ah VANDERPANT MUSICALES .
ORF for the tapers on the mantelpiece and the ever-changini

flames in the fireplace, sending out their understandin

light—all was in velvety darkness. There we were—loung
ing—-sitting—our imaginations transporting us to another world
each one’s fancy free, waiting expectantly. Then it began—tha
wonderful inspiring music, pouring like the happy morning song 0}
a bird from the very heart of the machine. Enraptured, we listene
to number upon number of the very finest of musical composition E
and perhaps were capable of receiving just the slightest insight int
and understanding of, what the composers were trying to tell maf
kind of their struggles, hopes, joys—and everything that makes li
worth while. The old masters of music were listened to with kee
appreciation and a good deal of awe—the same reaction as to a iif
painting, a piece of sculpture, or a magnificent old-world buildin:
Perhaps different thoughts possessed us when our more modet
music, by Ravel and Stravinski, was played. Its newer harmony, if
impressionism, was keenly realized and enjoyed in contrast to th
mathematical precision—the building up of certain movements,
more guarded expression—of the older compositions. In like contrai
we have in the painting world the works of the old masters, and th
newer art and impressionism of the modern artists. i
Pleasant little discussions and tete-a-tetes were indulged in durin
the serving of refreshments, after which we returned to (listen t¢
the music with renewed enthusiasm.
It is the first time that our school has been asked to join hands, as
were, with her sister art in this manner, and we here wish to expreé
our keen appreciation to Mr. and Mrs. Vanderpant for making th

opportunity possible to us in such a delightful and inspiring way:
ADA F. CURRIE. |
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