The Musical Society

It is surely not fanciful to suppose that Shakespeare meant his actors to interpret to his audiences all these various aspects of this many-sided word 'smile'. He uses it again, and most significantly, at the supreme moment of the parting of Brutus and Cassius before the battle :- "For ever and for ever farewell, Cassius ! If we do meet again, why, we shall smile; If not, why then this parting was well made."

So Brutus. And Cassius, in reply :- "For ever and for ever farewell, Brutus ! If we do meet again, we'll smile indeed; If not, 'tis true this parting was well made."

The almost exact repetition is remarkable; and a reading of the lines leaves little doubt that there is a deliberate, purposeful emphasis of the word "smile". One cannot help feeling that Brutus' smile would have a touch of smug self-satisfaction; the smile of one who had "set death in one eye and honour in the other" and looked on both indifferently—in the confident hope that virtue would be rewarded. And Cassius' smile (the very modification of his line suggests this) would surely be tinged with triumphant malice.

But it was not to be. They never smiled again. The scales were tipped in favour of Antony, who was given to good honest laughter. He had the last laugh, as Trebonius, with unconscious irony, predicted, when the question of his killing was debated by the conspirators :- ". . . . Let him not die;

For he will live and laugh at this hereafter."

Perhaps Shakespeare did not like smiles, which may mean anything, but preferred open-hearted laughter?

And if you are not convinced by this theory of Shakespeare's use of a "theme word", try it for yourself with 'Macbeth' and the word `sleep'. L.B.

D. G. Hilton has been appointed Secretary for next year.

The weekly gramophone recitals were discontinued for the summer, but the following musical events took place during the term. House Singing Competitions—Tuesday, 27th June. Recital of English Cathedral Music by the Choir of York

Minster—Wednesday, 5th July. Talk on "Stringed Instruments" by D. P. Norwood and D. J.

Wilson—Saturday, 22nd July. Musical Society Concert—Thursday, 27th July. Bach Bicentenary—(i) Magnificat in D in Chapel, Monday, 24th July. (ii) Organ Recital of his works—Friday, 28th July.

We are indebted to the 'Master and Fellows of Trinity College, Cambridge, for the loan of the original manuscript of Alan Gray's anthem "What are these that glow from afar", and to Messrs. Novello and Co., Ltd., for the loan of the original manuscript of Parry's "I was glad", which were shown in the Library at Commemoration. "STRINGED INSTRUMENTS"

D. P. Norwood and D. J. Wilson gave an interesting and wellinformed talk on Stringed Instruments to a small but appreciative audience on Saturday evening, 22nd July.

Norwood sketched the history of the stringed instruments of the orchestra and described their construction, capabilities and limitations. His talk was followed by a lively discussion on the methods of tuning violins, and there was an erudite argument about "temperament", as applied to tuning.

Wilson showed that the strings have always been the backbone of the symphony orchestra and he played several records to demonstrate this not always obvious point.

The fine weather and other interests out of doors contributed to making the audience very small. The talk was repeated on the following Tuesday to the Shells. MUSICAL SOCIETY CONCERT Thursday, 27th July, 1950

The concert coincided with the showing of the School Art Exhibition, and the decoration of the Big Hall provided a setting reminiscent of the lunch-time concerts at the National Gallery.

D. J. Wilson opened the programme with Handel's delightful minuet from "Samson". His intonation was not always faultless, but his expression and bowing were good, and he made the best use of an excellent vibrato. The violin solo was followed by a Schubert Impromptu, played by Shepherd, who was brought in at very short notice to deputise for Ford, who was absent. He acquitted himself well, and gave a convincing performance.

The third work was Beethoven's Pathetique Sonata, and, with each movement played by a different pianist, it was interesting to compare techniques. P. Jenkins made the most of the startling contrasts of the first movement; M. G. Goodburn followed with the slow movement, playing with plenty of expression except when his attention was wholly taken up with technical matters. It was a brave attempt, but in places lacked light and shade. Mr. Waine rattled off the Rondo and managed to make of it a more convincing movement than it really is.

Haydn's Serenade, the signature tune of "Music in Miniature", was played by D. P. Norwood, leader of the School Orchestra. It was interesting comparing his performance with Wilson's. His intonation was excellent and his notes accurate, but as he does not play with vibrato his tone by comparison was lifeless.