Symphony Concert in Sanders Theatre.

The concert given by the Boston Symphony Orchestra, at four o'clock yesterday afternoon, was listened to by a large, but cold audience. Long before the time set for the beginning of the concert, a large number of undergraduates, and also outsiders, blocked the entrance to Sanders Theatre anxious to gain admittance. At 3.30 the hall was already filled by graduates and their lady friends; the latter constituted almost a half of the entire audience, so that when finally the undergraduates rushed into the theatre, they had to be contented with standing room.

Following is the programme: L. v. Beethoven, Overture, Leonore No. 3; Joh. Seb. Bach, Toccata (arranged for orchestra by 11. Esser); G. F. Haendel, Largo; L. v. Beethoven, Symphony in B flat, op. 60.

Adagio; Allegro vivace -

Adagio; - Allegro vivace -

Allegro ma non troppo. -

The first number was somewhat marred by unevenness and restlessness but upon the whole, was a very faithful rendition of the favorite overture. The trumpet-call in the distance would have been more effective had the instrument been tuned to the same pitch taken by the orchestra. The same unsteadiness was also noticeable in the second number. This defect, it is true, prevails in most of the very good orchestras, but seldom to such a degree as in the Boston Symphony Orchestra. Notwithstanding the lack of precision of some of the performers, the second number was well given and deserved more applause than fell to its share. The Largo of Haendel was also very well played, the solo part being taken by Mr. Kneisel and rendered in rather too mechanical and unsympathetic a style. Mr. Gericke did not respond to the encore given to the piece. The fourth Symphony of Beethoven was very well played and was the most satisfactory number on the programme. All the delicate nuances were rigidly observed. In the second Adagio movement the quality of tone of the whole orchestra was especially warm and sympathetic, the performers seeming to respond better to the wishes of the conductor. The allegro movements were played with a great deal of precision. The whole conception of the Symphony was an admirable one. It is a pity that in place of the Toccata or the Largo, one of Prof. Paine's works was not given and under the direction of the composer himself. It would certainly have been fully as interesting as either of the two numbers and would have represented what Harvard College has done for music.