I have already spoken of Mlle. Nadia Boulanger, who played the organ for me at the performance of Saint-Saëns’s “Third Symphony” on July 14. Among women I have never met her equal in musicianship, and indeed there are very few men who can compare with her. She is one of the finest organists of France, an excellent pianist, and the best reader of orchestral scores that I have ever known. Again and again I have seen her take up a manuscript orchestral score, sit down with it at the piano, and brilliantly read it at sight, transcribing it for the piano as she played along. When we first met, she and her dear mother were in the greatest grief. A younger sister, Lili, had died only a month before at twenty-four years of age. Beautiful, exquisite, and marvellously talented, she had won the much-coveted _Prix de Rome_ three years before—the first woman to have gained it. A mortal illness had slowly sapped her strength, and as she had been the idol of her mother and sister, her loss was to them a tragedy almost beyond endurance. Nadia, besides keeping up her professional duties—she was substitute organist at the Madeleine during the war—hurled herself into war work and more especially the care of the students of the Conservatoire who were at the front. She knew all their names and the numbers of their organizations and founded a kind of musical gazette, mimeographed copies of which were sent out every month to the students. All kinds of musical news and musical questions were published in it, so that these boys, in the midst of their military duties or while convalescing from their wounds in the hospitals, could have something to think about more immediately connected with their own profession. It is interesting to note that, in answer to the question, “Should German composers like Brahms and Wagner be played at our concerts during the war?” out of fifty-eight, forty-seven answered unequivocally “Yes” for Wagner and Brahms, three “Yes” for Beethoven and the classics, two were undecided, and six said “No.” These answers were accompanied in many cases by highly interesting essays on art and nationality of art, and, altogether, the judgments thus expressed reflected the high intellectual standard of these young French artists at the front.