNDAY, FEBRUARY 13, 1938 Mlusicians CONCERTS 26 a AJtnimum. 76. IBBS TILLETT. 2335 I 5 llnesl; Ti elect-office Wei. S418.

"2Vrt and VrtisU TFUms of THE CHILDREN tl)e Week AND MR. DISNEY 5llusic and FIRST THOUGHTS, AND SECOND BY A. H. FOX STRANG WA YS Curious notions are entertained about music by some who probably would know belter if they thought. One of these the notion that it prospers as an institution in proportion to the number of its devotees.

Ever since wireless came in there has been a great blowing up of the trumpet in the new moon over the accession to the num- bers of appreciators." Not hundreds as in Elizabethan days, nor thousands as in i Victorian, but millions now have access v. me um music inis country or any other can provide; and the argument has been that the population, being musically more, must be more musical as if other countries were not equally in possession of radio! Do we not, they ask, hear the newsboy whistling the second subject of the Unfinished," and can we not discuss with the station-master the views of Furt-wanglor on the tempo of the "Liebeslod," or of Sir Henry Wood as to the amount of rttbato the Eroica will stand? Certainly the newsboy seems to have grown In stature now that he has exchanged a bad tune for a good one; but it is forgotten that he has also exchanged a complete, self-sufficient statement for the surface of a texture" whose comprehension needs more experiene? than is at present his. And the station-master judges of tempo only as an effect produced on the nerves: but the things that actually decide it and that vary for each performance he is not En a position to know. It is something, no doubt, to like the right things, but those who like them for the wrong reason form no permanent tate. Another notion is that music is concerts: that the music, once the overflow of a spring that bubbled up whonevrr the divinmg-rod of some latter-day Moses dipped to it.

has now for our convenience been cttnalised, and that the concerts have bei-n stocked as a line in which a certain firm deals, and which can be bought at a puptiiar price per cub.c foot. The putcnaser. not knowing very much about how the article is made and not, therefore, being aware of a difference between good and bad. has to go by famous names, which means at bottom by advertisement. His talk is of Toscanini, Schnabel.

Kieisler, McCormack, or whomsover, and it means no more to him than a happy consciousness of being in the fashion. But music is not the concert. is not even the performed composition, for that is no more than a milestone by the road the composer trudges along. Music is an immanent glow in that heart and it is every mill's in whieh, as has been said, a poet has d.cd young. It is the call of the strange bird the monk heard in the forest of Broce, iande, whercalter his life swung between the two moments of seek-I ing for it and hearing it.

It is the secret flame that the Lantcrnbcarer buttoned up under his topcoat, so happy in the know- edge that he had a bulls-eye at his belt THEATRES (Continued from page ie. )LD VJC. (WATerloo 6o3fc Rrlcea 6d to 7fl 6d vEvga. except Monj. at 8.

Thura. St 2.30 OTHELLO. RALPH RICHARDSON. LAURENCE OLIVIER CU7iwen Lew s. MaTUta Hunt Stephen Murray.

Produced by TYRONE GUTHRIE. W5UimM Md scenery by Koer Purae. 'PALLADIUM. Ger. 7373.

6 15, 9.0. Mta.r Wed. Th 2 30 George Black's new musical' LONDON RHAPSODY, with NERVO KNOX; FLANA-CAN ALLEN. NAUGHTQN OOLD 3 witft Bros Cardm Ganlou Bra Oc Juanita. etc "PLAYHOUSE iWh, 77 74 I Fi as.

30 ejc Mon i LAST WEEKS. inuri. -5at "5 NANCY PKICiC ui WHITEOAKS. Bv Mbko de la Roche LONDON LONOE-ST HUN Playhouse, People a National Theatre TO-DAY (Slindav) at 3 m. OPEN DEBATE THE AT.

TIF. irpwTMr. dpi, Admission free EEN'S. Gerrrd 4517. JOHN' GIELGUD'S SEASON.

8 30 sharp. Mais Wed Sat. 2 30. SIX WEEKS ONLY ol THREE SISTERS, b' An'on Tciirhoi translated b'. Ur Constance Gflrnett.

rt OOY AShCROFT ANGELA BADDFT FV OWEN FFRANGCJN-DAVIES CAROL OTODNtR. LEON' QDARTCRMATNE. nVAi, IRLDLHICK LLOYD l.LLS B1AM SHAW GEORGE HOWE 1 PlllJfPrKlutrdb MICHEI. SAINT-DENIS "ROYALTY Gtr. 7331 -EveningT.

"sloT Matlntes. THURS. St SAT 2 30 I HAVE BEEN HERE BEFORE. By PRIESTLEY. Wi'frtd Lawion.

v'r 51-'-arf- Lt. Cisson. Fox Eilren Boldon UTTERLY ABSORBING PLAY Jlq' ST. JAMES'S. WHI Vsiry.

CECIL PARKER. ELIZABETH ALLAN BASIL RADFORD THE INNOCENT PARTY, av H. Harwood and Laurence Kirk. ST. MARTIN'S.

Tem. 1443 8 50 Tur Fr. 3 V) m. FLORA ROBSON in AUTUMN." VDfHiv HPnFSJi- MURIEL AEEO iDH AM OOLD I JACK HAW KIN S. VAVILLE.

I Tom. 40: 1 I 0 at 30. Mais Thurs A. sat i ho HARRY GREEN in WELCOME STRANGER Eoi Office 10 b. Srals bociitatte.

3s. 6d. to 'Tem. 888a 1 EVENiSC.S at 8 30. Matinees.

