Once again, a report is due on the current affairs of the Boston Symphony Orchestra, and it is sage to say that nothing has changed in the Huntington Avenue music hall. The seats are as hard, the air as bad, the Orchestra as amazing, and the programming and conducting as debatable as they have been for many seasons past.

Superlatives are completely in order when applied to the Boston Orchestra, for no other group can play as loudly or as softly with such clarity, brilliance, and unity. The first desk work is equalled only by that of the Philadelphia Orchestra, and one still instinctively feels that each work is an event of major importance to the musicians, so complete is their concentration on music and conductor. Glib writers, wallowing in the ecstasy of criticism, too often overlook the fact that the Orchestra is what it is because of Dr. Koussovitzky. As an orchestra builder and leader, he has no superior.

The argument over the merits of Dr. Koussevitzky's programming and interpretation still rages, however. Since generalities are particularly dangerous when great musicians are involved, this reviewer can only say that he viewed the choice and execution of half the Sunday afternoon concert of the Orchestra in rather a dim light. A program of Weber Ravel, Strauss, and Brahms is simply too great a dose of Romanticism to be swallowed comfortably in one sitting. Following close on the heels of the "Oberon" Overture, and Ravel's "Pavane for a Dead Infanta," the usually brilliant "Till Eulenspiegel" was not setoff effectively and seemed trite rather than amusing. This unintended effect was partially realized by Dr. Koussevitzky's insistence upon attacking the Weber with the bombast and brilliance usually reserved for Wagnor's "Rienzi" or "Die Meistersinger." "Oberon's" poetry and lyricism were largely overlooked. The Strauss was simply more of the same, and while the virtuosity of the Orchestra was startling, the musical meaning was missing.

Koussevitzky's reading of Brahm's First Symphony, which concluded the program, was a decided improvement and salvaged the afternoon. The conductor's accelerations and retardations are easily forgiven in light of his exciting treatment of this familiar work. As in all his performances of Brahms Koussevitzky strives for a cumulative emotional effect through the music and ignores the niceties of the traditional Classic approach. Although liberties are taken with tempi and choir prominence, Koussevitzky's Brahms is a good answer to those who insist that the German master is academic and intellectual. Brahms was warm-blooded and extrovert Sunday afternoon.