, and conducted, sometimes deputising for Henry Wood (Payne, Hindmarsh, and Foreman 2001), before devoting himself to composition, receiving the patronage of Elizabeth Sprague Coolidge (Banfield 1986, 62–86; Bray 1977, passim).<br/><br/>According to Benjamin Britten, Bridge had strong pacifist convictions, and he was deeply disturbed by the First World War, although the extent of his pacifism has been questioned in recent scholarship. During the war and immediately afterwards, Bridge wrote a number of pastoral and elegiac pieces that appear to search for spiritual consolation; principal among these are the Lament for strings, Summer for orchestra, A Prayer for chorus and orchestra, and a series of pastoral piano works. The Lament (for Catherine, aged 9 )
Bridge privately taught Benjamin Britten, who later championed his teacher's music and paid homage to him in the Variations on a Theme of Frank Bridge (1937), based on a theme from the second of Bridge's Three Idylls for String Quartet (1906). However, Bridge was not widely active as a teacher of composition, and his teaching style was unconventional – he appears to have focussed on aesthetic issues, idiomatic writing, and clarity, rather than exhaustive technical training. Britten spoke very highly of his teaching, saying famously in 1963 that he still felt he hadn't "yet come up to the technical standards" that Bridge had set him (Britten 1991, 4:204n12). When Britten left for the United States with Peter Pears in 1939, Bridge handed Britten his Giussani viola and wished him 'bon voyage and bon retour'; Bridge died in 1941 without ever seeing Britten again (Kildea 2013, 149)" onerror="this.src='http://old.clerksroom.com/profiles/no-profile.png';" height="200px" />