“The Philadelphia Orchestra, as it exists, is, with slight exception, what its name purports, engaging practically all the best orchestral performers in the city. A portion of this material was under disadvantage, both as to individual training and the fact that a few men, fulfilling the demands of an orchestra in a theatre, are mainly required to play as loud as possible, with corresponding absence of any approach to phrasing. “Considering these facts and in view of the works accomplished in last evening’s programme, the results must be regarded as little short of notable, not only as to the outcome of a training by a man of exceptional thoroughness in this direction, but in the aspect of an enthusiastic response on the part of the performers. It is only in case of entire sympathy, between those engaged that an outcome corresponding with that demonstrated in the first programme can be attained.” “THE ORCHESTRA AT THE ACADEMY “PHILADELPHIA’S NEW ORGANIZATION UNDER HERR SCHEEL MAKES ITS DÉBUT “GABRILOWITSCH THE SOLOIST “The Young Russian Heard in Tschaikowsky’s Concerto in B. Flat Minor. A Brilliant Audience Greets Orchestra and Enjoys an Interesting Program. “With unequal forces at his command in the orchestral choirs, Herr Fritz Scheel, by the sheer effect of personality, was able to carry artistic conviction home to the brilliant audience at the Academy of Music last evening, when the Philadelphia Orchestra made its first appeal. By wise choice of program, by the happy selection of a soloist and by the spirit which pervaded the interpretation of the numbers read, the leader made a deep impression and the orchestra, when at its best achieved a decided success. It has in it the promise of a new era musically, and its work of last evening is an earnest of better things to come. Certain readjustments are inevitable. The strings show up finely. There is high finish and excellent tonal quality in all they do. They are, indeed, the backbone of the orchestra. The brasses, on the whole, met the demands of the leader and music, but the horns need as keen a concern for time as for tone, and while these choirs in no wise seriously interfered with an adequate realization of the beauty of the work so interpreted, the same cannot be said for the woodwind which was not up to the standard in several particulars, though the bassoons were notably efficient and in fine trim. “HERR SCHEEL’S GOOD WORK