would provide a concert with almost as many moving-pictures as are presented in an evening at a cinema theatre, for it is well to realize that eight-tenths of the music played at modern concerts is program music. Let me offer a concrete example. When an orchestra plays Dukas's l'Apprenti-sorcier, it is the custom to print Goethe's verses, on which the tone-poem is founded, in the program books. Why not, instead, cause a picture to be taken which will synchronize exactly with the music, and run off this picture whenever and wherever the music is performed? A roll of films, indeed, should be sold with each score. Now, when the theme of the broomstick demon, roused to fetch water by the inquisitive apprentice, is heard in the orchestra, the stick will rise on the screen and go through the motions of bearing pails of water into the laboratory of the sorcerer until the room is flooded. In vain the apprentice begs him to desist, for, although the lad has puzzled out the incantation necessary to summon the spirit, he has neglected to acquaint himself with the countercharm essential to dispel the disturbing presence. This magic broom, pouring out pails of water, could be cleverly counterfeited on the silver sheets, and, I think that the music performed before this appropriate action would make treble the ordinary effect.
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