The ninth Symphony Concert in Sander's Theatre last night opened with Arthur Foote's Symphonic Prologue 'Francesca da Rimini." It is of the modern school, scored for full orchestra and original in the treatment of its themes, the first of which is almost martial in character. There are many good and pleasing harmonies, especially in the working out of the second theme, where the horns carry the air, accompanied by sweeping movements in the violins, and in the reverse of that, where the brass accompany the violins in heavy chords. There are many finely developed climaxes; and the whole piece produces a good impression.

Mr. Adamowski played the first and second movements of the beautiful Concerto for violin in G minor by Bruch. Of the two great Concertos that Bruch wrote in G and D minor) this is the finer with its charming airs for the violin and pleasing orchestral accompaniment. Mr. Adamowski played the movements in a broad and masterly style and with a sentiment that was never exaggerated. The orchestral accompaniment was very skillful.

Schumann's first Symphony was appropriately chosen, for it is called the "Spring Symyhony," his own title, because the idea is supposed to be counected with Spring. This Symphony was written when Schumann was not thoroughly acquainted with the orchestra, and the joke of his writing too low notes for the horns and trumpets, ignorant of the fact that they could not be played, is well known. The finale is very masterly and impressive, with solemn trombone passages and well worked out. The Symphony was played with excellent spirit and expression.

Liszt's Symphonic Poems were composed differently from the general fashion consisting, as Wagner said "of the subject, the development, and the further development." "Les Preludes," played last night, is the third in number and was written about 1845. Like all of his poems it has a poetic basis - on a passage in Lamartine's "Meditations Poetiques." It is divided into six sections or movements, each for various instruments. The Andante, written for strings and flutes, has the theme, and the other movements are an Andante for trombones and basses, Allegro for violins and 'cellos, an Allegretto pastorale for harp, and the last movement, a richly scored Allegro for violins and horns. There are strong evidences of the influence of Wagner, who himself called Liszt his "Second Half." The poem which is written for full orchestra, tympani, drum and cymbals, has many harmonious and melodic changes and is finely contrasted in its scoring. It was played in an excellent fashion that brought out all its rich orchestration, and made it a fitting close to the concert.