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 informal mode of entertainment, unless the entrepreneurs of the symphony societies take steps to meet this new and increasingly formidable form of competition. Percy Grainger, playing a Steinway grand in a darkened auditorium, in a highly decorative set arranged by John Wenger, with an amber light focused on his aureole of golden hair, is a vastly more effective performer than the Percy Grainger who plays on the bare stage of Carnegie Hall, with the house and its occupants brightly illuminated. Anybody who heard him at the Capitol Theatre will support me in this categorical statement. It must also be taken into consideration that the average customer cannot detect the difference between a performance of Rimsky-Korsakoff's Scheherazade by the Rivoli Orchestra and one by the Boston Symphony. Naturally he pays his money where he can hear the Scheherazade and see W. S. Hart on the same bill.

The backers and angels of the various symphony organizations may as well make up their minds that they will be compelled to face this new music. Now, observing how much effect the cinema palaces have made by combining music with pictures, it has occurred to me to wonder why some enterprising Henry Lee Higginson or Harry Harkness Flagler has not hit upon the idea of combining pictures with music. The