There must be some strange twist in the minds of most people which causes them to ignore music which is offered free of charge. Perhaps they instinctively suspect, when something is proffered them gratis, that it is only because the donor feels that it is unsalable. Such concert-goers may be entirely right at times, for free concerts are sometimes merely trying grounds for new music and new performers. But, on the other hand, one should always remember that a sincere artist, considering himself an interpretative medium, is always eager to pass his music on to an appreciative audience and that he will do so whenever he can. The ideal concert situation is that in which the artist performs for his own pleasure, and for the pleasure of those who may care to come and hear, music which he has chosen for its own sake alone.

The programs of the Longy School concert to night and of the Harvard Music Club concert tomorrow evening are two uncommonly fine examples of what can be done in planning programs of this type.

In tonight's concert at Agassiz Theatre wind players of the Longy School faculty and the Boston Symphony Orchestra with Mr. Elmer Schoettle at the piano will perform three unusually interesting selections: Beethoven's "Sonata for Horn and Piano" op. 17; the Brahms "Clarinet and Piano Sonata" op. 120, no. 2; and the Mozart "Quintet for Winds and Piano." The Mozart Quintet is a charming example of his later style, and the rather sombre Brahms Sonata, though occasionally heard in the arrangement for viola, is seldom played in the original version.

The Harvard Music Club program tomorrow evening at Paine Hall is also devoted entirely to chamber music. This program comes closer to home chronologically, for, although it opens with the Beethoven "B-Flat Trio for Clarinet, 'Cello, and Piano" and closes with the Mozart "String Quintet" (two violas), the rest of the program is made up of modern works: "Choros II for Flute and Clarinet" by Villa-Lobos, a short rhythmical piece of great difficulty; "Three Counterpoints" by Honegger, which are gay pieces in spite of their academic form; and the second performance of Piston's "Sonata for Violin and Piano" (Mr. Piston will be at the piano).

Though one may be prejudiced against concerts of this kind because he is not asked to pay for them, one should be forced to admit that the choice of music is often far above average; and when the performance is on a similar plane, as can be expected in these two concerts, the result will give the greatest possible pleasure to the listener and--what is almost as important--to the performer.