The fifth of the Symphony Concerts was given last night in Sanders Theatre. The programme was a varied one, including works for the Orchestra by Mendelssohn and Schumann. and for the piano by Weber and Chopin. Miss Minnie Wetzler, the soloist of the evening, who came here unknown to many of the audience, made a very favorable impression both by her technical skill and by her intelligent interpretation of Chopin. It may be interesting, by the way, to the Cambridge people to know something of Miss Wetzler She is but eighteen years old and has studied for seven years with Clara Schumann in Frankfort. Before going abroad she played a good deal in public with her brother, and while abroad took part in many concerts in Germany and else where.

Mendelssohn's Overture "Midsummer night's Dream" came first on the programme. It opens with four simple chords by the wood wind and these chords occur several times after the different themes and form the closing passage. The first theme is given by the violins and taken up then by the other instruments which carry it to a rapid crescendo. After the four chords a similar theme is given by the bass. All through the overture there are beautiful harmonies which Mr. Nikisch brought out with great skill.

Miss Wetzler played Weber's Concert stuck in F minor with accuracy and precision. The work makes more demand on ability to play accurately than on an artistic sense, and consequently gives the soloist a chance to show excellence of only one sort.

The Scherzo from Midsummer-Night's Dream is bright and lively, and full of surprises. The violins have a very intricate series of passages which require the greatest unity of sound for good effect. The Notturno is, of course, a decided contrast to the Scherzo. It contains many quiet melodies, some of them very suggestive of church music. The movement ends with a sustained high note on the violins and a quiet accompaniment by the rest of the orchestra, the whole sound fading away till it is lost.

In the Nocturne and Schero by Chopin, Miss Wetzler had an opportunity of showing her finer musical sense. In the Scherzo especially she entered into the spirit of the thing and played with remarkable vigor and accuracy.

Schuman's Symphony No. 2 reflects a great deal of the sadness of the composer's life. While some of the movements are spirited and bright, the prevailing harmonies are suggestive rather of more solemn things. The third movement, the "Adagio" is one of the finest things in the Symphony, the violin parts being especially impressive. The closing "Allegro" formed a fitting ending for the concert.