MOS. and at 30 EDMUND GWENN and LIPSCOMB In THANK YOU, MR. PEPYS. WTRAMD. iTbe.

Baj JfttKJ A. Ka; it! JACts WALLER iz ufiOHGE ABBOTT preset ROOM SERVICE, Bi John Mirray aiwt Allen Borett l.Ul HAR'il EY POWER PIECE OF NONSENSE -Teleoraph Dii Matt int. PLAY OF THE YEAR kJTREATHAM HILL tStr OYLY C1RTE IT. S0. Mon 8 The MIKado.

The Condol.irs. Wed 3u Tha Mikado. '3 The Yea-men ot lha Guard. T.Hir, lolanthe. Fr.

Patience. A'AUOEVILLE Bar 48T1 Ers .0 Mais Tues Sat 2 MIRABELLE. 1RIS BAKER JAMElS PHILLIP LEAVER VICTORIA PALACE. 0 20 a lUi LUPINO LANE TEDD1E ST DENIS GEORGE GRAVES in ME AND MY GIRL. HEARD AN AUDIENCE COWCLSED WITH LAL'CHTER.

Slur yyESTMINSTEH. SW, Near Victoria Station. Nifh-lT. 8.30 Matinees. Wed ii Sat 30 rsrv.TTs."!, PERFORMANCES ot DONALD WOuPlT -n BEN JONSONS COMEDY VOLPONE.

bv MICHAEL MACOWAN Beats bfx.Xdb 8s rd 4s. od 2s td. i V.c 0283 1 Smok.ng. 66y2 8 3r, sharp Ma Ls Wed. Sat '30 I KILLED THE COUNT Alec coppel VERY FUNNY AND REALLY INGENIOUS IT R.ANKS HIGH AMONG THRILLERS DoiIv "VyYNDHAM'S.

iTem 302B 3029 1 Eves, a 3a Mats Weds, and sats at 2.30. "GEORGE AND MARGARET." Comedy by GERALD SAVORY. ffiSS? JANE BAXTER RONALD uifL2'iGEL PATRICK. NOEL HOWLETT. JOHN BOXER ANN O.VSSON.

IRENE HANDL. Produced hv Ricliard Bird. CHEKHOV THEATRE STUDIO PARTINGTON HA1 TOTNES. SOUTH DEVON. Director MICHAEL CHEKHOV.

fLate Director Second Moscow Art Theatre The purpose of the Studio is to train younK people I capable of creatine a new in the modern i A permanent lourins company will be I Th" studio po.ssesjses a fine modern tl.ea re and a ia-ge open-air theatre. The Secretary on ay p. leal on i .11 send a smaj book t- icKeiricr with I tarticiilars ol entrance and Art Exhibitions. Varieties, Exhibitions, and Lecturaa will bn found on page 29. PICTURE THEATRES 26 a line; Mmtrnum, 7t.

A CADEMY, Grr. The F.lm or 7 l'rse was created. LA GRANDE lLLtilo.N WLLn Erioh Slroheim JeatiClab.n 10 frograrnmes ilart3 i'i' TJERKELEV. Ber.cley-.s-.. Ma? 850.1.

Conr Irom -i 45. Last ti.y of JEJLN GABlrl AK.A.N i l. i 8a fed. to 's. 6d ail bookable To- THE BKOKiS JUG lAi.

to rf, jS Css otl -s osl alt bookable- CAJ1LTON. Haymarkct Exclusive Premiere' To-oigJu fa 8 41 MtghcScsii wvLh FREORIC MARCH Fran-a OaaiAkim Tamiroff At Cft-il of -iT, LPIRE, Leice-ster-m JOAN CRAWPORD Last nvi SPEsNCEH twa civ -MVLIMSI ttj U1JS Wcek-daYs ai Olj "0 and '4b 1 3 T7VERYMAN. (Opp Hump. Tube sin I STORM OVER ASIA iA Monday THE ROAD TO IJI- V. Ham Zia'j 1 'Londom "LX1RUM.

VUUers-st W.C mltr of cahpa vfv i a 1 o-dav i an -k Pn-- I rCC.Cd Iho Rrnlh.n. Captured 1A1 Lfslip Howard. S.m. 1.AUMONT. HBinrrarltrt.

Wh1 66ri LorftiYounif in SECOND HC TTone Power -fVJ At wont 1 8 "i TENSINOTON To-Nl Tom Walls FOR VALOUR EZ Av OMAL1J.Y iUi -i WEDDING L. 1 EaCKSTi.R-J TH 'i -Jj DEAN'NA DURSi iiX) MEN AND A JIRL il i I Days and I iXJPOLD in 6(1 a ON DON PAVILION CAROLS LOM43AJUD FFLEDRtfl K4 a NOTHINU SACRED a. V. ikda v-. at "VEW OA-LLERY R.

8--BO Annabel! j1 at '11' ir (. T.ie Jm a in jjuj toju.t i tic HURRtCANfr fLnnd' rOgT ft-tl UTl cc 1JLAZ4 1 tj 6 SOMETHING TO i JAMEh CACNf BOIT sT tin a Ma jnj; A L'O HTF OK TH ORTFNT KKOAL lren Marble Ar, Comni nr Dunrii Car AWFUI TRUTH 1 T'le Cranip Ki. "OIALTO Co XT ASF. J-- on. LondJ ci Hv nlm in STUDJO ONE Ox(ord-cur' from I ni Sjji "i Of-r Con CARN ET de r.rfi! Cs" (Dttnrp P'nsrinsnii' i VTOU, Soma Hn.r To-ti 1 lOVELV TO LOOK Francs led rnr JT AT i Mad" lie Car A LI YOURS Ui To- Gftrv Cch-t Grorce Ratr SOULS KT PE i Oporire r1 noCTnR SYN A a (re Raw cr and Ian(Nurr Plan.

