The San Francisco call., 1907-03-15

IN / audience and programme suf-
wv ncientIy diversified to contain
appeal to almost every phase OF
refined music taste. It remained
only for the university orchestra
to make fawlessly harmonious the
seventeenth symphony concert in
the Greek Theater. And the instru-
mentalists were doing that very thing
when a spluttering attack by some Of
the vioIins marred lie playing OF the
last number except one on the list,
Seroffs "Cossack Dance" Whether the
discord was resultant OF accident or
lack of artistry could not be ascer-
tained from the grin with which every
man ana the sole woman on the plat
form rewarded it. Even the visage of
DR.. Wolfe deetingly relinquished its set
seriousness. The little splutter was SO
ridiculously unfortunate!
First on the card was Weoers
"Oberon" overture, and 1t received
royal treatment throughout, from the
gossamer-nke opening movement, ten
derly intertossed by violins, horns and
flutes. until succeeding variations
lapsed in the fairy sigh with which IL
started. The interpretation of this
overture is largely a matter OF per-
sonal taste. but if played with respect
for the composers intention it cannot
fail to give satisfying pleasure. DR..
Wolles handling of the tempos was
reflective of sound musicianly judg-
ment.
The symphony was not really a sym
phony, for Goldmark's Rustic We'd
ding" was the composition thus desig-
mated. 1t began with a nuptial march
that lacked the joyous swing of either
the Mendelssohn or Wagner effort in
the same direction, and its theme was
twisted through many variations, IN
some of which it was almost indis-
tinguishabIe. Then came a brief inter-
mezzo entitled Bridal Song" which
was followed by an equally brief
serenade, neither movement being par
ticularly expressive of what 1T was
labeled. I'm the Garden" a somewhat
tedious andante. savOred more or rus
tic coloring than any of the preceding
movements, and the suite-for suite 1t
was-concluded with dance in which
the wedding theme flashed with
czardas-like impetuosity and abandon.
kthe crashing finale doing much to re-
deem the entire composition
Naprawnik's interlude. Night was
played by the strings alone with ex-
ouisite shading. 1t is q delightful noe
turne despite it's occasional slight hints
Of Slavic tone harshness, and the vio-
Inns gave 1t full value q lightness.
elasticity and nuance. Never have L
heard the inner spirit OF music more
faithfully revealed.
Of no al her
song, and in striking contrast, came
another Russ contribution-Seroff' 5
"Cossack Dance We had a series of
similar Accomplishments of terpsichore
PLAYED by the same people at the same
place last fall, but not one of them
was more characteristic or received
better Interpretation than the Seron
dance yesterday. Splendid energy and
vitality were shown by the strings in
the ensembles. The rollicking sense of
the movement was faithfully repro
duced, the brasses and sheepskins con-
veying all the dash and recklessness
with which the troopers of the steppes
are said to be imbued, while the wood
winds and strings carried the humming
theme MISUNDERSTANDING the little
lapse to which / have already alluded
Dvorak's Carnival concluded the
concert, and its varying movements
were excelIently read. It offers in
structure from the Schumann and other
carnival tone pictures by having a
protracted andante sandwiched between
its opening and closing enthusiasms.
In the last number the lady harpist
was heard from for the first time dur
ing the day, and then her participation
consisted only of a few bars. They
seemed hardly worth the trouble of
ungloving her fingers for and might
have been twanged almost as effective
ly by one of the cellists. but the fact
that she was there and played them
herself served to show that the uni
versity orchestra was as complete as
it's director could make it.
Nordica is expected to sing at the
next concert, a fortnight hence. Her
manager says nay, the university au-
thorfties declare to the contrary and
the prima donna herself will cast the
deciding vote