The Southland Times PUBLISHED EVERY MORNING “LUCEO NON URO.” MONDAY, APRIL 5, 1937. Apathy In The Arts

Southland Times, Issue 23165, 5 April 1937, Page 6

The Southland Times PUBLISHED EVERY MORNING “LUCEO NON URO.” MONDAY, APRIL 5, 1937. Apathy In The Arts

A message from Auckland, printed on Saturday, stated that the Bohemian Symphony Orchestra “has decided to go into recess.” According to a statement by the chairman, the financial position has not been good for some time; but it was the imposition of the amusement tax — amounting in this instance to from £3O to £4O for the season—which finally decided the members to close down the orchestra. Their decision was regrettable. An orchestra which for 20 years has provided Auckland with classical concerts is of importance in the cultural life of the community, and should not be allowed to lapse without a determined effort from those who really care for music. There are, of course, formidable rivalries in an age of radio; and it is generally believed that a decreasing number of people is now willing to attend concerts devoted to symphonies and concertos. But radio has not yet been able to satisfy the lovers of good music. Occasional symphonies are broadcast; but if questionnaires are reliable guides to public taste the majority of people do not want this sort of thing, and even when Professor Shelley’s conservatorium has been established the programmes of so-called “heavy music are not likely to be very frequent. It is also true that a symphony loses something in transmission, and that music played by a flesh-and-blood orchestra to a large and appreciative audience becomes an experience of a kind unknown to those who listen from a distance. The great cultural centres of the world have not been affected by the growth of radio. Concerts in London still draw their crowds; during the season it is still necessary to stand wedged in the huge audience that is supposed to “promenade” at the Queen’s Hall; and visiting pianists or conductors find no fading of enthusiasm. It is difficult not to feel that the position remains comparatively unaltered as far as the arts are concerned. The new amusements provide distractions, but not of a kind that will undermine the allegiance of those who care for a cultivated leisure. It is probably true enough that the amusement tax has been “the last straw” in the case of the Auckland orchestra; and there is no reason why a Government which devotes so much money to social welfare should not be persuaded to forgo its small taxes from the few movements, classed technically as amusements, which really attempt to improve the cultural values of the people. “Under previous Governments,” said the chairman of the orchestra, “musical societies in the Dominion were always exempted from this tax, with certain provisos . . . .” The present Government should be asked to follow the example of its predecessors; there is everything to be gained from a united movement on the part of musical societies to put their case before the Minister concerned. It could be pointed out, quite justly, that a policy is inconsistent which allocates public moneys for a conservatorium in Wellington and at the same time withholds concessions from an orchestra in Auckland. If the Government is really anxious to make use of radio as a cultural force in the country its advisers on these matters should understand that the first step must be towards aiding and strengthening the musical societies already established in the main centres. After all, it is from these societies that musical talent is most likely to come; and centralization can be nothing but an evil if it is to be attained only at the expense of organizations which have already established themselves without Government assistance. Nevertheless it should be emphasized that a remission of taxes can provide only a negative encouragement, and that the impulse to preserve and develop the arts must come from the people themselves. In Christchurch there has just been formed an organization known as the International Picture League which aims at the better distribution of the work of New Zealand artists. It is recognized that paintings of much promise, and sometimes of considerable value, are returned unsold to the artists after every exhibition and the sponsors of the new movement are courageously attempting to arrange for the loan —and ultimate purchase—of these pictures among members of the public who care for original work with local backgrounds. They believe also that if the movement spreads to other centres it may be possible to arrange for an exchange of pictures with art societies in other countries. Just how far that can be possible it would be unwise to say. Every attempt of this kind is faced sooner or later with the old difficulties that beset an art in a young country. But at least it indicates an enthusiasm for things of the mind and spirit, and points to the single direction in which the lovers of the arts can hope to overcome the apathy of a busy or

indifferent public. The Bohemian Symphony Orchestra is not newly organized. It has made possible the musical training of between 400 and 500 young players, some of whom have found places for themselves overseas. Therefore it should have some strength about its roots, and must be in a good position for seeking public support. Even if many new subscribers are needed before the orchestra can continue to function, the attempt to secure them is well worth making. The arts have never had an overflowing support, and not the least of the benefits available for those who turn to them is the increase of strength which comes from sincere effort in a good cause.