unkett Greene, in
his work upon song interpretation, makes no room for the existence of
songs of this kind. Indeed, he would cast them all into the discard.
This seems to me a huge mistake. Surely we can not say that music is a
monopoly of the few who have schooled their ears to enjoy outlandish
disonances with delight. Music is perhaps the most universal of all the
arts and with the gradual evolution of those who love it, a natural
audience is provided for music of the more complicated sort. We learn to
like our musical caviar with surprising rapidity. It was only yesterday
that we were objecting to the delightful piano pieces of Debussy, who
can generate an atmosphere with a single chord just as Murillo could
inspire an emotion with a stroke of the brush.

It is not safe to say that you do not like things in this way. I think
that even Schoenberg is trying to be true to his muse. We must remember
that Haydn, Beethoven, Wagner and Brahms passed through the fire of
criticism in their day. The more breadth a singer puts into her work the
more likely is she to reap success. Time only can produce the
accomplished artist. The best is to find a joy in your work and think of
nothing but large success. If you have the gift, triumph will be
yours.

[Illustration: GIUSEPPE CAMPANARI.

(C) Dupont.]

GIUSEPPE CAMPANARI

BIOGRAPHICAL

Giuseppe Campanari was born at Venice, Italy, Nov. 17th, 1858. His
parents were not particularly musical but were very anxious for the boy
to become a musician. At the age of nine he commenced to study the piano
and later he entered the Conservatory of Milan, making his principal
instrument the violoncello. Upon his graduation he secured a position in
the 'cello section of the orchestra at "La Scala." Here for years he
heard the greatest singers and the greatest operas, gaining a musical
insight into the works through an understanding of the scores which has
seldom if ever been possessed by a great opera singer. His first
appearance as singer was at the Teatro dal Verme in Milan. Owing to
voice strain he was obliged to give up singing and in the interim he
took a position as a 'cellist in the Boston Symphony Orchestra,
remaining with that organization some years. He then made appearances
with the Emma Juch Opera Company, the Heinrichs Opera Company, and
eventually at the Metropolitan Opera Company in New York, where he
achieved his greatest triumphs as leading baritone. Mr. Campanari lon