It is a privilege not often vouchsafed a Cambridge audience to hear such a soloist as Mr. Joseffy, and it is a double honor to have him here before he appears in Boston. His selection was Beethoven's fourth concerto, in G major. Of Mr. Jeseffy's technique, of his remarkable execution and the wonderful ease and clearness with which he overcomes all difficulties, it is hardly necessary to speak. His interpretation of the concerto is individual and displays the same calmness and self-control which is characteristic of his technique. Still, fire and spirit are not wanting, making the performance eminently satisfactory. The cadenzas deserve a word of notice. They are both original, and while the first is not always in keeping with the character of the movement in which it appears, the second is really a masterpiece in its way.

The orchestral numbers were as follows:

Mozart, Haffner serenade.

Reinhold, Prelude, Menuet, & Fugue.

(For Strings.)

Wagner, Overture. Tannhaeuser.

The serenade has the simplicity and childlike naivete of character which is so peculiarly Mozartian. It is scored for small orchestra, without clarinets and in some movements without flutes, yet with these simple means some very charming effects are produced. One notable instance occurs in the andante, where the horn has a few notes against a scale figure in the violins; another is a tutti in the second two of the minuet. The performance was a little rugged at times, perhaps owing to the presence of several new members among the violins. Rheinhold's prelude, minuet and fugue presented a very pleasing quality of light music, all except the fugue, which was rather wanting in true fugal character. The overture to Tannhaeuser, with which the concert closed, must be considered as one of Wagner's finest works, which will do more toward sustaining his reputation than some of his later operas. The first theme can be compared favorably for dignity with most modern compositions, while the "Venus" music is ununequalled for pure vuluptuous beauty. It is a most vivid picture of a soul torn by contending passions, and although the noble principle conquers at last, the shivering scales of the violins shows the violence of the struggle. It was magnificently played, and such a burst of applause as followed has rarely been heard at any concert.