The distinguished use to which Taylor later put the technic he had acquired in these excursions into the theatre, saves them from classification as “pot-boilers.” And, what is more to the point, the music itself which he had written for these various productions, was of a quality which calls for no apologetic comment. Again he had shown his versatility and again he had added to the stature of his name as a creative artist. During the period of prolific productivity in the theatre Taylor’s addresses to the audiences of the formal concert halls were less frequent. Three outstanding works, however, found expression amid the whirl of activity attendant upon daily reviews of musical performances for his paper “The World,” with his work often interrupted by conferences with producers, scenario writers, playwrights, actors, managers and others, to say nothing of the supervision of rehearsals. These contributions were the song for baritone, _Captain Stratton’s Fancy_, a setting of the John Masefield poem; the symphonic poem, _Jurgen_ (Op. 17); and the suite for Jazz Orchestra, _Circus Day_ (Op. 18), for which the resourceful Ferdie Grofé was called upon to supply the orchestral arrangement. _Jurgen_ offers additional support to the contention made in the opening paragraphs of this record. It is another example of the service rendered by Deems Taylor to the cause of the American composer, for it represents one of the pioneer instances in which a conductor of an American symphony orchestra has sought out an American composer and commissioned him to write music for specific performance. Our composers had accustomed themselves to regard our symphony orchestras and their conductors as stumbling blocks in the road of progress. Taylor, in company with George Gershwin and Henry K. Hadley, and with the far-seeing Walter Damrosch as the instigator, was helping, then and there, to change a securely established custom. The orchestra was to go after the composer; and this shattering of precedent is of far greater consequence than may seem apparent to casual observance of the facts. For the same reason the attitude of the Metropolitan Opera Company toward the American composer and toward homemade opera, is a subject which offers unlimited opportunities for conjecture. Proof of an open-minded policy, a sincere desire to bring forth the best that was to be had, is afforded by the action (during the Winter of 1925) of the Board of Directors in commissioning Deems Taylor, on the strength of his achievements in other musical forms, to compose an opera which would be promised a production. No restrictions were placed upon him: The choice of a libretto was left entirely in his hands. Note again the part which Deems Taylor was playing in the breaking down of traditional methods to set the function of the native composer in a new light.