BOHEMIAN ORCHESTRA.

Auckland Star, Volume LX, Issue 103, 3 May 1929, Page 11

BOHEMIAN ORCHESTRA.

OPENING CONCERT

The Bohemian Orchestra of some 70i executants pave its initial performance oj the sixteenth season in the r lown Hall ast. evening before a large audience. An at j tractive and varied programme was submitted, and the pieces were rendered in <V manner evidencing careful preparation. - fine and steady tone was maintained b>. the strings; the horns and brass-choir secured a pleasing quality of sound, ana i the wood-winds were generally successful in the intricate problems allotted them. Mr. Colin Muston conducted with firmness and authority, whilst Miss E. Whitelaw decisively led the orchestra. Kail Maiia von Weber's famous "Jubel" overture, written in 1818 for . the Court concert, celebrating the fiftieth anniversary of the reign of King Freidricli Agust of Saonj, was the opening number, and a resolute and distinctive interpretation was secured of this famous concert piece, J.he ' Adagio with its brilliant scoring for full orchestra, received a richly chorded delivery, ut special merit was the clear play nig by the wood and brass choirs, whilst contrabasses, 'cello#, violas, and higher strings effectively presented their music, lne "Presto Assai" went with a swing and sonorousness of tone marked the fortissimos, whilst the part-playing l>i reeds and flutes was neatly achieved, lne brass-choir emitted a telling tone, and tne strings played with weight and solidity the rich progressives prepared for tneni. whilst competent executants clearly voiced the solo parts. The Finale was brilliantly rendered, and the fully scored God have the King," which terminates the overture, was given with force and power of the orchestra. The strings played with velocity of execution the florid dennsemiquaver figures and timpani, brasses, flutes ana reeds gave with fullness the sustained chordal harmonies. The orchestra was deservedly praised at the conclusion or the number. Mozart's celebrated orchestral sonata in G minor—a masterpiece of rare and continued beauty, received a presentation which anravelled its distinctive features and gave pleasure to the listeners. The Allegro molto' was executed witn grace and attention to detail, which exhibited its perfection of construction and outline. The strings executed the flowing phrases with care, and pleasing tone quality, whilst the brasses, reeds and flutes sang the sustained music and playful staccatos with delicacy and nice colouring. The Andante, which has so many beautiful phrases was effectively played, specially commendable being the delicacy of tone displayed-by the strings; the wincichoir chorded agreeably and executed the tripping demisemiquavers with lightsome facility and good tonal purity. The Minuetto was handled in a style unfolding its characteristic rhythm and import, whilst the Trio was delicately treated. The joyous and dancing Finale was interpreted in a manner displaying its exquisite harmonies, graceful scale passages, arpeggios and flowing solos. This monument of perfect orchestral writing was attentively followed, and the musicians were warmly greeted at the termination. MacCunn's, "The Ship o' the Fiend," proved an interesting novelty. Some delightful work was displayed by reeds and wood-winds, richness of tone in the chordal passages marked the reading of the extensively scored measures, and variety of shading and well marked rhythmic feeling were other features of the performance. Reinecke's "Tonbilder" suite was very delicately handled. The shading, phrasing and play of parts were features of its delivery. Sibeliu's "Karelia," and Schubert's scenes from "Lilac Time" were other enjoyable rendered pieces. Renato's scena ed aria "Alzati la tno Figlio" from Verdi's "Un Ballo in Masehera," and Schubert's "Erl Ivonig," were effectively sung by Mr. Len Barnes, and Sir. Trevor de Clive Lowe, 'cellist, gave a skilful reading of Godard's "Sur le Lae." Botli performers were warmly encored. Mr. Cyril Towsey acted as pianist.