Arnold Schoenberg is another matter. He is still using as propaganda music which he wrote many years ago. No public has yet caught up with his present output. That is an excellent sign that his music is of the future. The string sextet, _Verklärte Nacht_, which the Kneisel Quartet played more than once in the season just past, dates from 1899. The string quartets were written in 1905 and 1908. The five orchestral pieces, the six piano pieces, and _Pierrot Lunaire_, other music of his on which what fame he possesses outside of Austria rests, are all over two years old. Now the Boston Symphony Orchestra has only recently deemed it fitting to play the five orchestral pieces, and I believe the piano pieces received their first public performance in New York at one of the concerts given by Leo Ornstein, although several pianists, notably Charles Henry Cooper and Mrs. Arensberg, had played them in private. In 1911 Schoenberg issued his quite extraordinary “Handbuch der Harmonielehre,” which is one of the best evidences that, even though the composer dies in the war, others will follow to carry on the torch from the point where he dropped it. Yes, Schoenberg, no less than Henri Matisse, is a torch-bearer in the art race. He is a stone in the architecture of music--and not an accidental decoration. May I quote a few passages from the “Handbuch”? “The artist does not do what others find beautiful, but what he finds himself bound to do.” “If anyone feels dissatisfied with his time, let it not be because that time is no longer the good old time, but because it is not yet the new and better time, the future.” “Though I refrain from overprizing originality, I cannot help valuing novelty at its full worth. Novelty is the improvement toward which we are drawn as irresistibly, as unwittingly, as towards the future. It may prove to be a splendid betterment, or to be death--but also the certainty of a higher life after death. Yes, the future brings with it the novel and the unknown; and therefore, not without excuse, we often hold what is novel to be identical with what is good and beautiful.” With the single exception just noted it is not from the German countries that the musical invention of the past two decades has come. It is from France. Whether Debussy or Erik Satie or Fanelli first developed the use of the whole-tone scale is unimportant; they have all been writing in Paris.