Arizona republican., 1918-02-01
CONCERTS BY
 ORCHESTRA IT
 SUPREME MERIT
. tBy CHARLES E. CARLsoN.)

Yesterday in the afternoon. and again in the evening, the Minneapolis Sym phony Orchestra made its second ap- pearance before the music lovers of Phoenix, having appeared here year ago about this time Both concerts were well patronized. and what was missing in the way of attendance was made up for by applause and genuine appreciation. The new Auditorium proved itself, by space and acoustics, to be thoroughly adequate and satis- flying for such an occasion.
 These two concerts. of the second season in Phoenix were another musical triumph added to the already widespread fame of the orchestra Mir. Oberhoffer and his players seemed in a congenial mood from the very be- ginning: for it was noticeable from the first note that they all appreciated the change of climate, having emerged suddenly from snow and ice into sun shine and warmth. Both performances were begun with the new and beauti ful version of "The Star Spangled Ban ner," played with such buoyancy, fer vor and dignity as to inspire the most inane listener who might have been present. This vigorous number, played as only such an organization could play it, was received with enthusiasm, full of the spirit of patriotism, and put everybody on musical edge, ready for q feat of music of many moods.
 The main feature. gratifying in every respect was the playing to- gether" of the entire orchestra body in perfect accord with MT. Oberhoffers masterly conducting; it was an under standing between master and men-a conformation arrived at by unity Of concentrations Let it be understood that it is no small accomplishment to teach body of players to begin to- gether and to end in a finished man. ner. But this Mir. Oberhoffer has at tained with apparent ease, not only be- cause he has an aggregation of artist players, but because he is a master of his plural instruments; as Kreisler is a master of the violin. and as Co., dowsky is a master of the piano. Throughout the surge of rhythm, mel ody and harmony one was deeply inn pressed by the eXactness of attack, for it seemed as though all the players were one, so perfectly did they begin and end each phrase, together"
 MT. Oberhoffer beats time in a firm, crisp manner, and seems to draw the music from the orchestra as though by a hidden power by which he ob- tains effects seldom heard. He was most generous with encores, and de- lighted the children with the Men delssohn Spring Song," arranged for string orchestra. The larger numbers on the program, in both the afternoon and the evening concerts, were inter preted by the conductor, and played by the men with highly appreciative conception of what the composer in- tended and what he wanted.
 The number by Van Goens, played by Cornelius Van Vliet, the 'celloist, was so thoroughly enjoyed that he was obliged to respond with an encore, which he played to a harp accompani- ment. His tone and technique were faultless, and his interpretation so musical that one almost forgot the occasional noisy surroundings - per haps this is why the artist did not play the last part of the number. But it is difficult to keep so many chil- dren quiet.
 Without delving into a conclave of adjectives, it will suffice to state that the numbers by Berloiz and by Grieg were the most applauded, because they were within the compass of under- standing of the children, and even the grown-ups. Tn the Hall of the Moun- tain King" and the Hungarian march, 'RakocZy," caused such rhythmic en- thusasm that the audience could hardly wait to burst out into a storm of applause.
 The orchestra's playing was as near perfect as it seems humanly possible; but this is not to be wondered at, since the men have nothing to do but prac- ticc and give concerts, the organization being maintained by the citizens Of Minneapolis at yearly guarantee Of S75,000.
 The evening concert was by far the most heavy, in a musical way, but was not over the heads of the layman and music patron; it was noticeable, too that Mir Oberhoffer conducted with more visor, force and spontaneity in the evening, perhaps on account of the greater attendance of adults. It is nc less than a marvel the delicacy and volume he draws from the instruments both singly and in unison. The cal easily caught the sound of the oboe then the flute, then the bassoon, ther the soft. seductive, mellow tone of the French horns; later the 'cellos-firsl alone, then re-enforced by the violins only to be doubled into a fanfare oi sweeping runs by the viOlas. On toI of this. a burst from the trombones the trumpets and the bass tubas; ther In one grand climax, the addition of tho great double passes, rushing into gal aXy, with the entire musical body that