SYMPHONY HALL

The Pops, ground with the typical fanfare and critical phraseology, have the season continued along the straight path upon which Mr. Casella has guided them so sturdily during his short period of directorship. In the last analysis, of course, the Pops must remain popular concerts, and in the present state of musical appreciation, this means the playing night after night throughout the season of those excerpts from important music that have the widest appeal. But that even here there are possibilities beyond the March Slave and The Flight of the Bumblebee has been realized by the conductor.

Sunday night is the time when the Pops offer their most serious productions. Bach, Mozart, Beethoven with the Eroica--all these composers have been represented not merely by selections, but by complete and capable performances of some of their greatest works. Whether appreciation of a long symphony ends with the coming of spring is uncertain; at any rate, these concerts have gone upon the opposite asumption, and the results have been distinctly gratifying. Evidently the public is not completely satisfied with the usual program of shreds and patches. The Pops are hardly ready to take rank as a continuation of the regular orchestral season, and after all, it is natural that musical taste should approve a somewhat lighter fare in the spring than in the winter. Nevertheless, the complete renunciation of the most thoughtful music in favor of five-minute overtures has received a check, and the result promises still better balanced programs for May and June.