TJVOl.l tjTBnd Cjan in TO A RICH iU CHARITIES NTI0NL HOSPITAL FOR DISEASES OF THE HEART, WESTMORLAND-STREET 1. The ifea-t Cft't ApZCu if c-i a' ROYAL NORTHERN nni.i -p 1 I mat he never heeded the noisome smell ln.S in could oe seen but not heard. of blistered tin. SADLER'S A third notion is that British music is to a P'easJf to be on Wednes-hr. nf.i,r.j -ri.

i dil" to lauSh whole-heartedly at Don Gio- CAMBRIDGE THEATRE. W.C. LONDON THEATRE CONCERTS. TO-NIGHT (SUNDAY), at 8 30 harp. MOZART.

CHAMBER MUSIC CONCERT. NAN MARYSKA. WILLIAM QLOCK. REGINALD KELL DENISE LASSIMONNE. THE ORILLER QUARTET.

MAX GILBERT. Boles. 50s Reserved. OS. 3s.

6d at Box-oGlce Cambridge Theatre, uut-n Irom 6 pm. ORCHESTRAL CONCERTS at SADLER'S WELLS SERENADE CONCERT SOCIETY. MONDAYS, at m. TO-MORROW. EG ON PETRI MAR.

7. HERBERT JANSSEN. APR 4 SZIGETI. LONDON PHILHARMONIC ORCHESTRA. Conductor: HERBERT MENGES.

Member, hi it f.d 't i7 fiH i ah entitles Lnr.it subirnbcr to Li rt-ser ed seats at eac.i concert S.nttle s-als. reserved 7.i. 6tJ. to 2 6d. UnrfhtTMjd (doors onlji, from Sadler 5 Well1' umhu asei.i.

and ias 1 11.1 i J4 Wisniore-rfpf. W1 WIOMORE HA LI TO-MORROW fl.3u. LOLA M0NTI-G0RSEY SONG RECITAL. Piano: GEORGE SEBASTIAN liOSCTaorieT Fiar.o. Ticket, bs 3s.

IBBS TILLETT, 124. W.l. AEOLIAN HALL. TUESDAY NEXT 8 30. ERHART CHAMBER ORCHESTRA Conductor.

DOROTHY ERHART. MABEL RITCHIE. SinsiT CHARLES SOUPER. Fluie. DAD MARTIN.

VJoilll. Ticket. Els 6s and 3... Jt TILLETT. J4 1.

WIOMORE HALL. FRIDAY NEXT 8 50. EMIL TELMANYI VIOLIN RECITAL. BEETHOVEN PROGRAMME. Pleno- -GEORGES VASARHEI.YI THIRD RECHTAL Feb.

as. at 8 30. Stelnway Piano Tickets Js 6s. 3s IBBS it TILLETT. 1 'J4, Wlgmore-st W.l.

OROTRIAN HALL, FRIDAY EXT. 30. RONALD KINL0CH ANDERSON PIANOFORTE RECITAL. Bluthner ianc Tictrls. Ss 3s IBBS 4.

TILI.ETT. 124. Wimiiorr-sl rect. Wi. AEOLIAN HALL.

FRIDAY NEXT. 8 30 K0LISCH STRING QUARTET Quartets bv MOZART. SCHUBERT, BEETHOVEN Tirkets. 9s (js and 3s IBBSJiTlLLETT i'ii. Wlitmore-Mreet.

Wl. WIGMORE HALL SATURDAY NEXT, at' 3. VIVIAN LANGRISH and tiip GRILLER STRING QUARTET Quintets bv EL OAR to CESAR FRANCK Bosendorfer Piano 9s 3s fjd 2s 4d TILLETT Wmmore-sireel. ROYAL OPERA CO VENT GARDEN. HAROLD HOLT presents the BEECHAM SUNDAY CONCERTS.

under tile Auspices of OrefieKtral concerts Ltd TO-DAY at 3.15. LONDON PHILHARMONIC ORCHESTRA. tynrpnony No minor. Op Piano Concerto No 1 t8 BRAHMS TSCHAIKOWSKY Symphony No. 1.

flat majo Oil 8B SIBELIUS ANATOLE KITAIN. GE0RG SCHNEEV0IGT. a 1 6 5 6, 5 7 6 ROYAL ALBERT HALL. MARCH 6, at 3. HAROLD "HOLT announce FIRST CONCERT THIS SEASON of YEHUDI MENUHIN.

LONDON PHILHARMONIC ORCHESTRA Sir HENRY J. WOOD. ONLY A FEW SEATS AVAILABLE. ROYAL AI.BERT HAI.L SUN MAR. 20, at 3.

HAROLD HOLT announce SECOND CONCERT THIS fcEASON of YEHUDI MENUHIN ONLY LONDON RECITAL. 36. 76, 8 6. 12 GROTRIAN HALL HAROLD HOLT announces THREE BEETHOVEN RECITALS. TTPE6.

NEXT, at 8 3(1. THURS. NEXT, at 30 HAT -NEXT, at 3 LENER QUARTET THE LAST QUARTETS OP BEETHOVEN. Subsscrtpt-ion T.cket.s. 3, '24 30.

Single, 3 6. 6 8 r6, 2 1 GROTRIAN HALL. WED NEXT, at V) HAROLD HOLT announces a PTAWO RBCITAL ANATOLE KITAIN -V-. 6'-. 8 '6.

