Besides the usual barrage from WCOP and the Crimson Network, during this past weekend Bostonian and Cantabridgian music publics were subjected to two concerts which will rival any of the entire season in everything from novelty to richness of performance.

The first of these was held in that sanctum of sanctorums known as Agassiz Hall on Friday, and it was a pity that so small a group took those little red and white announcements seriously. At any rate, four Boston Symphony musicians including Jean Lefrane and Alred Zighera plus a pianist, Paul Doguereau, made their appearance and very smoothly and beautifully furnished two-hours of French chamber music, which included the Faure Quintette, Opus 89, the Quartet, Opus 15, and the Ravel Trio in A Minor. To most of those present, including myself, these works were more or less unfamiliar, but from the very cordial reception which greeted each selection, it would seem as if more concerts of this type, in spite of their somewhat limited appeal, would be welcome.

The following evening, Symphony Hall heard one of the most varied and successful programs of the year, which included everything from Bach to Brahms, Strauss, Wolf and Borodin. If the before mentioned concert proved that unknown works can be a success, this proved that known quantities can be even more so. The Third Brandenburg Concerto in G Major is a tried and trusted quantity, although one might have wished for a few less strings than the Boston Symphony can throw into the fray at any time. Previously this year, more than competent performances of Thus Spake Zarathustra and Don Quixote were heard, but the Don Juan which followed can be spoken of only in glowing superlatives. Also heard during this hour and a half of musical ecstasy was an-almost-equal-to-Toscanini Brahms' Variations on a theme of Haydn, and three choral selections sung by the Cocilia Society and Apollo Clubs of Boston. These included Brahms' "Ein Schicksalslied" (A, Song of Destiny). Wolf's "Der Fuerreiter" (The Fire Riders) and the Borodin Polovetzian Dances from "Prince Igor." The flawlessness of their singing, their round, full warm tone all made for a perfect appearance with Dr. Koussevitsky. As an astute listener by my side sagely summed it up. "If they only knew how to bow in unison, they'd be machines."