THIRD SYMPHONY CONCERT IN SANDERS THEATRE.

The concert opened with Gluck's charming overture to "Iphigeine en Aulide," which was the only orchestral selection on the programme that could lay claim to any musical form or organism. Its absolute purity of style and sentiment made it the more interesting as the rest of the programme was a mere jumble of tunes. The Svendsen symphony in B is an example of what a certain class of modern symphony writers will compose and label with the name of Symphony. A name to which they can only lay claim thorough their customary division into slow and fast movements. In this symphony, while the fast movements are mere tunes in the jig style, the slow movements are mere rhythmical statements of a melody. There is no attempt at a regular structure or at a working up of the material, and this fault it is attempted to conceal by skilful changes of rhythm. The whole tone of the work is not much higher than that of the following ballet music, and considerably lower than much ballet music of other writers. Mr. Louis Schmidt, Jr., played a "Fantansia Appassionata" for violin by Neutemps with a remarkable execution. It is of a class of compositions which have passed their day of great popularity, and while they are extremely well adapted to display the capabilities of the violin, are almost entirely devoid of real feeling.

Mr. Henschel's song, "Adieu de l'hotesse Arabe," proved a charming composition as sung by Mrs. Henschel. It was warmly received. It is the best composition we have heard of Mr. Henschel's and shows a great improvement in his technique composition; it warrants the expectation of works of decided merit from his hand.

The last selection-Ballet music to Henry VIII. by Saint Saeans-was a very happy piece of descriptive music of a rather high order as regards the orchestration.

In conclusion we must repeat our complaint which seems to remain unheeded by Mr. Henschel that the programmes are not satisfactory as regards the solidity of the main selection. We have had enough experiment of modern symphonies, and would like to hear a good rendering of a Beethoven symphony before the end of this short series.

G.