and even loved all over the country. Such cases, however, do not alter the fact that there still exists a curious disproportion between the reputation, accepted almost without challenge throughout the country, of a Stravinsky or a Schönberg, and the fact that _Verklärte Nacht_ and _L’Oiseau de Feu_ are still their most frequently performed works, while their mature and more characteristic music is relatively seldom performed. This disproportion is partly rectified by the existence of many recordings of Schönberg’s music, as it was, momentarily, balanced by performances of his works in his memory just after his death. The great public finds _all_ music difficult to grasp, not only contemporary music. Contemporary music meets with opposition in the United States because it is unfamiliar and hence difficult. On the other hand, with only slight exaggeration it can be pointed out that tradition has very little value as a weapon against those who would prefer hearing a concerto by Rachmaninoff to one by Mozart. If, in the policy governing the choice of programs, one succeeded in satisfying only the majority of listeners, nothing would be left for the elite, the certainly much smaller public wishing to hear contemporary music and, as well, the more exacting and profound music of the past. The prestige and glamor of the great names of the past rather than tradition checks this trend, opposing to it the growing demands of a considerable segment of the public. That public is gradually developing in size and experience. Furthermore, the artistic conscience of several leading musical personalities in the United States (unfortunately not all of them, whether of American or European background) oppose the “system,” the rewards of which are naturally great for those who come to terms with it; many a European performer, during the whole course of our development, has been willing to seek success in the United States at the lowest level, with little concern for the musical development of our country. Such performers usually excuse their departure from standards with the supposedly low level of culture in our “backward” country and are supported in their attitude by business interests and as well by a certain element of cultural snobbery, still persisting. Fortunately there have always been others, such as Theodore Thomas of earlier days, or Karl Muck, forty-five years ago in Boston, or like the pianist Artur Schnabel, and there are still others who maintained the highest standards here as elsewhere and thus manifested fundamental respect for the American public, themselves, and their art. These personalities created, in the largest measure, our music life, and their inspired followers today obstruct its debasement.