The Musical Society

That is. I believe, the pattern and significance of the play. It is what I tried to present in our School production—whether with any success, I do not know. Certainly I agree with the view of the official "Peterite" critic that a single reading or the witnessing of one performance is not enough for a full appreciation of the beauty, wit, and irony of Christopher Fry's masterpiece : and I was well aware from the beginning that our effort was doomed to be inadequate. But, at any rate, we tried.

That is what I would pass on to "One of the Unenlightened". Try. 'In magnis et voluisse sat est". The good things of life are not attained without effort.

Your obedient servant,

LESLIE BURGESS.

The Society has enjoyed a greatly increased popularity this term, as shown by the extremely good attendances at every meeting. The weekly gramophone recitals were re-started with such great success that a decision to discontinue them, due to the erection of the stage in Big Hall, was reversed by public demand. In all, eight recitals were held, as follows :— 5th Oct. D. G. Hilton—Spanish Music. 12th Oct. D. A. Haxby—Vocal Music. 19th Oct. J. M. Smithson—Brahms Programme. 26th Oct. J. T. Ankers—Dvorak Programme. 2nd Nov. J. N. T. Howat—Saint Saens Programme. 9th Nov. E. Robinson—Handel Programme. 16th Nov. G. B. Pullan—Beethoven Programme. 23rd Nov. J. N. T. Howat—Elgar Programme.

On 14th October, a Concert was given by Dr. Harold Royle (baritone) and the Music Staff, and, on 18th November, an illustrated Lecture on "The Concerto" was delivered by J. T. Ankers and D. G. Hilton. Both were extremely well attended, and reports appear below.

Rehearsals began this term for Bach's St. Matthew Passion which will be presented in Chapel on Good Friday.

MUSICAL SOCIETY CONCERT SATURDAY, 14TH OCTOBER, 1950

The concert was held in Big Hall, and the programme consisted of four groups of songs by Dr. Harold Royle (baritone), interspersed with instrumental items by the School Music Staff, Mr. F. Waine and Mr. E. A. Wicks (piano) and Mr. G. W. Stevens (violin).

Dr. Royle began with a set of three Elizabethan love-songs, 30

historically the earliest of his songs. He introduced them (as he did each group) with a short talk on their place in English music, and he spoke of the work of Dr. Fellowes, who had been mainly responsible for the re-introduction of much of this long-forgotten music. Dr. Royle's voice has power and good tone, and he pleasingly brought out the fragrance and the plaintive beauty of these songs. 'Mr. Waine and Mr. Wicks followed with a spirited rendering of the 1st Movement of Mozart's Sonata in D for two pianos. The mutual understanding between them produces an excellent ensemble, and they played with the polish and technique that we have come to expect from them.

For his second group, Dr. Royle sang three Lieder. He showed how adaptable his voice can be by catching equally well the sprightly humour of Vergebliches Standchen, the nostalgic calm of Nacht and Triume, and the jogging lilt of Fussreise. Mr. Stevens and Mr. Waine then gave a performance of the 1st and 2nd movements from Cesar Franck's Sonata for Violin and Piano, and, with artistic phrasing, exactly conveyed the delicacy and the haunting mood of what must rank as one of Franck's greatest works.

The next group consisted of three of George Butterworth's songs from "The Shropshire Lad". To attempt to compose music which would do full justice to the beauty of A. E. Housman's poetry is a task requiring courage; for the melody must completely capture the mood Housman so carefully creates by his every syllable. Butterworth, however, has been not only courageous but successful; and eminently so, since if anything his music increases the intense aesthetic satisfaction that Houseman induces. Dr. Royle gave a good interpretation of his three songs, and most important of all, his words were clear. He was followed by the two pianists playing Milhaud's frolic (for that is surely the only way it can be described), Brazileira from Scaramouche. This was one of the most popular pieces of the evening, and they romped through it with the full vigour and zest for which it calls. As its name implies, it is in Latin American idiom, and is rich in the colour and rhythm of that country. By unanimous request they raced through it again, and although at one point one piano seemed to be a short head in front, even so the result was a tie (as we knew it would be) !

For his last song group, Dr. Royle chose three typical songs from the light operas of Sullivan and German. He began with the "Sentry's Song" from "Iolanthe", followed by the lesser known Arac's Song from "Princess Ida", and he closed the evening with the rousing West Country Lad from "Merrie England".

The very large audience accorded all the performers an enthusiastic reception, and our thanks are especially due to Dr. Royle for so pleasingly entertaining us. D.G.H.