To speak in terms of music, the members of Sarum House come in trios and duets from their homes in and about Salisbury. Sometimes they come in arpeggios, like all the Carpentcrs, all the Fawcetts, all the Trethowans, all the Sanctuarys, all the Warrens, and all the Leys. Sometimes a soloist appears who has been, perhaps, a prima donna at home, but who finds it jollier and more interesting to be one of a chorus, though parts may want some learning (a cousin of one of these remarked rather ruthlessly, “Oh, she’ll be all right when she has learnt that she is just ‘a pin in a packet.'”). Then there are the conductors, sometimes a Sarum House mistress, and always the Sarum House prefect, either as principal or sub. These strain every effort to get their band together, with that indispensable thing in a conductor, a fine ear for harmony, and with a genius for balancing parts and bringing all into play, and the magnetic power of making them perform as one man, and always with the view of preparing them to join constantly in the massed bands. Then there are all the “Old” Sarum House girls, including those belonging to School House, who now have their homes in Sarum, such as the Wordsworths and Protheros and Audrey Teago. All these O.G.s in Salisbury are like double basses (and two of them actually affect this instrument) with their unwavering deep sustaining notes, which may always be relied upon to go sounding on whatever the rest of the orchestra may be doing. They, together with all O.G.s, look to their master conductor on the Governing Body, whose sister-another member of Sarum House-has just written out, with the help of others, the most complicated score of a great work which, it is prophesied, will live. Copies of it have been distributed all over England and in many distant parts of the world. It may be said to have not only a wide circulation but a wide “register,” for its theme is “The Past, Present and Future of the Godolphin School.”
M. A. D.