P. 62. When Dmitri Slaviansky visited Barcelona with his Russian choir in 1895, introducing Russian folk-music to Spain, he became very much interested in the folk-music of Catalonia. His enthusiasm was contagious and Spanish musicians themselves caught the fever. In that very year Enrique Morera made a harmonization of the first verse of _Sant Ramón_, a traditional melody from the island of Mallorca, which was performed by the Russian Choir. Later Amadeo Vives founded the Orfeó Catalá, a choral society which devotes itself for the most part to the exploitation of the old folk and religious music, arranged by Morera, Pedrell, and other Spanish composers. Lluis Millet is now the director of this organization, which visited Paris and London in the spring of 1914. In both these cities the Choir was received with enthusiasm. Henry Quittard wrote in "Le Figaro": "We must confess that we have never heard anything that could approach this extraordinary ensemble." Emile Vuillermoz said, "A most varied program showed all the resources of this miraculous instrument, which ravishes and at the same time humiliates us profoundly. The comparison of our most reputed French choruses with this splendid phalanx is singularly sad for our own pride. Never have we had such discipline in a group which unites voices of such quality. Now we know what can be done. It is impossible to imagine the degree of technical perfection, of collective virtuosity, which human voices can attain, before one has heard the colossal living organ which Lluis Millet has presented Barcelona." Lluis Millet has issued a book with musical illustrations on "The Religious Folk-Song of Spain." On January 15, 1918, the Schola Cantorum of New York under the direction of Kurt Schindler gave a concert at Carnegie Hall in which the major part of the program was devoted to songs in the répertoire of the Orféo Catalá, sung in the original tongues. Strictly speaking these can no longer be called folk-songs as they have all been re-arranged. In some instances, aside from an occasional use of a folk-melody, they may be considered original compositions. Several of the songs were arranged, in some instances one might almost say composed, by Kurt Schindler and presented for the first time in their new form. One of these, _A Miracle of the Virgin Mary_, a fourteenth century canticle of Spanish Galicia, in which Mabel Garrison's lovely voice was assigned an important rôle, proved to be very beautiful. The whole program, indeed, aroused the deepest interest.