Oct 1963

BAIRD CUP COMPETITION We were glad to welcome Mr. Patrick Salisbury, H.M. Inspector of Music, on 4th June. He came to judge the inter-House Instrumental Music Competition (the Baird Cup), now in its fifth year. An innovation, which prolonged the evening's proceedings somewhat, was that Mr. Salisbury was asked not only to decide on the best house musically, but also the best keyboard exponent and orchestral instrumentalist as well.

As usual the houses that showed up best were not necessarily those that looked best on paper. The Rise's programme of the Dohnanyi C major Rhapsodie played by C. F. Foster, supported by a two-piano duet played by him and Thirlwell looked a winner, but in fact the ensemble of the not difficult Country Gardens piece fell apart on more than one occasion and they lost marks they could ill afford. On the other hand Temple's programme of organ solo and very easy piano duet (one piano, four hands) looked like the programme of a house making the best of scanty material. But Kitching's determination produced not only a masterly performance of the Fugue from the C minor Sonata by Mendelssohn but superb polish and ensemble in the Slight duets he played with Pullman. So Temple won.

Of the other houses, Queen's put on an ensemble of young players who should, with practice during the coming year, become a formidable team next time. They were supported by 0. G. Hodgson, whose overall grasp of the finale of Beethoven's Pathetic Sonata was marred by some smudgy detail. School House started well with Stevens playing Grieg's 'Wedding Day" from memory and with some feeling for style (though not without some rhythmical liberties that were remarked on by the judge) followed by Grieves and R. H. Grayson playing Tchaikovsky's Chanson Triste in a clarinet and piano arrangement. Grayson had found the accompaniment tough going and it shows much for the musicianship of Grieves and the rehearsals they had put in together over a long period that their ensemble was as good as it was. Manor's Berceuse by Faure is, of course, well-known in other more juvenile connections, but Wrigley and Hirst showed it to be the mature piece it is. Their Marc ell° Sonata for flute, bassoon and continuo had the qualities of greatness and they made many fine points, but their ensemble at the rallentandos was less happy. Manor must find a pianist who can accompany J. C. Plans (flute) in time for next year's competition. Grove put on a splendid programme of the March from Aida for trumpets and trombones only, and a carefully worked out performance of one of the Mendelssohn gondola songs by R. K. Hall. J. F. Brown played the difficult trumpet part of the March from memory and with regal style. Hall would have done better if he had allowed his imagination a freer rein. Grove have it in them to produce a formidable team for next year if they find a piece for their talents and rehearse it sufficiently.

Shouksmith Kitching (piano), Ibberson (piano) and Grieves (clarinet) offered pieces outside the House competition for the music prizes. But, in fact, the winners were contained in the House programmes.

Mr. Salisbury spotted Brown for the instrumental prize and C. F. Foster for the keyboard prize—two results which won general approval.

F.W. 20