The series of Cambridge Symphony Concerts was brought to a close last night, with a delightful program of modern music, finely rendered. Harvard men and Cambridge people will have time now to realize how they are favored in the musical line, what advantages they had which are denied to others. The concert was doubly attractive, on account of the soloist, Mr. Eugen D'Albert, whose marvellous playing aroused an unusual enthusiasm in the audience.

The first number, Wagner's Overture to the "Flying Dutchman," is based on an old legend, well-known in seafaring nations, in which the action centres about a spectral seaman, whose appearance to a ship's company was a signal for great confusion and fright. The weird quality, of which Thayer is such a master, is very prominent in this whole opera, and readily suggests his subject. Like most of his music this Overture cannot be described, as so much music is nowadays, by comparison with a smooth, gliding stream; there are in it several themes separate and distinct.

Concerning the work of the soloist, little is to be said. When art reaches such a height as that which Mr. D'Albert has attained, the most spontaneous and consequently the noblest thing which it calls forth is silence. During the evening he rendered a Concerto by Chopin, a Barcarolle by Rubinstein, and a valse, "Man Lebt nur Einmal," Strauss Tausig.

The remaining numbers by the orchestra were the Symphonic Poem "Le Rouet D'Omphale," Saint-Saens and Schumann's 4th Symphony in D minor. The first of these represents very graphically the action of a spinning wheel, commencing with the slow whirr and gradually accelerated motion and then ending with a faint high note. The Symphony, written about fifty years ago, is a passionate work, full of poetry and nature. Mr. Nikisch's conception of this and all the rest of the numbers was masterly and the whole concert well served to carry the series off to the past, gone in fact but delightful still in memory.