In the Lyceum Theatre he had a food little friend in a small gas-lamp rear one of the doors. Sometimes, vhen the orchestra played something 1e'did not like or which was boring, 1e followed the movements of the amp, watching how it reacted not nly to the "forte" and "piano" but ven to certain instruments. Did they lot all say at times, in a realistic if 10t academic manner: "There's a kick n this music."
Some people said that they liked azz, but did not like music. This was a fallacy, for real jazz required very good musicians and contained a of of music. He remembered hear-ug once the playing, under the direc-ion of one of the most obdurate ex-"onents of classical music, of Tans-nan's "Transatlantic Sonata," which vas composed of a fox-trot, a blue ind & rag-time-and it was pure and ery beautiful jazz.
After explaining some of the techni-al si between jazz and classical music, M. Grosbois went on o remark:
"Music critics always y too much r not enough, and their craze is to ry and eXgiain everything. They ire responsible for so many people cing shy and discouraged when they lear musie."
He concluded by pointing out:—"It you like any kind of music, you ire musical. When you.hear music, as children; listen with unsophisleated ears. Let music come to you ind bring its message; let your retions, your emotions and impres-ions follow their natural course and ergot any preconceived ideas or pre-udices, You will be astonished at. he many pleasures you-have missed ind at the many pleasures you may expect."
Following M. Grosbois' talk, a miniature concert was given, as fol-
Several violin pieces, played by Mme. grosbois at the piano and M. Grosbois the violin, consisting of:—Bach's "Grave" and a prelude by, Debussy. Largo" by Leclair and "Gig" by Aubert, Piano solos by Mrs. H. Schlepianof, rom the Paris National Conservatory Music, consisting of:—Cesar Franck's Prelude, fuge and variation, and \baniz's street noises.
Text read from the printed page and cleaned; old type leaves the occasional error.