ROYAL FESTIVAL HALL

Press, Volume LXXXIX, Issue 27094, 18 July 1953, Page 9

ROYAL FESTIVAL HALL

A New Zealander’s Impressions [Specially written for “The Press” By CLIFTON COOK) London.—The most notable and lasting monument to the 1951 Festival of Britain was the building of the revolutionary-* Royal Festival Hall. This building, unbeautiful from the outside, stands like a large factory across the embankment from Charing Cross station. The interior could scarcely be called beautiful; but so wonderfully have the architects designed the auditorium that, wherever one is seated the acoustics are fine and the listener has the feeling of oeing in the middle of the music. More important still, perhaps, are the unusual lines and colour decorations. These draw the eye to the stage itself and avoid distraction from the performance

Perhaps the greatest stroke of genius is the stage itself. When a large choir or orchestra is employed, it is difficult, except by dress, to separate the performer and the listener. There is no curtain, and no high and separated stage. The gradual tiers and spacings of both audience and performer give unity to the auditorium. This effect tends to distract notice from the individual and lifts the music to a higher plane. Gone is the day of the exhibitionist in musical performance; here, in the Royal Festival Hall, it is possible ideally for any performance to be given that can speak for itself, unhindered by personalities. Over the last nine months I have missed no opportunity to listen to music and to study modern composition and the infinite possibilities of musical interpretation. Fully to appreciate all, I have heard more than 150 concerts. I have many times felt the need to go to the other arts, so often inseparable companions in tne unfolding of human expression. Poetry, drama, painting, and sculpture have often enough been the inspiration of the composer. The architects of the Royal Festival Hall fully realised the wedding of the arts. In addition tcf the large auditorium, seating 3000 people, there is a fine recital room for chamber music and solo recitals, or concerts of poetry and music. In an exhibition room one may see during the interval displays of painting, musical instruments of antiquity, or photography and modern art Not least among the amenities of the Festival Hall are its places of refreshment. Outside each entrance to the auditorium are small buffets, where one may drink coffee, gin or beer and gain a fine view of London from the various promenades and glass-lined walls. In the two large restaurants, before and after the concert, meals of several courses are served. In these one can gain a fine view of the Thames from the windows from floor to ceiling and discuss the concert in comfort. I have often spent a Sunday afternoon and evening at Festival HallIn the afternoon I have listened to fine recitals of poetry and music by great artists. I have then taken tea m one of the restaurants, looked through the new scores or books on music on sale at the book shop in the hall and perhaps bought a score of the symphony or choral work I would hear "later that evening. Then, after hearing some fine music under Sir Thomas Beecham or Adrian Boult, I have had supper and a look from the roof of the hall at London, now looking like a fairyland in its Coronation illuminations.

The Festival Hall is used for concerts for children, orchestral, vocal, and instrumental concerts, and occasional performances of ballet. In whatever capacity it is being used it is playing an invaluable part in the development and history of music making in England.