BOHEMIAN ORCHESTRA

Sun (Auckland), Volume II, Issue 519, 23 November 1928, Page 15

BOHEMIAN ORCHESTRA

FINAL CONCERT OF SEASON SCHUBERT’S IMMORTAL WORKS Generous tribute to the illustrious memory of Franz Schubert was paid last night when the Bohemian Orchestra gave its final concert of the present season. The Town Hall was filled with a large and enthusiastic audience, which had gathered to hear some of the immortal works of the great master, and the society is to be congratulated on the fine programme submitted and the skilful performance of the various works. The ever-delightful “Rosamunde” overture commenced the proceedings. It is one of Schubert’s happiest works from all points of view, and received a meritorious interpretation. The introductory “Andante” was smooth and' dignified, while the “Allegro vivace” bubbled with gaiety. The first subject might have been phrased a little more sharply, but the second theme was charmingly played; the artistic work of the lighter wood wind was particularly noticeable. The coda was well worked up, and brought the piece to a brilliant conclusion. The big work, however, was the colossal “C major Symphony,’’ which was played in sections, with a few discreet cuts. For the sake of continuity, it would have been better had the first and second movements been, separated by only one other item; somehow the thread of the work seemed broken by interpolating several numbers. The scoring is masterly and individual, in true conversational style, and the form fairly orthodox, but the writing, as is usual with Schubert, rather lacks contrapuntal device. The themes aro invariably beautiful, and in general effect the work is more masculine in type than much of the great composer’s music. The “Andante” of the fir£t movement opened a little tentatively, but the playing increased in decision as the work progressed, with the result that a highly commendable performance was attained. The “Allegro ma non troppo” was marked by a line climax, with telling effect of the brass, particularly in the broad figure for trombones. The “Andante” following was distinguished for some charming playing—especially by the oboe and clarinet—but the constant repetition of the main theme grows a little tiresome. The “Scherzo” was gaily and spiritedly played, and contains some fine contrasts in tonal effects. It Is a very entertaining movement, and the “Trio” seemed a trifle laboured and heavy in comparison. The “Finale” was played with great dash, and its strong and sweeping rhythm was well sustained, while the breadth of tone at times was quite remarkable. Two dainty “Aubades” for small orchestra, displayed Lalo’s gift for orchestral writing, and were playc-d with grace and tasteful nuance, while the “Prelude to Act HI.” from Wagner’s “Lohengrin” made a fitting termination to an excellent concert. Bacli’s No. 5 Concerto, for piano, violin and flute, was well played by Mrs. Macandrew, Miss Edith Whit* - law and Miss Simpson. Perhaps the first movement had not quite the true Bach style, but the “Adagio” and final “Allegro” were admirably performed and interpreted. Mr. Baxry Coney sang the fine old 17th century tune, “Alleluia.” with good effect, and gave a particularly fine rendering of Schubert’s noble song. “The Wanderer.” His encore numbers, though well sung, were not in keeping with the rest of the fine programme. Mrs. Macandrew played the piano accompaniments with her usual skill and vigour. Mr. Muston directed his forces with unerring judgment and success, while Miss Whitelaw as usual ably led the band. S.K.P.