Bluthner Piano QUEEN'S HALL. Soli1 Lessees. Chaptell Co Ltd. ROYAL PHILHARMONIC SOCIETY LONDON PHILHARMONIC ORCHESTRA THURSDAY, FEB. 24.

at 8.15. Overture Der Freischutz WEBER BRAHMS Svmpnony No. 7 in SCHUBERT FELIX WEINGARTNER TLrkfts Jir 7 6 6 4 it arc 2 -Irom Keith Prowsc Queen's Hall, and usual Ajjents. GROTRIAN HALL TO-MORROW iMONj, 8 30 AUDREY LANGFORD SONG RECITAL, assisted bv GEORGE REEVES and DAVID MARTIN. Grnlrian-Sleinwec Piano Tickets 9 IMPERIAL CONCERT AGENCY.

17'. Piccadilly' 1 WIGMORE HAI.L. TUESDAY NEXT, at 8.30. ADOLPH HALLIS CHAMBER MUSIC CONCERTS. MILDRED WATSON and PARRY JONES, i Duets for Soprano and Tenor.j FREDERICK RIDDLE ADOLPH HALLIS i Pianolorl i Sonatas Viola and Piano Brahma Hindemllli ElLzabel'i Maconch M.u perl.) Vocal Duets osst.

ocnuTz Aire Howirv i 1 st peri Arc. wn.i.. i th at Hall RRf SYMPHONY Leader. PAUL BEARD QUEEN'S JI ALL iSole Leiieei Cliajjel Ai Co. Lid) WED.

NEXT, at 8A5. BEETHOVEN Gros.se Fuge. for Slr.nR; SCHUMANN V.ol.n Concerro in Dmmor iKir-. Ptrjnrniance Encland SIBELIL'S Symphony no. JELLY D'ARANYi SIR ADRIAN BOULT Ifls 7.

fi 4: BBC BROADCASTl NO HUL'fct CHAP PELL QUEENS HAU NATIONAL SUNDAY LEAGUE CONCERTS PALLADIUM. TO-DAY, at 3 15. THE WORLD GREATEST STRING ENSEMBLE LFA'LR QUARTET, with LOU JS OLIVJERA Jnd ibv prm.vion n' tne C.j. Q-Un'e nnr 1 MOZART Ou.ntt-'. in maior Op BEETHOVEN Qj-nei DVORAK Rir -its i Box-ofTirr- An Grrrard -81" QLLFN -5 HAI I --TUESDAY NEXT 3 lQ SOLOMON RECITAL Sor.a"n 'n nor op fap op Bar.

Sonata minor, on Ohopln H- no rj- i A MIOHR.1 nan PEOPLES PALACT Mile Knc-rd 1 Ad ''777 TO-DAY tn THE NEW METROPOLITAN SYMPHONY ORCHESTRA Cord jo KfJ.cH HRATA R(w cd rt GUILDHALL SCHOOL OF MUSIC AND DRAMA iCrjinra' oi I on don VICTORIA EMBANKMENT, A. Pr SIB LAN'DOV RCALD FRAM FRCJ1 COMPUTE COLRSKS SUBJECTS a'f or E.en njr lors THE FERNl EY 'Op-em yro-. in A Tl'l cOsTnplei Jor WARSHIP I si date fntrr MA Srrr-iir'. ii-if -TEfLM beg -1 I I i i i CONCERTS OF THE WEEK COVRTAULD SARGENT CONCERT There were two new works at Queen's Hall on Monday. Robin Milford provided a full-sized Concerto Grosso in four movements, which the first rambles pleasantly over thill and dale, with a mysterious clarinet solo it picks up on the way, and the three others move more soberly in well devised contrast.

The introductory bars of the Adagio (the second) are obscure, and typical of a kind of mysticism, rather Hike Arnold Bax's, in which the composer takes refuge when matter runs short. A useful short theme holds the Lento (the third) together well, and the finale is just a rush to catch the last train, with the folksincer's dodee of swallowing the last bar of the section because he -wants to get on with the story. Jean Francaix's Concerto for pianoforte and orchestra comes from a brain as sharp as a needle and two hands as nimble as rapier and quarterstaff. From the first half page it was certain we were in for a good time. Sly "points begin to appear, like those Mozart tickles the midriff musical ingenuity.

Having disarmed us with these, the pianist-composer rendered us helpless with a mock-heroic, five-four, two-part-counterpoint slow movement. After that it began to dawn on the audience that It might be permissible to laugh openly, and a few quacus irom muted trumpets, grunts from COMING ENGAGEMENTS 8.30. WLgmore Hall. Lola Montl-Gorsey vocal r. B.30.

Grotrian Hall. B.0. Sadler's Wells, Audrev LanRford. Serenade Concert Society Tuesday 8.15, Caxton Hall Mark Fltzroy fvocalK 8 30. Wtgmore Hall.

Hallis chamber music. 8.30. Queen's Hall. Solomon 8.30. Aeolian Hull Erhart Chamber Orcfies- a.

30. 64, Great Cumberland-place. Ashanti drums 8.30. Gtotrian Hall. Lener Quartet.

Wednesday 8.15. Queen's Had. BB.C 8.30. Aeoh.in Hall Peter Solymos. 8.30.

-WiHinore Halt. Stmone Filon violin), Simon ipianoforter 8.30. Grotrian Hall. Anatole Kitafn (plaho- furle i 9.0. 3' i.

