New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-02-18
THE BOSTON SYMPHONY ORCHESTRA

THE BOSTON SYMPHONY ORCHESTRA
So long az the concerts 90 tire Boston sym2scuy
Orchestra arc kept IS Interesting was me fourth
OF the series. given a. the Metropolitan O1er,
House last night. there IS 70 danger that they viii
lose the goodwill OF the Eus!c-iovcss Of %ew-york
which they enjoying in generous measure l.s
now Tn, Boston organization has. Indeed some.
thing to offer the metropolis in addition 20 anshs.
performances At the December conceri Mr Ane..
sci played a concerto composed by ore Of his CON.
panon volinlsts. Mr.. Strube. and the l!siere,s
were charmed with the talent dlsc'o-oi by n.
work Last night Mr.. kneisels colleague az 10
first desk, c. II. Lceller. had The first opportunity
Of a comprehensive kind 20 discover lis erslaa
gifts TO New-Yorkers. His naIae did rot ,ooA ls.
81, strange on the prosrame as that q AiE. srub.
for some Of his chamber music had been played
here BY Mr. Kreise and his admirable fellows. ani
three weeks or so ago The Tribune gave an &C.
count Of the performance in Boston % sympaoal,
poem entitled "Tintaigel" which saogcc Use.
titled 10 consideration nc: only by The soagercs
and individuality CT It's music but also By ,as .ao
that IL pointed the way TO a revival Of lneres. IN
tina. archaic instrument the viola d'amogr The
choice OF a grewsome marioaette drama by Mseter-
linck for musical illustration I'm that instance. and
the fact that Mt Loefler had on othes occasions
shown penchant for the morbid notions which IL
IS the habit Of the time 10 designate as ent.o!.
the-century" made the composition which Ir
deserves Our gratitude seem peculiarly refreshing
10 those acquainted with the other works. Two
movements. at least, OF the Divertime1to IN A
minor for violin and orchestra not only
In purpose and healthy in expression. but are. De-
sides. music from wach unprejuoced and intel.
ligent critic is likely 10 Withhold praise. FOR 10
sound and unconstrained scholarship It's Downright
beauty and It's ingenuity. There are new e.eco
IN plenty IN the work. but they not bizarre OF
dragged in 10 bewllder and amaze A nice Dis
elimination, fine sense Of tonal effect suggested
most OF them. and only be glad that tAsy
thought OF BIZ the composer. II was not only
wise to subordinate the violin tone in the accom-
paniment Of the solo instrument, as Mt Loeier
has done throughout, II was positively stroke OF
genius 20 suppress II altogether as he did IN tho
second movement. and then 10 modify n. wind
instrument t,nts by uniting his uumaes and
bringing the English horn 70 the fore Ara taA
tells OF a nice OF tone-color, when is 30
much above the ordinary level. high as that 10
this day Of large yrtuosoship in all Department..
that IL can be praised its own account Wnn
was more gratifying, however. was the soundness
OF Mr. Loefiiers invention and scholarship DIS
played In the first and second movements Dream
bule and eglogue) and the Ingenuity which marked
his variations on the old Gregorian Dies ira
melody out Of which he has made the last move
ment of his Dvertimen;o. Here. however. No
could not help showing some OF the mo.oidness
invited by the choice OF a theme with such asso-
CATIONS He played the solo part OF the work
superbly and received half a dozen enthusiasts
recalls and then another round OF applause hA1
an hour later when he resumed his seat In the
orchestra.
The other numbers OF the programme were Bes'
thoven's overture to "Egmonr" the three familiar
instrumental movements from Berlioz's "Damna-
ton OF Faust" Mrs. II. II. A. Beaeh's symphony
in Z minor called Gaelic" and Rimsky-KorsAr
kows symphonic suite. "Scheherezade." Concern
ing the merit of these two compositions enough
has been said by this journal II an additional ~
mark were 10 be made II would be the unga1sn.
one that Mrs Beach's symphony loses or secSno
hearing. whereas the Russian composers suiS
gains Mr.. Paur omitted the second movement