In place of the many brass bands and "Army Quadrilles," we see a programme consisting of the works of Beethoven, and instead of the jewelled b[^a]ton, the alcoholic atmosphere and the focused limelight, a programme is presented that not many years ago would have been regarded, even by music lovers, as classical to the point of severity. The days of Aladdin are evidently capable of duplication! Nothing more is needed to prove what a vast change has been brought about in the taste of the masses in regard to music, and it is a matter of thankfulness that its consummation has been so greatly accelerated by an Englishman, owing nothing to foreign education. The establishment by Sir Henry Wood of the Queen's Hall Symphony Concerts, and the great and permanent success attained by them, naturally led to the striving of others to emulate him. The first result was the formation of the London Symphony Orchestra, the majority of whose members, it may be remarked, were originally in Sir Henry Wood's band. Difficulties arose as to the employment of deputies by the older and better known players, who were, naturally enough, reluctant to give up such engagements as the great provincial festivals, and others of serious importance, afforded. The inability to arrive at an agreement caused about fifty members to recede from the orchestra and form one of their own, which they did with the active sympathy and help of Dr. Richter, who conducted their first public performance on June 4th, 1904. An interesting feature of the scheme inaugurated by the management was the invitation to different celebrated conductors to conduct one or more of the series of concerts decided on. This idea was, undoubtedly, a happy one, and proved a complete success. The curiosity of the public was evidently stimulated by a galaxy of men that included Richter, Elgar, Nikisch, Henschel, Safanof, and Colonne. And well it might be! In his interesting "History of the London Symphony Orchestra, Ltd.," Mr. F. Gilbert Webb, the well-known critic, writes: "Such a procession of famous conductors is unique in the history of English orchestras." I am inclined to think, however, that it would be extremely difficult to carry on so complicated a policy, for it would be often impossible to make the arrangements of such men fit in with dates that are, and obviously must be, more or less arbitrarily fixed by the proprietors of the halls in which the concerts are given. At any rate, the experience of the players has been one of keen enjoyment, and one of the most prominent among them, Mr. T. E. Wotton, in writing to me, alludes to some of the performances as "veritable revelations." The next organisation to enter the field of competition was "The New Symphony Orchestra." Here again a decisive and direct policy was determined upon, a leading idea being that the orchestra, from first to last, should consist, solely, of Englishmen.