Curzonstreet. Landowska. Thursday 8.0. Northern Polytechnic Symphony Or-fhcsti a 8.30. -Cecil Sharp House.

Oss' (vocal) 8.30. Grotrian Hall. Quartet. Friday 8.30. Aeolian Hall.

8.30. Grotrian Hall (orte i Kolisch quartet K. Anderson (piano- 8.30.- Wigmore HaM. Emil TelmanyJ (violin) Saturday 11.0. -Central Hall.

3.0. Wibjmpre Hall. Gi illii Quartet. 3.0. Hall.

Children's Conrert. La tigrish and Lcncr Quantet bassoons, and twittering col legnos from llie strings convinced them. The texture and slylo arc those of the Russian Paraphrases Liadow's Galop and Korsa-kow's f'ughctta) or, in more modern language, like jazz that is genuine (which it almost, never jsj. The thing ended in a ulaze of glory in which the pianist ola.v- vdiini, as le bon gout, listening devoutly to Italian of which it understood hardly a word, never did! Well clone. Professor Dent: and Mr.

Clive Carey, whose production was all on the side of clarity ballroom, crypt (for Jack of a name) and supper scenes, for if seduction is a crime, the true answer is not knitted brows but laughter a point that was missed by Beethoven, who entered into other people's wit and humour. This atmosphere was beneficial to the singing; the principals -were intent on what they were doing, and the rest is a matter of practice. The trio (of masquers) and sextet were rough but honest; the orches- tra a little stolid and itcral-minded, but in good contrt1 B.B.C. As prelude to Mahler's Eighth, at Queens Hail on Vednesday, we had Bruckner's early minor Overture, which begin.s like th Jupiter, continues with an Allegro theme which Mendelssohn would have been pleased to write (and others to play, had he done so), and has a nli-aiiini irlinn whifh Hmih nrf uiuuiii. me appalling ana tne per- foim.inte great one: and not to indulge in that kind of criticism which consists, as Sir Donald Tovev comDlains.

in "dis- ve-ring the fundamental hypothesis of a uhole art-form or style, and attacking it as a fatal defect." One cannot judge such a wink in fine ignorance of Mahler's music as a whole, and without hearing it imaginatively done. If definite impres- slons Qlcl emerge they were that in this li" J.iam5,r ls 's. intensely per- ZiS' JXF VLu? 11,. 1 that there are pages which recall earjv Vaughan Williams, and that Goethe's worns snotiict have been sung. But it is a in ble work, and should be done again pre-sentlv with the care and sensitiveness that deserves.

KREISLER Kreisler Albert Hall. Sunday) reminds I US Ol nfllim lln.f.iro lirs i s. 1 I out oi tunc). He loves hii instrument and lie has some of the dignity and cserve of Wilhclmj; but the breadth and wholeness of conception, the loyally lo the composer, and a certain iiooi.ny of outlook are what Joachim was tne i 1 to show u- with great n.inifs lo-day jic merely playeis of the v.c n. Linri some of them better enninn'pri in i-m vi riH into whatever thev hannpn to oe playing An me music inev ever Knew, ah Kreisler has jt.

He happened to p. ay the slow movement of Mozart's minor concerto, and the fineness and com' p.exisV of line hud the sweep of one of Holbein's Svmphon.ques are dtllicult. unless one is an Sauer and can plav them with inrinile wit. or an Artur Schnabel. to reveal unimag.ned colour and contrast, Mr Simons was businesslike.

He seemed to put the music under arrest rather than to piav it A new Toccata bv Patrick Pisrmtt. nrnvi M.r nior-o vnun oiantsis he el ad to mrliirtp rcpetlory tnoitch not at of do Mich bri.uant justice as 1 Mi. S. OUR CLANNISH ART THE NATIONAL SOCIETY BY JAN GORDON There is room in London for something like the Salon d'Automne in Paris, a meet ing place of all contemporary progressive Art contrasted with and tempered by a certain number of recognised painters with established reputations. But with no immediate prospect of realising Dr.

McColI's excellent suggestion that the Royal Academy should yearly throw open its galleries to a collective exhibition In cluding the best of all contemporary methods in living Art. there is not the gallery space anywhere else in town for such a show. One might almost hazard the belief that the comparatively small size of British public galleries is largely responsible for the aggravatedly clannish state of painting to-day. Such intoler ance does not belong to our normal make-up. How little intercommunication there Is between the various branches of Art seems strange.

Taking the Royal Societies of Art as one group, the London Group and the National Society (now holding its ninth annual exhibition at the R.I. Galleries) as another, and the construc- tivists and surrealists, who do their best with exhibitions, optimistically in what may be called the suburbs of Bond Street, as a third, there is a broad ignorance of what each other is really doing and thinking, and very little chance of making close comparisons between the actual paintings of differing schools. THE NATIONAL One of the prime values of the National Society is that it does bring about some comparisons between very divergent types of Staite Art At the present exhibition', for instance, a carefully modulated sea-scape, by Staite Murray, the well-knoyn romantic potter, is hung cheek by jowl with a constructivist tryptich by Eileen Agar, "The Autobiography of an Embryo," the forcible representational-ism of Adrian Allinson's graveyard scene, "Yet a little Sleep," which contains some of the most relentlessly painted snow that one has seen for a long time, hangs over the etherealised Ethel Walker, August Morning," pale sea, pale sky, dim distant boats, and that is all. Do these two oddly contrasted pairs clash with and hurt one another? I don't think so; each seems to render the other more interesting. The high spots of the show are all lively pieces of fresh, apparent spontaneity, Kirkland Jamieson's "Pear Blossom." Rowland Suddaby's "Window in Suffolk," P.

