News

Garber Announces Advisory Committee for Harvard Law School Dean Search

News

First Harvard Prize Book in Kosovo Established by Harvard Alumni

News

Ryan Murdock ’25 Remembered as Dedicated Advocate and Caring Friend

News

Harvard Faculty Appeal Temporary Suspensions From Widener Library

News

Man Who Managed Clients for High-End Cambridge Brothel Network Pleads Guilty

The Second Symphony Concerts.

NO WRITER ATTRIBUTED

At the Symphony concert in Sanders theatre last evening, Mr. Loeffler, the soloist, played with his accustomed mastery and refined taste. His selection, "The Symphony Espagnole," for violin and orchestra, is written in the modern fashion of full instrumentation, and is very poetical. Had the orchestra supported Mr. Loeffler better the effect of his solo would have been greatly enhanced. But the accompaniment was ragged and frequently off the beat. The snare drummer was the particular offender in the latter respect.

The overture to Schumann's only opera, "Genoveva," was also played very unevenly. An especial roughness was noticed in the horn passages.

The prelude to Wagner's "Tristan and Isolde" was received with slight favor. The orchestra played this member faultlessly and impressively and the trouble seems to be in the score itself which presents a monotonous length of unvarying tonality.

The members of the orchestra came to the Seventh Symphony of Beethoven with enthusiasm. They played the different movements unerringly and con amore. It is difficult to detect much difference in the excellence of the orchestra under Mr. Gericke and under Mr. Nikisch. At times the military precision of Mr. Gericke, or the subdued refinement of his playing is missed. On the other hand, Mr. Nikisch's free interpretation of Beethoven's scores is a delightful change. Mr. Nikisch again conducted without score.

Want to keep up with breaking news? Subscribe to our email newsletter.

Tags