The choice of Bridge as one of the composers included in the first festival of the Music League, at Liverpool in 1909, suggests that, by the age of thirty, he was becoming established on the English musical scene. No one on the committee of the League, except perhaps Wood, would have had any personal interest in promoting Bridge's music in particular and, despite some wrangling behind the scenes, the programmes finally chosen reflected, for the most part, the rising talents of the day.1 Apart from Bridge's Dance Rhapsody, compositions by Bax, Brian, Vaughan Williams, Holbrooke and Ethel Smyth were performed. Unfortunately, the activities of the Music League foundered in 1913, due to lack of support, but after the war another society was created which continued its work, having similar aims. This was the British Music Society under the leadership of A Eaglefield Hull, and works by Bridge featured at two of its congresses; in 1920, when his First String Quartet was performed by the London String Quartet (5 May), and in 1921, when the Second String Quartet was played by the English String Quartet (15 June). Bridge's music had become a recognized part of English musical life.
Indeed, with the Cobbett competitions, Bridge had a further success: he entered his Second String Quartet in the competition for a string quartet in full sonata form. In order to make headway on the quartet, Bridge had abandoned the scoring of his orchestral tone-poem, Summer, which he had already completed in sketch form in July 1914, but unfortunately could only complete the quartet by the following March, thereby making his entry late. Nonetheless, in the face of strong opposition from 44 other quartets entered, Bridge's quartet won first prize. In 1917, when the next Cobbett competition was held, Bridge was no longer a competitor, but sat on the jury in the company of Ireland, Dunhill, Lionel Tertis and other chamber-music enthusiasts, judging the various folk-song phantasies that had been submitted.