est because his enthusiasm for the game exceeded his wisdom, and he died from a cold which he caught while playing.

In the reign of Charles V, all of the great nobles of the realm played constantly for huge stakes, and when they lost their fortunes they put up their costly clothing rather than give up the game. Their embarrassment was rendered doubly acute by a law which forbad court gallants playing in their shirts. A similar law passed by the Church Council of Sens forbad monks playing in their shirts and in public.

In the days of Henry II, skillful as were the great nobles, the King far outshone them, and history records that if the King had forgotten his position sufficiently to enter the general championship matches, he might well have won. His father, Francis I, who matched his pomp and splendor against Henry VIII on the Field of the Cloth of Gold, also played tennis in his less spectacular moments, as did his tragically weak grandson, Charles IX, and his noble and daring successor, Henry of Navarre.

Louis XIV, "The Grand Monarch," whose court was the most magnificent of all Europe, deigned to play the game which his predecessors had so enjoyed, but in tennis as in all other activities of the King, the ceremony attending a game was so elaborate that the actual play became unimportant. His Majesty had his private court, he had a carefully coached court dignitary who presided over the game, and he had a special lackey who handed him his racket. When things came to such a pass that the King could not even pick up his own racket, tennis was doomed to decadence in France. It became a mild and insipid pastime rather than a vigorous trial of speed and skill, and consequently steadily lost in popularity. Royalty had ruined it.

The Sport of the Tudors

Back in the days of Louis XIV's sporting ancestors, Francis I and Henry II, tennis had traveled to England, and there the Tudors eagerly took it up. Henry VII, the first of the Tudors, was a miserly man, yet he recorded again and again in his account books heavy losses in tennis. His famous son, Henry VIII, played from his early youth

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until his portly figure would no longer permit, and always bet heavily. Certain of his courtiers with an eye to business brought some skillful Frenchmen and Lombards into court to play with the King. Henry lost consistently for a while, and his courtiers, betting against him, lined their pockets with gold, but he discovered the plot at last, and in righteous anger dismissed the foreign players and the crafty courtiers together.

Today at Hampden Court in London there still stands the tennis court which Henry VIII built in 1529. Though used even today, it is yet peopled by the ghosts of the past, for Henry played there himself, Elizabeth the Queen watched many matches from the luxuriously fitted gallery, the martyred Charles I, and his son, the "Merrie Monarch," used the court often, and Albert, husband of Queen Victoria, habitually frequented the historic old place.

A Revival of Interest

In England in the eighteenth century, as in France, tennis declined in interest, only to be revived in 1874 by a meeting of enthusiasts at Londs' Cricket Grounds. They revised the scoring, changed from rubber balls to flannel covered ones, and developed the shape of the court from the sort of hour glass which they then used to the rectangle we play on today.

Tennis Comes to America

That same year tennis was first introduced into America by way of Boston. Six years later the first open tournament was held, and in 1881 the U. S. National Lawn Tennis Association was formed.

The game has gone far since the days when players achieved commendation for "passing a ball backward and forward eighty-three times before grounding it," when men wore long tight trousers and high stiff collars on the court, and women appeared for their game in broad brimmed hats, corsets and voluminous skirts, instead of shorts.

New faces, new figuresTilden, Cochet, Vines, Perry, Suzanne Lenglen, Helen Wills Moody, Helen Jacobs -have constantly flitted across the tennis horizon. Every season new players appear, each with an individual

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A

FEW OF US have at various

times during the past few months been talking over

our interests in chamber music playing. Out of our talking has grown a plan for a chamber music society which I have been asked to present to you. This plan, be it understood, has grown directly out of our enthusiasm for chamber music playing itself. (No one wishes merely to exercise his organizing ability or to be a president or to gain prestige or material profit of any kind.) Purposes

One purpose in this plan is to make it possible to have every now and then such a gathering as we have this evening for musical enjoyment, a sharing of enthusiasms, for further inspiration and enlightenment and for fellowship. While this is not the first or even most important purpose we discussed, I will describe it first because we are in a measure carrying it out this evening. The things we have thought of as happening at such a gathering are as follows:

1. One or more specially practiced groups to play

The music they are to play should include some compositions generally unfamiliar, as well as some well-known works, all of it, of course, excellent and very enjoyably done. The less familiar music played in a year's gatherings would include some fine works by old masters such as Corelli, Purcell, Vivaldi and the still older and wonderfully inspired Frescobaldi, but also new works, especially some by our American composers. It could, incidentally, be a fine sort of stimulation to our composers to know that such a way is being used to introduce new chamber music to many amateur players. Thus the members of the society would have a ready and delightful means of being introduced to more music worthy of their interest and

When appropriate, there could be some brief informal talk about the music in

which, among other things, matters of style and phrasing and also especially lovely or otherwise interesting features in the music could be brought to attention and demonstrated. The music to be played by the specially practiced groups could be announced in advance so that members wishing to do so could bring

scores or parts to read as they listen.

