The sixth of the Symphony Concerts was given last night in Sanders Theatre before the usual large audience and proved in some respects the most interesting of the season. The programme was a varied one in point of the character of the pieces but there was one characteristic plainly shown throughout, namely the modern style of the music. The works were most of them products of the last eighty years, and one, the selection from "Peer Gynt" has appeared very lately. The soloist, Mrs. Julia L. Wyman, contributed in no small degree to the pleasure of the evening; her work was artistic throughout, but the solos with the piano seemed to be most appreciated by the audience.

The first number was the overture to "Der Freischutz," which was completed by Weber in 1820, and is considered his masterpiece. The theme of this great work is carried again and again into the minutest details and repeated by all the parts of the orchestra. The fabric is composed of the most intricate interweaving of part into part, yet all so skillfully that the effect of a perfect whole, a complete idea, is left with the hearer.

Two songs with orchestral accompaniment comprised the second number. Although rendered with the greatest technical skill, these pieces were not the objects of the most enthusiastic admiration; Mrs. Wyman sang to much better advantage in the simpler songs of the fifth number when she was accorded the most generous applause.

In the selection "Aase's Death" from Grieg's Suite, "Peer Gynt," the orchestra showed itself in its best form. This whole work is full of exceedingly odd chords and combinations of chords, and the time and tune were perfect. It may be taken as an evidence of skill in a violinist for instance, that he can play a discord when it is demanded, for to the true musician this is as hard as it is easy for the unskilled. In "Peer Gynt" there are several of these well placed discords and their rendering last night was an evidence of the greatness of the orchestra.

The "Pilgrims March" from the symphony "Harold in Italy" by Berlioz has a peculiar history which accounts for its peculiar character. It was written in 1833 and was conceived with the idea of representing a person by an instrument, and the circumstances about that person's life by the rest of the orchestra. The wanderings of this hero are expressed in the most remarkable way by the variations in the viola part. This solo instrument carries an air through the whole piece, which, while it is always in harmony with the rest of the parts is always entirely different from them. In the leading of his solo part however the composer did not neglect the rest of the work which is remarkable in its conception and completion. A vivid picture is produced by a crescendo and diminuendo in one of the movements, which represent the approach, passing and departure of a band of Pilgrims.

The songs with piano accompaniment spoken of above, came next on the programme and were followed by Mendelssohn's Italian Sympony. This work was completed in 1833 when the composer was but twenty-four years old. The first and last movements were composed in Rome and both show distinctly the influence of the warm, genial climate of Italy. The second and third are said to have been written in Naples, but the second is of a character which much more naturally have been suggested and inspired by the magnificent architecture of Rome. The last movement, a "saltarello," was inspired by one of the great carnivals which the composer withessed during his travels in Italy and in it he gives vent to the feelings of buoyancy and happiness which characterized his life there.