Last Thursday evening the Boston Symphony Orchestra, Mr. Monteux conducting, gave its sixth concert at Sanders Theatre. The program was as follows: Schubert, Seventh Symphony; E. B. Hill, Waltzes for Orchestra; Rimsky-Korsakow, Air from "The Tsar's Bride"; Prokofiew, Song Without Words; Moussorgsky, Revery and Dance from "The Fair of Sorotchinsk"; Wagner, Overture to "The Flying Dutchman".

The performance of the Schubert Symphony was a stirring one. This work although nearly one hundred years old, still retains vigor and vitality. If the second movement is too long, the scherzo and finale more than cempensate for it. Mr. Monteux wisely refrained from taking all of the repeats, for fifty minutes of any symphony is quite sufficient to cause an audience to fan itself on the coldest of winter nights.

Mr. Hill needs little introduction to the Cambridge and Boston public. His "Fall of the House of Usher" was played last year by this orchestra, when he was already well known by his charming "Stevensoniana". We were glad to have another opportunity of hearing the "Waltzes", which are still further proof of his skill at orchestration. They contain a wealth and variety of tone coloring, and clever rhythmic devices which relieve the monotony of the waltz rhythm. In form these waltzes suggest the "Valses Nobles et Sentimentales" of Ravel, where there are seven of contrasting mood and character, and the closing one a resume from fragments of the others. The most effective of Mr. Hill's are those of less sentimental character, especially the first in D major, the third in F major, and the sixth in F sharp minor.

Mme. Nina Koshetz of the Chicago Opera Co. sang a remarkably interesting group of songs. For year we have heard Lieder singers and cantatrices, but only recently has the wealth of Russian vocal music been disclosed to us. Mme. Koshetz struggled bravely against a disagreeable attack of laryngitis, and she won out, for by the time she reached the two most important songs by Prokoifew and Moussorgsky, her tone was clear and of a beautiful resonant quality. How fascinating these Russians are with their charming simplicity and vivid imagination!

Prokoflew is little known in this country outside of his opera "The Love for the Three Oranges" and two piano concertos, due to the unfavorable condition of Russian music publishing houses. In Paris his reputation ranks with that of Strawinsky, and his "Song Without Words" written for Mme. Koshetz seems to bear this statement out. In the weird middle section with its dissonant rustling of strings, which would tax the pitch of any singer, the voice rang true. The Moussorgsky "Dance and Revery" from "The Fair of Sorotchinsk" was sung with great dash and vigor, although Liadow's orchestration was ineffective. The orchestral accompaniment of these songs, through no fault of Mr. Monteux, might have been more even.

The concert closed with a brilliant performance of the Overture to Wagner's "Flying Dutchman".