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THE MUSICAL OUTLOOK. By Sir H. Walford Davies. THE EISTEDDFOD. PROBABLY the usefulness of the Eisteddfod to the cause of music is greater even than is generally known. Let the reader for a moment imagine a naturally musical boy, keen to be at it, keen to hear and make the most lovely music he can. Sooner or later such a boy will realize three strong incentives within himself. He will be moved to seek music-lessons from someone who knows how to help him; he will want to perform; and he will be likely to wish to pass some exam- ination (or his friends will wish it for him), which shall give him the assurance and hall-mark of proper progress. Now the ideal Eisteddfod really supplies him with all three. It gives him oppor- tunity to perform in public; it also gives him a competitive examination in public,-with a result written out on a sheet, showing him his defects and merits and giving him his alloted exam. marks. And when the judge is one who knows his job, the boy has also the chance of a friendly lesson in public, which can encourage him as a loser, and inform him as a winner of any out- standing faults still to correct. I believe every judge finds it the most delicate and perhaps the most useful part of his Eisteddfod work on the one hand to send the winners away humbled at the prospect of all they still have to learn to do, and on the other to send the losers away encouraged, without being unduly praised for what they manage to do well. These three functions of any competitive musical meeting-its function as a concert, as an examination and as a general music- lesson to all concerned-have received much careful attention of late. But it may be suggested that the outlook will be increasingly hopeful if secretaries, organizing committees, judges, and all responsible will try always to secure (1) that the choice of music is the finest available; (2) that the timing and arrangement of the day's programme is made with a view to holding the hearers' interest and considering his comfort; (3) that proper marking sheets be prepared for the adjudicators for every single item judged, with a willing attendant at hand to see that his sheets and music are always ready, and also to add up marks; (4) that far more careful timing of events be made than has been attempted heretofore, and time allowed in the day's programme for detailed adjudication and combined performances under the baton of the judge himself. The usefulness of the whole meeting as a combined concert, examination and social music- lesson can be enhanced beyond measure if these really urgent details are seen to before-hand and the judges made fully aware of what is expected of them. But the Eisteddfod as we now know it is a great deal more than these three things; and it may be questioned whether the great heart of the nation ever conceives of a fine Eisteddfod as of a fine concert or festival. Assuredly it is not popularly conceived as an examination or a music-lesson. The public would not miss mark- ing-sheets and the announcements of marks and remarks are sometimes wearisome and certainly never so fascinating as are the actual results of the contest. Though any judge could probably tell from his personal experiences how highly valued are the exam. and the lesson, and the combined singing,-how often he is heartened by such remarks as: "Now we know what to work for next year," or "we didn't deserve to win," or "we don't mind losing now we've had that splendid sing together" ;-yet it would be ridiculous to imagine that these are the main interests which draw the crowds, and drive the Eisteddfod in general and the National Eisteddfod in particular so deeply in the national musical life. I believe it will be found true to fact to say that there are two most comprehensive factors which account for the great hold of our national meeting upon us all; and these two are startlingly contrasted. The Eisteddfod is essen- tially a spiritual meeting and it is a sensational meeting. This double pull is inherent; and it is obviously perennially hard to reconcile two such constant factors. But in spite of any more strident symptoms to the contrary, can anyone doubt that the great public shows an indomitable interest in perfection A thirsty public spirit seems to nourish itself upon every sign of per- fection, and every manifestation of fine form that it can experience. And when at an Eistedd- fod choral perfection seems to be attained before our very ears by Brother John's choir; still more, when before the ears of thousands Brother John's choir and a neighbour's choir are pacing each other on the high-road to choral perfection, neck- and-neck,-then we must not be judged too harshly if spiritual intuitions are clouded for an hour by sensational instincts, if admiration of great music and adoration of Brother John get mixed up,-if true worship lapses momentarily into idolatry (or in this case Johnolatry); if love of heavenly music is clouded by lust for a jolly good contest and an earthy win. These things are, it is true, to be deplored and perhaps unexcused by all concerned. But the only unpardonable sin seems of quite another colour and is to be found in any suggestion that the Eisteddfodau