We all marvelled how vividly modern these plays, written more than two thousand years ago, seemed as given under the artistic direction of Margaret Anglin. _Electra_, waiting outside the walls of the palace for the sound that shall announce to her the death of _Ægisthus_ and _Clytemnestra_; _Medea_, having entered the palace to kill her own and _Jason’s_ children in order to punish him for his marriage to the young Princess, while the chorus, shaking the iron grill of the doors, implore _Medea_ not to slay her children; _Iphigenia_, youngest daughter of _Agamemnon_, descending alone the great flight of steps to suffer death in the sacred grove of the goddess Artemis, that her wrath may be appeased and favorable winds may send the armies of _Agamemnon_ to Troy—all these are unforgettable scenes, and I was overjoyed to feel that the music which I had written was not inappropriate, but formed a good background for these crucial moments. XX DEAD COMPOSERS I have a large library of musical works. It was begun by my father in 1857, and contains many scores of the composers of that period, sent to him for first performance in Germany. He added to it considerably during his thirteen years in America as founder and conductor of the Symphony and Oratorio Societies, and I have still further enlarged it since I became conductor of these two organizations. My library now virtually represents the entire symphonic development up to the present time, and as I look through my catalogue I am amazed at the number of dead composers which it contains. By this I do not mean those who have passed away, but those who were once celebrated, were hailed as great, but whose works are now forgotten and only repose undisturbed on dusty shelves like mine, for no efforts or housewife’s art will prevent dust from seeping into the shelves of a New York City library!