F. Millard's Siesta," David Bomberg's Rhonda, Spain," Edward Wolfe's "Amina," Clifford Webb's "The Wood," Lowes Luard's The Acrobats," Beryl Clay's "Lamplight," and Suzanne Cooper's The Would-be Suicide." Clifford Mall's Trubka and his Tigers at Olympia," with its cross-pattern of bars and stripes, is the best thing of his that I have seen. Among the sculpture Maurice Lambert exhibits the original plaster model for Homo Sapiens," the half-figure, half-bird, which, on its tall column graces the vista of rather massive architecture in the new Duveen sculpture gallery at the Tate, Richard Bedford's Carving for a Garden in painted ash, turns. some small seed pods into a fascinating totem. Other pieces by Barbara Austin Taylor, Michael Foley, and Willi Soukoup, should be noted.

JOHN COPLEY AND ETHEL GABAIN Two of the better known members of the National Society, John Copley and his wife, Ethel Gabain, are holding a one-man and one-woman show at Colnaghi's Gallery. Both have long been prominent lithographers, and Ethel Gabain has also of late been receiving merited recognition for her painting, noteworthy for its delicacy tone and its dryad-haunted fantasy. Of Iter figure pieces, Tea in Winter is especially successful, with its climax of the pink cup, while "Rainswept Flowers contains exactly what the title conjures up. Too often the nervous tensity and imaginative power of John Copley's paintings and drawings have been almost lost in the conditions that rule large exhibitions. One of his finer pieces, the beautifully composed yet rhythmically busy oil painting, Chamber Music," for instance, was unmercifully skied in the small tempera room at the Royal Academy this year.

Apt companion piece to this is the larger tempera. String Quartet," but more excellent yet, the action drawn to a fine point, and the colour and tonality exactly harmonised to the subject is another oil, The Violinist," bv which Copley proclaims himself to be one of the outstanding imaginative British artist of the day. AT THE LEFEVRE GALLERY Anollipr nntuhlo evhihitnr at the National Society chimes in simultaneously with a one-man show at the Lefevre Gal- lery. the German artist, Hans Feibusch. Mr.

Feibusch first struck London in 1934 with an exhibition of brilliant vigour and considerable variety. Since then he has, seemed to be in some danger becoming. 1 scenes, with African mask-like faces, tn Inlr exhibition reaffirms the flexible quality I of his unhesitatingly visual power. Here in such pieces as the three boat studies, in Shells and Cyclamen," Greek Theatre, Taormina," and, above all The are evidences of what 1 until uv eanea a reany autnennc capacity of gripping a subject with the eyes. In contrast the delicate, whimsical fantasy of Andre Bauchant does not lose quality, and such pastorals as "La Baig-nade," Fleurs dans un Paysage," or the quite extraordinary little The Bower," come through like soft notes of the woodwind after an orchestra! crescendo.

RUTH SALAMAN COLLET I can do no more than call attention to the very promising first exhibition of Ruth Salaman Collet at the Goupil Gallery, 3, Burlington-gardens. Particular note should be taken of her fresh water-colour studies of domestic and park life in Pans. BY C. A. Walt Disney, whose cartoon characters are the familiar friends of every child from here to China, has been getting into trouble this week as a provider of juvenile entertainment.

The British Board of Film Censors have refused a certificate to the new Disney fantasy, Snow White and the Seven Dwarfs." The refusal, it seems, is based on the grounds of a single scene, which shows the alchemic chaage of the beautiful stepmother into a hideous witch, by some kind of Jekyll and Hyde translation of draughtsmanship. This scene, in the view of the Board of Censors, over whose office a portrait of Shirley Temple keeps its mild watch, might frighten the younger children in the absence of parent or guardian. So the film, when it opens its London run at the New Gallery on Thursday week, will carry an A certificate, and no child under sixteen will be able to see it without a grown-up. (That should keep the grown-ups busy for about twentv weeKs xo come.j The second black mark against Disney this week comes from a Children's Cinema Council in the west country, which suggests, in a recently published report, that the Disney cartoons occasionally fall into the horrific class, arid are often quite unsuitable and very frightening for the younger children. Now I have not seen Snow White yet, and until I do see it I am not prepared to comment on the censors' judgment.

But I have seen almost all the earlier cartoons, some of them many times over, and I suggest with deference that anyone who accuses Disney of being horrific is talking pure piffle. Unless, of course, he also classes fairy tales as horrific, and would restrain children from reading the works of Grimm, looking at the drawings of Rackham, watching plays like Peter Pan," playing games like Oranges and Lemons (whieh suggests executions), or Nuts in May (based purely on kidnapp or hearing of anyone who is dead and gone in history. Which would leave the rising generation with rather little to read, or see. or do. There are, of course, children to whom the sight of any enlarged visual image is a'l arming.

A close-up of a seed germinat ing is a nightmare to them, a drop of water under a microscope crawling with evil. To my mind, it is totally unfair of parents to allow children of this kind ever to go to the cinema. Unfair to the child. Unfair to the films, too. The average child has about as much awe of Disney's cartoon villains as he has of his father dressed up as Santa Claus.

The worse and more lurid the things they do, the more the audience revels in them. I have heard an audience of quite small children shouting themselves hoarse with laughter when the little boys in The Babes in the Wood were turned into spiders. For myself, with my adult inhibitions, the scene seemed almost grue some. But the children loved it. They were never afraid of the boys remaining spiders.

