recognize no tune save
"God Save the King," and that only because people stand up when it is
played. Also we are aware that some musicians are utter Philistines so
far as other branches of art are concerned.

It is difficult enough to get people to patronize the theatres, and it
would be madness to keep any away by requiring them to make great
sacrifices on the altar of music.

The fact remains that the selection of music is often very carelessly or
foolishly made. To begin with, there is an appalling lack of variety. At
one period "Pomp and Circumstance" was played in almost every theatre,
sometimes well, often badly, till we got sick of it. Pieces such as
"Apres le Bal" and "Simple Aveu" were hurled at us every night. A
statement of the number of times that Nicolai's overture to _The Merry
Wives of Windsor_ has been played in the theatres would stagger people;
Gounod's _Faust_ music and Edward German's charming dances from _Henry
VIII._, and one or two overtures by Suppe and the Stradella music, have
become intolerable.

Without posing as the so-called "superior person," without demanding
unpopular classics or asking for the performance of serious chamber
music or severe symphonies, or expressing a desire for Bach--a holiday
might very well be given to the Bach-Gounod "Ave Maria"--we merely pray
for greater variety and also for more careful consideration of the
congruity between the play and the character of the _entr'acte_ and
introductory music.

It should be the duty of somebody to see that an effort is made to
confine the music to works harmonious with the emotions which the
dramatist intends to excite. We ought not to have the "Teddy Bears'
Picnic" just after hearing the heroine weep over the idea that her
husband is faithless; whilst the feelings caused by the agonies of
Othello are not strengthened by hearing the "Light Cavalry" overture;
and the _Faust_ ballad music falls queerly upon the despair of the hero
when he learns that he is ruined. It may be admitted that in many
instances an effort is made to carry out these entirely unoriginal
views, but even in some of our most carefully conducted playhouses there
are strange lapses.

There is another point. It very often happens that the list of pieces
printed upon the programme, for which in most of the theatres a charge
of sixpence is made, is a mere snare. Sometimes none of the pieces
mentioned is played, whilst to alter the order is quite a common matt