There might sometimes also be what can be called vocal chamber music such as the madrigals and other contrapuntal choral music of the 16th and 17th centuries, or later chamber choral works with instruments - Bach Extended Chorals and the Cantatas, Pergoleci's Stabat Mater for women's voices and strings, various works by Holst and Vaughan Williams; also works for vocal solo with a chamber instrumental group.

2. All members having brought instruments, others besides those in the specially practiced groups, would be given opportunity to play in small groups -playing a well-known quartet or the like, or a less familiar work such as those mentioned above, or a work requiring unusual instrumentation like a sextet, septet or octet, some of which would call for one or more woodwind instruments as well as strings.

A committee in charge of the whole program might choose beforehand some or all of the members who are to be invited to play in a small group on a certain evening, thus ensuring a good matching of players for the music chosen, and a rotation of opportunity. This committee would see to

it also that enough simple but substantial music is chosen from time to time to provide opportunity also for less advanced players.

3. A work for a larger number would also be played, in which many, perhaps all, of the members could take part. Examples of such works are the Bach, Handel and Purcell Suites for String Orchestra, Concerti Grossi by various composers, Mozart's Eine Kleine Nachtmusik, Sinfonias from the Bach Cantatas, Holst's St. Paul Suite and other old and modern works for chamber orchestra.

4. A brief talk related to chamber music, or informal demonstrations of musicianly phrasing or figuring given by a masterly player

5. Occasionally a reception to a great quartet or other professional chamber music group when it is in the city, or even to a great soloist

At such a reception there would be some playing by the honored guests if the conditions for it were in every way appropriate.

6. Sociability, including simple refreshments

of

A second purpose we discussed is to provide what might be called an "Amateurs' Exchange" through which a member or incomplete group members wishing to play might find the additional players needed. A trio or quartet wishing to play music for a quintet, sextet or larger group might likewise be served.

This purpose could be carried out through maintaining an annotated list of players who are interested in it, and also incidentally through acquaintanceship and arrangements made by players themselves at the society gatherings.

A third purpose is to aid in making the printed music available.

The society itself might build up a loan library of its own, doing so through donations or extended loans of music or through funds to purchase music. Arrangements might also be made for a special edition for the chamber music society of certain works such as were mentioned earlier, that are not now in common use. These arrangements would provide for purchase of any of these works by any member at the cost of publishing them, though outsiders would have to pay for them at a rate giving profit to editor and publisher. If the public library or other agency has any good ensemble music to loan, a list of it might be kept by the society for the convenience of the members.

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A fourth purpose is to aid in the procuring of good coaching where it is desired.

A love of playing chamber music leads naturally to a wish to play it better and to enlarge one's experience of such music. An excellent player who can help carry out this wish, doing so in the amateur spirit, is very welcome indeed where that love exists. For example, a two-weeks school of chamber music held in Bangor, Wales, this summer was attended by thirty-nine amateur quartets, every one of which had forty-five minutes of expert coaching every day. The rest of the time was spent in private practice. The evenings were devoted to concerts by the Menges Quartet for the delight and inspiration of the amateurs and their tutors. This school has been held each summer for nine years with ever-increasing popularity.

A selected list could be kept of players capable of coaching amateur chamber music groups. These players might be professionals, advanced students or advanced amateurs. Ideas as to most desirable ways of coaching could be shared with these players, and the cost of their service would probably be low because of their interest in the character and purposes of the society and because of the society's service in helping to arrange for their engagements.

Another purpose is to have available, if possible, for members' use, a number of violas and perhaps some other instruments not commonly owned but often much needed. There might also be need for help in finding suitable places to "rehearse," such as in community centers, settlements and churches, for groups not wishing to play in their homes.

For What People?

The people, all amateurs, whom we have thought of as being served by these purposes are, first, persons who already play in chamber music groups; secondly, persons who play in orchestras but have not been playing in any chamber music group, though they would be interested in doing so in addition to playing in the orchestra; and thirdly, persons who at some time have learned to play an orchestral instrument well but because of preoccupations with other affairs or else lack of suitable opportunity are now not playing. Among those last mentioned there are likely to be many young graduates of high school or college orchestras, graduates of music schools, and young men and women who studied with private teachers. Some of them and other interested people, though

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unable to play chamber music, would be happy to play simple ensemble music such as the slower sections of Suites by Handel, Purcell and others, and the slower madrigals, Bach chorales and other choral music "apt for viols" as the Elizabethan choral composers used to say. Through this music and individual practice the less advanced players could soon grow into playing real chamber music also.