They felt, instinctively, that everything would come all right again somehow. As Disney when he planned it very well knew. There is a great deal of nonsense talked to-day about the sensitivity of childhood to horrors and evil influences in the cinema- The talk is mainly from well-meaning people who have plenty of leisure to study the numan young as a genus, and very little experience of them as daily and all-the-year-round companions. The people who feed them, dress them, scrub them, scold them, teach them, live with them, and" love them, will testify that the children of to-day are very much tougher than is supposed. The normal, healthy child is a cheerfully callous little animal.

In his earliest years he delights in the whackings and thumpings of a Punch and Judy show. He appreciates lurid illustrations in his first picture books, and will draw houses on fire and devouring monsters as soon as he can hold a pencil. He likes blood to be very red, and armies to be complete with corpses. When he goes to school and learns history, he is impressed by bizarre deaths and spectacular executions. He thinks well of King John who died of eating a surfeit of peaches, and of Clarence, who met his end in a butt of Malmsey.

Henry VIII. is a hero to every child because he disposed of his wives so thoroughly. The otherwise luckless Saxon Harold became immortal at the moment when the Norman arrow lodged in his eye I don't think the average child can pick up anything more harmful in the cinema than he can see with half an eye in the world about him. The main danger of indiscriminate picture-going for children is not what they may learn, but what they may miss, without the pointer of an older experience to guide them. In the bewildering mass of film material issued every week there are always a few films more valuable than the rest.

Not necessarily educat ional in the strict sense. but richer than the others in the things that cnildren want to learn about. A Food -Sforv nf flvincr A rln. nini1PprinJ An l.t"; a a of wireless telenhonv inst luiiicui, vji nign aavemure, done as well as such things can be. No child can discover these things for himself, for selection is a quality that comes with years.

But the responsible adult can, and should, discover them for um. We spend a 2reat deal nf r-nr-c. the modern world in building up our children's health, balancing vitamin this with vitamin that, giving them the rest and fresh air and exercise they need for their bodies. The haphazard charge of entertainment in auch an age is a sheer anachronism. It isn't censorship that our generation needs so much as a little elementary hygiene for the brain.

La Mort Du Cygne (Curzon French). Director: Jean Benoit. Players- Yvette Chauvire, Mia Slavenska, Janine Charrat. "La Mort Du Cygne" is a good film, which ought to have been better. The scene is new.

It is a description of life a LEJEVNE behind the scenes in the ballet school o' the Paris Opera, where the Pavlovas o-" the future, with the whole world for the dancing floor, dream their dreams, am" practise their pirouettes, and hate an adore their elders. All the set-up of drama is there bu' somehow, the urgency is missing It ju' fails to be a Madchen in Uniform" o' the ballet, and remains a small gauzy chronicle of small girls doing and feelin-big things in a small way. The weakness is partly in the scrip: which tries to impose exlraneous drama on material that is implicitly dramatic already, and very largely, I th.nk, in the casting, which seems to me perfunctory. The little parts are more interesting thari the big ones. The wardrobe mistress eclipses the premiere danseuse.

The flies in the ballet outflutter the queen bee. The leading part is played by child of twelve, an apprentice of the Paris ballet. She is thin, dark, and intense, and works with intelligence, but 1 didn find her winning. She may be the Pavlova of to-morrow, but she is certainly not the Shirley Temple of to-day. Something to Sing About (Plaza American).

Director: Victor Schertzinger. Players James Cagney. Evelyn Daw. Because James Cagney is in Something to Sing About lias something to sing about. Cagney, in my opinion, is one of the few, perhaps half a dozen, real screen artists of America.

He will never. I am sure, be a popular darling. He has no striking charms. He has grace, but it is invested in a short, stocky figure. He has humour, but his face is square and homely.

He has a curious delicacy, almost a refinement, of gesture, but his parts call mainly for fighting and slugging. He is too small for authority, too tough for sympathy, and too honest frir heroics. He's just an actor. Like Spencer Tracy and Gary Cooper, and few other men that I know on the American screen, he can incarnate a human being straight, without character." make-up, and without mugging. In the present film he plays a dance-band leader who goes to Hollywood to become a film star.

He becomes a film star. He doesn't like it. Who, with wit, would? He flies back to New York, and takes up his old job as band leader. That, oddly enough, seems to satisfy him. The film suffers from an underplus of Cagney.

What Cagney there is, is fine. Extase (Rialto Czechoslovakian). Director: Gustav Machaty. Players Hedy Lamarr, Aribert Mog, Zvonimir Rogoz. Students of the intense, the esoteric, and just students, will almost certainly want to see Extase," the four-year-old Czechoslovakian picture which is now making a belated appearance here by courtesy of the London County Council.

Extase is an unusual sort of picture." It has knocked about so much from country to country, between this censor and that censor, among editors here and editors there, that its final argument is just a little fogged, but its intentions are still reasonably apparent. It is, as the title suggests, just a preoccupied study of physical ecstasy, amongst all living things, from the young girl in her lover's arms to the mating fly on the window-pane. There is a story of sorts. A passionate, lovely animal of a girl marries a middle-aged weakling. She leaves him after the wedding night, finds the right sort of virile male working on a road gang, and enjoys with him her short hour of ecstasy.

The husband, deducing the truth, shoots himself. The girl, one is led to believe, throws herself under' a train and kills herself. The man finds an outlet for his passion in physical labour. it is a perfectly honest account of bodily urges, presented as it should be, with few words, and the heightened visual imagery of slightly narcotised senses. As a sublimated version of the instincts of the stud-farm, it could hardiy be done better.

