Evening journal. [volume] (Wilmington, Del.) 1888-1932, 1908-02-14
MUSICAL SEASON
COMES TO AN END
Society Turns Out to Hear
the Fourth and Last Con-
cert Last Night

The woeful behavior Of the elements
yesterday and the slushed streets did
not prevent a goodly number OF per-
sons last night from going to hear the
fourth and the last concert Of the
series given by the Philadelphia Or
chestra at the Grand Opera House To
certain extent the program was adj
mirably selected. but it was entirely
too short, the program consuming about
an hour and fifteen minutes. The aud
fence was the usual gathering Of the
musical and social lights Of the city
and the house was crowded. The solo
list was Franceska Kaspar, soprano. 1t
must be said that Herr Pohlig, the
conductor, made no hesitation about
reading two OF the selections ir some
places entirely according to his own
notions and ideas, as for example the
overture from Del Freischutz, which
properly begins with a noble and strilS-
ing horn quartet with an adagio move
ment but which Herr Pohlig cut out
beginning the theme with the violins
which sustain, after the horn move
ment, the mournful prayer of Agathe,
the leading heroine of the opera. The
overture is a masterpiece Of brilliant
and descriptive Instrumentation and
furnishes the key the whole story Of
the opera, with its brisk hunting
choruses. oil podridas, spectral scenes
and heart stirring thrills which run
almost the entire gamut of weirdly
classical qualities. It is a pity that
this number was not played as Won
Weber wrote It. He also took liberty
with the Vorspiel
The old and beloved Mozart SYM
phony in G. minor still preserves its
metnuity and freshness. This SYM
phony Is one of the most tuneful of
musical poems, sprlghtly and graceful
in buoyant thrills, depicting the true
Germanic mirth and caprices. When
played as II was last night with such
opulent sorority, such solid and velvety
tones, with such a nice be/ance of parts
and with such graduation of accent il
always gives delight. What a relief
this symphony gives from the over
dressed moderns.
The reception given Vorspiel.-Fre-
lude from the Meistersinger, proved
that despite the carpings against wag-
ner that ultramodernist still holds
sway in the musical world.
| Inc prelude received n more notice.
able encore than the other numbers
of the program. It is in every imita-
ton of the vivid mood which trans
cends the jubilant emotions of this tone
poem. The violins did excellent work
in the staccato scale that leads to the
/ glorious Meistersinger's march and the
entire orchestra plunged into this theme
with true Wagnerian style and melody
The prelude depicts the strife after
the Real and the Ideal. the struggle
between passion and impassioned force
The Scherzo movement was happily
given and brought out the tragic and
humorous veing splendidly The pom
derous scale passages of the brass to-
gether with the exultats of the inter.
woven melodies of the violin was soul.
stirring and when the last note of th'
derision movement died away the eli.
max of the sublime story was reached
Madam Kaspar was disappointing
Some Of her tones were nasal and heady
and she seemed TO suffer strains in
reaching for the high notes. The mid.
die register of her voice, however. was
pleasing. The aria from the opera
Louise was sweetly rendered.
Herr Pohlig, unless he devolves into
eccentricities in his directing the or
chestra, and these were not so notice
able last night bids fair TO become
n really great director. probably another
Paur.