Eleanor Toye (Soprano)
The Entente String Quartet: Cecil Bonvalot (1st Violin), Dorothy Churton (2nd Violin), James Lockyer (Viola), Edith Churton (Violoncello)

How it happens that in this country listeners regard string quartet music as difficult to enjoy, is among the mysteries which are specially hard to solve. There is no music in the world better fitted for hours of case and relaxation by the hearth of an evening, and, if it had been called 'Fireside Music,' its simplicity and essential homeliness might have been better realized. Whether one takes pleasure in recognizing the forms of the different movements, the reappearances of the different tunes, whether one listens simply to the tunes themselves as a happy rest for the tired mind, the string quartet offers literally infinite delight. Every player of a string instrument knows for himself, or herself, that it is the best form of what a wise American writer calls, 'the sport of chamber music' - in the best sense of the words, joyously good fun.

The string quartets of Haydn are almost all full of bright spirits, and even of mirth. The one to be played at the end of this programme begins with a more serious strain than some, but very soon 'Papa,' as the whole world of music affectionately calls Haydn, breaks off into something very like chuckles.

The slow second movement, very short, has a hint of wistfulness in its tune. but it, too, is interrupted by merry little runs in the first violin part.

The two tunes in the third Movement - the Minuet which begins and ends it, as well as the one in the middle section called the 'Trio' - are both full of the most charming grace, and the last Movement, energetic and vigorous, makes a good deal of use of the device of syncopation which runs riot in modern dance music.

The first of the two quartets in this programme is by the Hungarian composer, Dohnanyi, well known to us in this country as a brilliant pianist. His quartet, too, is in four distinct Movements, differing from Haydn's only in their rather more elaborate build, but no less tuneful and melodious. The First Movement has a slow introduction, whereas, Haydn's begins at once with the customary quick section.