I found nothing nocking in it. But I did find my atlent.on wandering. After sixty m.nutes or so of deliberate monopoly, t.ic instincts of the stud-farm can get just a trifle dull. Second Honeymoon can). Gaumont Ameri- Players: Loretta Power Young, Tyrone This is one of the simple little things that they loss oft in Hollywood while the million-dollar products are gestating.

It js concerned, but oh, so lightly, with the essential Tightness of first love. Miss Young and Mr. Power, after two years of married life in Switzerland, Naples, and that sweet little cottage at Juan les Pins, divorce, and fall in love again in, I think, Miami. The film is what kind, and of course, well-educated, people will call a-moral. Miss Young is luscious and sweet.

Mr. Power, quite a man now, smokes a pipe, and squares up his slim shoulders under a leather wind-jacket. A final caption tells us that we have been watching, in a small part, a new beauty contest winner. Miss Marjorie Weaver. Quite a pretty girl, Miss Weaver.

So what1 SUBURBS AND PROVINCES They Won't Forget the year's most aiaco lures, reflecting an regional prejuriite ani One of rt bnl'iant of murder, in one of trie southern taie- vast control, i-s r.i as its f.ift- haunts- ijli Souls At Sea m. stntv of the l.i-v da eierica Done with -smns Hs suggestive tnat ctr.Ci and an1 --A sent. -factual of the slave-trade. ii ifn un- .1 of a grnnd de-tertne tnr. coupled with fine writinn and almost flawless acting.

With Garv Conner one of his warmest and most human performances, as a young man teiio rights smuie-handed against the slai e-traders In the crazy pursuit of a dream Dr. Syn British I. A Peter Pantechnicon of a melodrama, introducing Mr. George Arliss as an lEth-century pirate and smuggler who becomes, in his spare time, the ktndlv vicar ot" mchurch-under-the-Wall. The Squeaker (British! A Scotland Yard yarn, based on a thought or two by Edgar Wallace, and dea'inE with the Activities of thieves and police informers.

With Edmund Lowe and Sebastian Shau. Wild and Woolly (American Cheerful skirmish between the old-stile gangster end the new in a western small town, in which the efTic.etit Jtine Withers teaches her grandfather to toruw eggs. Juis.511. aim srriiani.y chanty begins at home. it is equally certain that art stops where charity ocgins.

I-or art is a war against the dwellers in Galh, in which no quarter can be given and no intervention allowed, and not an amenity to be classed with pit-dsiiiu waupapcrs ana comlortable armchairs. Since music is, or with some slight reserves may be called, a universal language, there is nothing to prevent an equal appreciation of domestic and foreign. So it would be with us but for another fact' foreign tradition has been maintained and ours except in Church music, broken. It is not only that between Purceil and Parry we have had no composers of front rank except t. wesJey, but -we have ignored what we hare had.

Froude knows nothing ot Byrd and rus Mac-atilay nothing of Purceli. Among the great houses which might have done wn.it Viennese and Parisian solons did. wc read only of a few, such as the Egmonts span is pel haps the first piece of quin-and Pcrcivals, who supported musicians' Bruckner. The Mahler proved and Holland House, a home of all the other overwhelming One should be careful arts, knew, for instance, that the Prince y.Ji0. th.e ot those who Consort had a harsh vo.ee, but not that he entirely remodelled tne Queen's ptsvate band and broadened ihf mucic.il rmilrvnk- of the countrv in general.

And ail this time we were falling tiie feet of German violinists and bedding out in Covent Garden the last French opera. There is a strong argument, then, for giv mg Bniish music the eqnahly of onpor-I (unity for so long (and still to some ex- denied if there is none for thinking timf 1,11 Hl-lln-l, .1 Iss preferred to ppori unity an inner. ji tne same opjo: mejns opportunity to plca.se, for there is otherw.se no senc making muic in publ.c. If tiiev thought" this article beenn. and these t.

a grow m.nority docs tniiin. Tii.ov aie nutlc aware iiat switch-ing on for the wnole twelve hours while tney taik or cat or pla the room or even spend their time elseuheie v. ill not of it.so.f ever make thorn musicians, any more than a Fiench gr.itnmai Iv.ng open on the study table ever made a fiend of m.nc. a singer of Brahms and Schubert, the master of Front conversation he fondly hoped it vsould. But inev Know unai.

tne can iern tney I sit dou lo it from wireless its ton sistent enlerpr.se) about new si ores that aie bevond toe layman's power to read land from the gi amophone s.lh it-optional repetition) about old scores the I 1 may lo conduct, and J11' SIMONS tn.it. they su ileh oil jnd Uieir neMii-' has improved. g-I The. have not. red, too.

Hall, on iie on the that Irirre is a good deaL in mu -c h'l of Beethoven's minor 'that never gets into a concert room at ZoiZ pur re is an impottant pait of it all cnee his playing: and though the finale the li.iman side in fact that is to he win ponderous, ones impression from the hi tneie more than anuhere else 1 Pclo'-manee a.s a whole was that for the T.ic. observe that when Toscanlr. con. 1 t. me nis musicianship had outrun his I pianistic talent Schumann's Etudes uuu- somp "ow 'e aown ano cease alioge: her.

and when Kreisler plays i'ic giow 1'iat of Ciorgione's R.imbd-p.j'.e" and kIioi he stops. brek and tney know that humanity is one. alter ah. li was this human e.ement we were in search of when we decided as a nation to invent I rind pr.ict re fin outnoor games in 'i b.i 'd s-, -up. ot1 a 'i ri dec.s.on.

And it m. 'on es ri2 to not. ope.