On my desk lies the prospectus for the Leeds Triennial Musical Festival (October 7th to 11th), founded in 1858, twice suspended for the duration of wars, predestined, apparently, to survive all modern tribulations—financial crises included—without turning a hair. In a world which has graduated bewilderingly from Sterndale Bennett's May Queen (the first “Triennial” novelty) to the bleakness and concomitant blah-blah of Twelve Tone music, the Festival promoters have contrived to keep cool heads, forgetting little and prudently refraining from learning too much.