Mr. Monteux is a curious mixture. As conductor, he is remarkably even, polished un "temperamental;" as program maker he is proving himself brilliant but erratic. At Friday afternoon's concert he played what in most cities would be an exceptional program, including Dukas and Ravel, a bit of Wagner, a piece by John Knowles Paine, and the Brahms second concerto. Next week he purposes to present a concert almost as usual, save for one factor, and certainly as interesting, as today's was interesting. Beethoven's hackneyed, if beautiful, Egmont overture, Schumann's Symphony in D minor, than which there are probably few examples of poorer scoring, a viola concerto by our Bowen, and excerpts from Berlioz' symphony, "Romeo and Juliet," for which Mr. Monteux retains a peculiar fondness,--these make up the swing toward the right. To compensate, we expect the following week will bring at least Milhaud, Stravinsky, Hindemith, and Goosens!

Dukas' overture to "Polyenche," to be appreciated, must be recognized as an early and relatively simple work; thus recognized, it seems pleasant and ingenious music, excellently orchestrated, although perhaps a bit reminiscent.

When a concerto heard at the hands of a pianist of the skill and artistry of Harold Bauer, still remains unconvincing, uninteresting, and long-winded, there is something the matter. Eloquence on Mr. Bauer's part, heroic effort by Mr. Monteux, nothing could redeem this very dry concerto except a very few passages in the less uninteresting last movement. If there is any meaning to this work, as there may be, since an artist of Mr. Bauer' rank sees fit to play it, we are unable to discover it.

Paine's "Oedipus Tynannis" prelude is far ahead of the work of most American acedemicians. A less matter-of-fact reading of it would have made this clear to many who remained untouched by yesterday's performance.

To close, Mr. Monteux played Ravel's "Choreographic Poem" the Waltz, with an understanding and sympathy which wholly redeemed the less interesting parts of the concert. Ravel is beyond description--certainly the master-satirist of music. Humor, subtlety, musical virtuosity; all are his. Listening, the Boston audience ponders solemnly, frowning on those who see the point.