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 opera _María 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._ The Land of Joy "_Dancing is something more than an amusement in Spain. It is part of that solemn ritual which enters into the whole life of the people. It expresses their very spirit._" Havelock Ellis. The Land of Joy An idle observer of theatrical conditions might derive a certain ironic pleasure from remarking the contradiction implied in the professed admiration of the constables of the playhouse for the unconventional and their almost passionate adoration for the conventional. We constantly hear it said that the public cries for novelty, and just as constantly we see the same kind of acting, the same gestures, the same Julian Mitchellisms and George Marionisms and Ned Wayburnisms repeated in and out of season, summer and winter. Indeed, certain conventions (which bore us even now) are so deeply rooted in the soil of our theatre that I see no hope of their being eradicated before the year 1999, at which date other conventions will have supplanted them and will likewise have become tiresome.