these soloists are better performers than those one hears under more holy auspices; frequently they are identical. The violinists play Kreisler, the Beethoven Romances, and pieces by Drdla, Vieuxtemps, de Beriot, Paganini, and Mendelssohn. Yes, the first movement of the E minor concerto figures occasionally in moving-picture theatre concert programs, where, at the present day, I am inclined to believe it belongs.
This might be regarded as poetic justice. In any case, it is a fact, and a fact that cannot be ignored. It strikes me that from this time on we should hear precious little about "concerts for young people," "educational concerts," "popular concerts," and the like. In the circumstances, the directors of our best orchestras can invent no flimsy excuse for playing too much Beethoven, Schumann, Schubert, and Wagner, or any of the works of Grieg, Liszt, Mendelssohn, and Tchaikovsky. Brahms, by the peculiar veils of his art, seems, at the moment, to be protected from the cinema halls, although violinists occasionally perform his Gipsy Dances there, and almost any day I expect to hear some deep-voiced contralto sing the Sapphische Ode or the Vergebliches Standchen between Douglas Fairbanks and Charlie Chaplin.
The importance of the musical accompaniment to the films and of the intermediate concert num-
