(Ed. Note--The Crimson does not necessarily endorse opinions expressed in printed communications. No attention will be paid to anonymous letters and only under special conditions, at the request of the writer will names be withheld.)

To the Editor of the CRIMSON:

The recent CRIMSON interview with Dr. Pratt on the Music of Gershwin would indicate that this modern composer represents the consummate genius of some four hundred years of musical history. Gershwin is described as having placed himself, through the medium of jazz, well on the way to classing with Palestrina, Bach, Mozart, Beethoven, Brahms, and Wagner.

The whole tenor of the article suggests a very hasty and inadequate command of both musical history and literature. For example, the Palestrina choral style which is known as that of the post-Trent period is entirely free from "incredible complexity". Dr. Pratt's statement that Gershwin shows possibilities of approaching such masters as Brahms and Mozart in choral effects and counterpoint is astonishing. Aside from the fact that the best choral works of Mozart and Brahms are of a serious nature, a careful analysis of the works reveals no similarity in either their construction or the final effects produced.

It is likewise a revelation to know that Wagner has popularized "a longing for a higher life, coupled with a tremendously powerful appeal to the vigor of bodily movement", to which last current society music is also dedicated. No comparison is possible between the bombastic "An American in Paris" and an opera so highly emotional as "Tristan and Isolde".

Besides several vague and misleading phrases, such as "cultural sensations," "sheer ugly effects," and "specific thoughts", there is one point which is quite inaccurate. The Harvard Glee Club is a choral organization and, I am afraid, would fail to bring to light subtle harmonies in a Brahms symphnoy! H. C. Schmidt '32.

(Ed. Note: The CRIMSON article referred to in this letter was an interview with Dr. Pratt, Assistant Professor of Psychology, and expressed his views on Gershwin and modern music. The matter is entirely one of personal opinion. In regard to the use of the term "symphony" the CRIMSON was guilty of error.)