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The programme of the Symphony Concert last night in Sanders Theatre was heavier than most of those that have been heard in Cambridge this winter. The first piece was Cherubini's severe and tragical overture, Anacreon, which gave the stringed instruments a particularly good chance to display their purity of tone and their finished style of playing. Although Cherubini wrote this overture many years ago, he uses the trombones and other instruments in quite modern style, and introduces several grand climaxes. The second piece was a concerto for piano in C minor, by St. Saens. Mrs. Fannie Bloomfield Zeisler played the solo part in a very brilliant manner, overcoming with little effort the technical difficulties of the work. Her tone and touch were sympathetic and thoroughly musical, while her dashing style of execution carried the audience with her from beginning to end. The cencerto itself was interesting, but not remarkably so. The use of the various instruments did not seem so graceful nor so skillful as is often the case in music of this composer and of others of the French school. It would be hardly fair, however, to judge of the orchestral portion of the work from this one hearing, as the performance was, at times, extremely ragged and lacking in precision. Several times the pianist got ahead of the orchestra. For the work of the pianist herself there can be only praise.
In view of the rather heavy ending of the concert, it was perhaps wise to put in the light and charming air from Bach's Suite in D, although it made the programme somewhat too long. In the air Mr. Kneisel played the solo violin with wonderful charm and grace, receiving almost or quite as much applause as the solo pianist. The last piece was Brahms' Second Symphony, in D. which is less labored and fatiguing than the other symphonies of this composer. The playing of the orchestra in the symphony was very different from what it had been in the concerto; all the intricate motives and accompanying figures were given with remarkable clearness and accuracy. Some of the instrumental combinations, especially among the horns, 'cellos and trombones, were very beautiful. The finale, coming after a light and rather jerky allegretto grazioso, made a grand and powerful climax. In this movement the intention of the composer is less obscure than in other parts of the work. The audience was large and appreciative.
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