Evening star. [volume] (Washington, D.C.) 1854-1972, 1897-11-10
ADJUSTMENTS.

BOSTON SYMPHONY ORCHESTRA
Society, wealth. fashion, beauty and high
Official life were all well represented in the
audience that gathered at the LAFAYETTE
square Theater yesterday afternoon To
near the first concert this season by the
Boston Symphony Orchestra. In short
save Tor few boxes, the house was ex-
tremely well filed for a matinee concert
TACT that speaks we'll for the high must.
cal taste OF the city. Whether or not all
those who were In the audience understood
the maSnihcent music that was given is
not easily determined probably in MANY
eases the nearing of this music is but a
Iao, out the fact that a large audience was
present, and that it bestowed warm an
pause upon the excellent body of must
Grams before 1t, remains The Boston Sym-
pidohy orcnestra Is unapproachable on this
sue OF the Atlantic, and is able to cone
with any of the standard Organizations of
tne nome or music across the water For
this reason 1t can only be criticised on a
standard 81 OF Its own work in the past, and
1t is only necessary to say that this stand
ard is always the same-the very highest
possible. The program chosen for the CON
cert yesterday contained three numbers ot
the I'M classic type and two of lighter quail
lty. The first one was Brahms Academic
FESTIVAL Overture" a composition based
upon students songs, but treated in the
thoroughly classic manner for which
,idnHs STANDS out so conSpicuously
Hay6E's symphony in major, THE Bear;
was played for the first time. 1t is rather
thin IN some parts, and there is not much
10 catch the ear in the way of briIliancy
The second part, however. the Allegretto
movement, found warm favor and merit ed
1t, through the simplicity and sweetness
OF the theme as brought out under Mr.
Emil Paur's magnetic baton. Chabrier's
rhapsody for orchestra, "Espana," also
played for the first time, was the feature
of the concert. 1t is based upon the ma
tional waltz airs of Spain, and the arrange
ment is not only forid and brilliant but
extremely difficult of execution. 1t abounds
in dynamic effects and strong passion and
the way in which it was played was calcu-
lated to show every idea the composer had
In writing it. Weber's Invitation to the
Dance has been heard here before, but
the arrangement has always been Beriioz's
Yesterday Felix Weingartner's arrange
ment for orchestra of this well-known com
position was played for the first time and
II may De SAID that 1t is superior to the ar
rangement familiar in the past. He has
taken some liberties with the work. but has
made out CT 1t an extremely brilliant COM
position for orchestra, full of life and ex-
preston. and at the same time presenting
many difficulties of execution. The solost
was Rafael Joseffy, who played Schu-
mann's concerto for pianoforte in A minor.
1t is scored in such way as to preclude a
great show of technique on the part of the
performer. but as a work It STANDS out as
the exposition of all that is sweet harmo-
NOUS and touching in music. 1t is need
less to say that Mr. Joseffy's conception Of
1t was all that could be asked, and that
the orchestra lent him efficient aid. Joseffy
may not be the equal of Rosenthal or Pad
erewski as a virtuoso, as an exponent of
technique and brilliancy in digital exercise.
but in the conception and Interpretation Of
the classic he stands at the head of the
list. His work Ii chiefly noticeable on ac-
count OF the clearness and daintiness of his
touch. his runs and trills being marvels in
the way of distinctiveness. In this line the
work chosen Tor him gave him ample OBJ
portunity to show his capabilities and he
richly merited the applause that came to
him for his efforts Although 1t is his rule
not to give encores. the applause yesterday
was so warm and SO evidently sincere that
| he consented to play another number, CIV
ing an intermezzo In A minor by Brahms
| that again aroused somewhat Of a feeling
OF disappointment because OF the absence
| Of brilliancy, but which showed his own Pc