But put Igor Strawinsky, or some other modern genius, to work on this problem and see what happens! The musician of the future should revel in the opportunity the moving picture gives him to create a new form. This form differs from that of the incidental music for a play in that the flow of tone may be continuous and because one never needs to soften the accompaniment so that the voices may be heard; it differs from the music for a ballet in that the scene shifts constantly, and consequently the time signatures and the mood and the key must be as constantly shifting. The swift flash from scene to scene, the “cut-back,” the necessary rapidity of the action, all are adapted to inspire the futurist composer to brilliant effort; a tinkle of this and a smash of that, without “working-out” or development; illustration, comment, piquant or serious, that’s what the new film music should be. The ultimate moving picture score will be something more than sentimental accompaniment. _New York, November 10, 1915._ Spain and Music “_Il faut méditerraniser la musique._” Nietzsche. Spain and Music It has seemed to me at times that Oscar Hammerstein was gifted with almost prophetic vision. He it was who imagined the glory of Times (erstwhile Longacre) Square. Theatre after theatre he fashioned in what was then a barren district--and presently the crowds and the hotels came. He foresaw that French opera, given in the French manner, would be successful again in New York, and he upset the calculations of all the wiseacres by making money even with _Pelléas et Mélisande_, that esoteric collaboration of Belgian and French art, which in the latter part of the season of 1907-8 attained a record of seven performances at the Manhattan Opera House, all to audiences as vast and as devoted as those which attend the sacred festivals of _Parsifal_ at Bayreuth. And he had announced for presentation during the season of 1908-9 (and again the following season) a Spanish opera called _Dolores_. If he had carried out his intention (why it was abandoned I have never learned; the scenery and costumes were ready) he would have had another honour thrust upon him, that of having been beforehand in the production of modern Spanish opera in New York, an honour which, in the circumstances, must go to Mr. Gatti-Casazza. (Strictly speaking, _Goyescas_ was not the first Spanish opera to be given in New York, although it was the first to be produced at the Metropolitan Opera House. _Il Guarany_, by Antonio Carlos Gomez, a Portuguese born in Brazil, was performed by the “Milan Grand Opera Company” during a three weeks’ season at the Star Theatre in the fall of 1884. An air from this opera is still in the répertoire of many sopranos. To go still farther back, two of Manuel Garcia’s operas, sung of course in Italian, _l’Amante Astuto_ and _La Figlia dell’Aria_, were performed at the Park