Enrique Granados y Campina was born July 27, 1867, at Lerida, Catalonia. (He died March 24, 1916; a passenger on the _Sussex_, torpedoed in the English Channel.) From 1884 to 1887 he studied piano under Pujol and composition under Felipe Pedrell at the Madrid Conservatory. That the latter was his master presupposed on his part a valuable knowledge of the treasures of Spain’s past and that, I think, we may safely allow him. There is, I am told, an interesting combination of classicism and folk-lore in his work. At any rate, Granados was a faithful disciple of Pedrell. In 1898 his zarzuela _Maria del Carmen_ was produced in Madrid and has since been heard in Valencia, Barcelona, and other Spanish cities. Five years later some fragments of another opera, _Foletto_, were produced at Barcelona. His third opera, _Liliana_, was produced at Barcelona in 1911. He wrote numerous songs to texts by the poet, Apeles Mestres; Galician songs, two symphonic poems, _La Nit del Mort_ and _Dante_ (performed by the Chicago Symphony Orchestra for the first time in America at the concerts of November 5 and 6, 1915); a piano trio, string quartet, and various books of piano music (_Danzas Españolas_, _Valses Poéticos_, _Bocetos_, _etc._). _New York, March 20, 1916._ Shall We Realize Wagner’s Ideals? Shall We Realize Wagner’s Ideals? Historians of operatic phenomena have observed that fashions in music change; the popular Donizetti and Bellini of one century are suffered to exist during the next only for the sake of the opportunity they afford to some brilliant songstress. New tastes arise, new styles in music. Dukas’s generally unrelished (and occasionally highly appreciated) _Ariane et Barbe-Bleue_ may not be powerful enough to establish a place for itself in the répertoire, but its direct influence on composers and its indirect influence on auditors make this lyric drama highly important as an indication of the future of opera as a fine art. Moussorgsky’s _Boris Godunow_, first given in this country some forty years after its production in Russia, is another matter. That score contains a real thrill in itself, a thrill which, once felt, makes it difficult to feel the intensity of a Wagner drama again: because Wagner is becoming just a little bit old-fashioned. _Lohengrin_ and _Tannhäuser_ are becoming a trifle shop-worn. They do not glitter with the glory of a _Don Giovanni_ or the invincible splendour of an _Armide_. There are parts of _Die Walküre_ which are growing old. Now Wagner, in many ways the greatest figure as opera composer which the world has yet produced, could hold his place in the singing theatres for many decades to come if some proper effort were made to do justice to his dramas, the justice which in a large measure has been done to his music. This effort at present is not being made.