We feel that the phenomenal increase in the number of young people playing substantial music in school and college orchestras offers opportunity for a development of amateur musicianship in homes and elsewhere out of schools that, besides its deep satisfactions to those who play, would do more for musical culture in our country than anything else could do. It is commonly assumed by these young people and by most other people that the only way to provide continued opportunity for them is through an orchestra. And such provision can, of course, be of great value. But there may be great difficulty in securing a capable conductor suited to all, and also in obtaining a proper balance of instruments and combinable levels of skill among those who want to play. Moreover, because of the size of an orchestra and its need to give public performances, the members often have to undergo pressures and constraints from outside themselves, and to bear also the risk of disbandment because of failure to get adequate or worthy audiences. The small fellowship of real amateurs is free of these prices and perils of bigness. Its pressures toward excellence are likely to be as strong as those of an orchestra, but they are from within the players themselves, and so are deeper and more transforming of the individual and of the music. In any event, it is chamber music that we are at present most enthusiastic about, and so we I would like to see what could be done through providing attractive opportunity to play such music. A chamber music society could give to this ideal pursuit the happy standing, the prestige, which we believe it needs in the midst of the prevailing tendency toward big

ness and sensationalism.

It may be said that in many instances the instrumental instruction of the school and college graduates has not been what is should be, that it also has of necessity tended strongly toward bigness, which, though impressive in its general effect, may be detrimental to individual development. But assuming this to be true, though not true in some schools, there is all the more need to bring about in the world outside the schools an interest in playing in the small group with its obvious and welcome need for excellence on the part of each individual. If this interest is developed and given standing outside of schools there is every likelihood that, under present conditions in the schools, it will find its way into more of them. There might well be a junior chamber music society in a school, or players in school chamber music groups might be given junior membership in the outside society, the community's fellowship of such players.

We have thought that by far the largest proportion of the interested people would be string players, but there would also be pianists and perhaps harpists and there could well be woodwind and horn players also. And their major interest would be in playing in their own respective groups at home. The gatherings, such as the one of this evening, would occur only seldom, and the members would be under no obligation whatever to attend them.

We would reach players, to invite their interest, through acquaintanceship, through the leaders or other officials of amateur orchestras, and through the cooperation of high school, college and music school officials.

Are You Interested?

Now you have heard the purposes. We have a plan for carrying them out, but before presenting it we would like to know what you think of the idea of having a chamber music. society and of these purposes that have led us to think it a good idea. Unless a goodly number of amateur musicians would welcome. such services as we have mentioned, and prize

them for others as well as for themselves, there would be no warrant for going further with the plan. And the attitude of each of us who is here. this evening would be an important indication of the amount of interest we are likely to find among other amateurs.

What do you think of the idea in general, of having a chamber music club or society? (Discussion is invited.)

If you think well of the idea, let us now consider each purpose in turn and what would be needed to carry it out. Then we shall be ready either to consider a definite plan and definite next steps for giving reality to our ideas, or to decide that, as least so far as the present gathering is concerned, we have already gone far enough. In either case we will have had a pleasant evening of music and can go home in a pleasant mood.

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There should also be various committees to perform such specific functions as we came upon in the chart, the chairman of each of these to be a member of the executive committee. But no committee should be appointed until it is really needed. That is all that is needed for organization.

I suggest that the present chairman be asked to appoint a steering committee to go over the whole plan still more carefully, to determine for it some such simple form of organization as has been suggested and to consider what other especially capable persons might later also give special help to make the project successful. It should also gather information and conceive ideas as to as many of the following items as are regarded necessary in the beginning: the reaching of more players, raising funds, securing coaches and music and instruments, office space and other equipment, and Needs Help Needed

Committee to choose
Secretarial help
Program committee

Talks and demonstrations by masters

Secretarial

Committee to choose Committee to choose Secretarial

Secretarial

Someone to present

plan to groups

Direction and Control

Secretarial

Expense Items
Rent

Part-time secretary
File and cards
Printing

Stationery
Typewriter
Desk
Postage

Rent
Telephone

Music purchases Binders and labels

Definite Planning If Warranted

What suggestions have you for supplying any of the expense items without cost? (Secretary to list suggestions.)

Which of the expense items could we do without, at least in the beginning?

What suggestions have you for getting money to carry the cost of the remaining expense items? Now, it seems, a plan of organization for our purposes is already clearly implied in the chart of purposes and needs that we have made and discussed. There should be an executive committee of which the chairman might be presiding officer at meetings. This committee should have a vicechairman also, and a secretary and a treasurer.

Executive committee

Executive secretary or the chairman of Executive Committee Treasurer

Printing Postage

Part-time salary for executive secretary

and last but not least, a good secretary. A modest and simple beginning nurtured by real enthusiasm for the playing and fellowship will likely lead to larger, better and more lasting growth than a big one hard to manage.

I suggest also that another such meeting as we have had this evening be held soon, at which the steering committee will report and be ready to set the project in motion. The time for that meeting, and if possible the place, should be determined this evening. A program committee to make that meeting as interesting and worth while as possible should also be appointed either within or outside the steering committee, but if outside, the chairman of it should also be a member of that committee.