nce chiefly of the popular
sort, makes frequent use of devices shocking to the conventional. But
even in this he is impelled by the enthusiasm of an experimenter and a
developer. Almost every unconventional novelty is hooted at in the
arts. But the sensationalism of to-day is the conservatism of
to-morrow, and the chief difference between a touch of high art and a
trick is that the former succeeds and the latter does not. Both are
likely to have a common origin.

The good thing is that Sousa is actuated by the spirit of progress and
experiment, and has carried on the development of the military band
begun by the late Patrick S. Gilmore. Sousa's concert programs devote
what is in fact the greater part of their space to music by the very
best composers. These, of course, lose something in being translated
over to the military band, but their effect in raising the popular
standard of musical culture cannot but be immense. Through such
instrumentality much of Wagner is as truly popular as any music
played. The active agents of such a result should receive the
heartiest support from every one sincerely interested in turning the
people toward the best things in music. Incidentally, it is well to
admit that while a cheap march-tune is almost as trashy as an
uninspired symphony, a good march-tune is one of the best things in
the best music.

Though chiefly known as a writer of marches, in which he has won glory
enough for the average human ambition, Sousa has also taken a large
place in American comic opera. His first piece, "The Smugglers," was
produced in 1879, and scored the usual failure of a first work. His
"Katherine" was never produced, his "Desiree" was brought out in 1884
by the McCaull Opera Company, and his "Queen of Hearts," a one-act
piece, was given two years later. He forsook opera then for ten years;
but in 1896 De Wolf Hopper produced his "El Capitan" with great
success.

The chief tune of the piece was a march used with Meyerbeerian
effectiveness to bring down the curtain. The stout verve of this "El
Capitan" march gave it a large vogue outside the opera. Hopper next
produced "The Charlatan," a work bordering upon opera comique in its
first version. Both of these works scored even larger success in
London than at home.

[Music: Used by permission of the John Church Company, owners of the
copyright.

A PAGE FROM "EL CAPITAN," BY JOHN PHILIP SOUSA.]

In "The Bride Elect," Sousa wrote his own libretto, a