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 of the Singer, from The Merry-Go-Round; Variations on a Theme by Havelock Ellis, On the Relative Difficulties of Depicting Heaven and Hell in Music, and On the Rewriting of Masterpieces, from In the Garret. Of the other three papers, none of which has previously been published in a book, Movies for Program Notes appeared in The Wave; On Hearing What You Want When You Want It, in The Musical Quarterly, and Cordite for Concerts, in The Smart Set.

I cannot say that I subscribe to all the general ideas expressed herein; as a matter of fact, they are not all entirely consistent, a state of affairs to have been expected in the work of a writer who apparently at heart was always creative rather than critical, but I believed them when I wrote them and that condition gives them whatever value they may now possess. They are, fortunately, dated. In all these papers I have made omissions, altered words and phrases, added a few others, and appended footnotes. On the whole, however, I have left them as they were; they are, therefore, not to be regarded as rewritten; they may be said to represent with some accuracy a phase and a period of my career which in all likelihood is at an end.

New York.

March 11, 1924.