Yesterday afternoon, in Symphony Hall, the Boston Symphony Orchestra. Mr. Monteux conducting, gave the third concert of its Friday afternoon series, Mr. Moiseiwitsch was the soloist.

At the first concert, the orchestra set for itself such a high standard of ensemble playing that it seemed impossible that they could continue at the same pace. Yesterday in such an exacting work as Mozart's E flat major symphony, (K. 543), they proved their remarkable ability in neat playing, and clean whittling, not in a large work like Zarathustra, but in a classical symphony. How Mr. Monteux is able to do so well with both moderns and "ancients" is an enigma to many at least of his hearers.

For pleasing novelty there was a "Fantasia on a theme by Thomas Tallis," by Vaughan Williams. Last year his London Symphony pleased so that it was repeated. This fantasia is at least as fine as the symphony, and is a particularly noteworthy example of what can be done with scanty means. Of unusually appealing beauty is this Englishman's work, heretofore strangely unheard in Boston.

Two years ago Mr. Moiseiwitsch showed what a superb musician he is by playing the Schumann A minor concerto; yesterday he proved himself an equally fine technician in the Russian Teherepnins concerto. Particularly in whispered passages, Mr. Moiseiwitsch's tone seems unexcelled; in forte passages his (or the piano's) tone was less sympathetic. The orchestral parts of the concerto were not startling.

For anticlimax cam Liszt's "Battle of the Huns"; other than that it recalls Tschaikowsky's "1812" overture, and is without the interest of that rather noisy work, perhaps there is nothing to be said.

Next week some pieces to Griffes, a Brahms symphony, Saint-Saens "Carnaval dos Animaux", including "Persons with long ears" (1) and "Pianists", and Glazounov's "Stenka Razin" make up the program.