ffer represented a prior claim, and so I secured it. The Guadagnini,
which I have played in all my concerts here, I am very fond of--it has a
Stradivarius tone rather than the one we usually associate with the
make." Mr. Brown showed the writer his Grancino, a beautiful little
instrument about to be sent to the repair shop, since exposure to the
damp atmosphere of the sea-shore had opened its seams--and the rare and
valuable Simon bow, now his, which had once been the property of
Sivori. Mr. Brown has used a wire E ever since he broke six gut strings
in one hour while at Seal Harbor, Maine. "A wire string, I find, is not
only easier to play, but it has a more brilliant quality of tone than a
gut string; and I am now so accustomed to using a wire E, that I would
feel ill at ease if I did not have one on my instrument. Contrary to
general belief, it does not sound 'metallic,' unless the string itself
is of very poor quality.

PROGRAMS

"In making up a recital program I try to arrange it so that the first
half, approximately, may appeal to the more specifically musical part of
my audience, and to the critics. In the second half I endeavor to
remember the general public; at the same time being careful to include
nothing which is not really _musical_. This (Mr. Brown found one of his
recent programs on his desk and handed it to me) represents a logical
compromise between the strictly artistic and the more general taste:"

PROGRAM

I. Beethoven . . . . . Sonata Op. 47 (dedicated to Kreutzer)

II. Bruch . . . . . . Concerto (G minor)

III. (a) Beethoven . . . . Romance (in G major)
(b) Beethoven-Auer . . Chorus of the Dervishes
(c) Brown . . . . . Rondino (on a Cramer theme)
(d) Arbos . . . . . Tango

IV. (a) Kreisler . . . . La Gitana
(Arabo-Spanish Gipsy Dance of the 18th Century)
(b) Cui . . . . . . Orientale
(c) Bazzini. . . . . La Ronde des Lutins

"As you see there are two extended serious works, followed by two
smaller 'groups' of pieces. And these have also been chosen with a view
to contrast. The _finale_ of the Bruch concerto is an _allegro
energico_: I follow it with a Beethoven _Romance_, a slow movement. The
second group begins with a taking Kreisler novelty, which is succeeded
by another slow number; but one very effective in its working-up; and I
end my