‘A Schubert Evening’

Press, 4 July 1985, Page 8

‘A Schubert Evening’

“A Schubert Evening,” with Edmund Bohan (tenor), Maurice Till (piano), Paul Mayhew (French horn), and Walter Goedde (cello), presented by the University of Canterbury School of Music at the James Hay Theatre, July 3, 8 p.m. Reviewed by Philip Norman My knowledge of life in and around an eighteenth century German mill is now bordering on the encyclopaedic. Last evening’s concert, and a creditable performance by Edmund Bohan (tenor) and Maurice Till (piano) of Schubert’s hourlong “Maid of the Mill” song cycle, made certain of that. While the performance did not hold the attention throughout the 20 depictive songs that comprise the work, it nevertheless contained moments that were entirely satisfying. Edmund Bohan has an ability to spin a high melodic line at the genHest of dynamics, this was; used to excellent effect 4

in many poignant passages. His voice is also one of surprising power. While this strength was perhaps pushed past the limits of comfort in the “Auf dem Strom” scena that opened the programme, it was effectively exploited in the “Maid of the Mill” cycle to produce some climactic passages of commendable impact. Good attention to dynamic and phrasing details helped highlight much of Schubert’s richly descriptive writing. Yet many an opportunity for contrast was lost in the songs of lighter mood, where a heavilyweighted tone worked against the buoyancy of the text. The opening song, for instance, gave a rather severe impression of the delights of “Wandering.” Nevertheless, it was an enjoyable performance; one that, above all else, was a credit to the powers of

concentration and stamina of both performers. In the “Auf dem Strom” presentation, Paul Mayhew’s sensitive and reasonably well controlled horn line deserves special credit. So too do Maurice Till’s stylish and reliable accompaniments throughout the recital. Walter Goedde’s performance of Schubert’s Sonatina in D arranged for cello by Janos Starker, was a generally pleasing one. The first two movements were effortlessly delivered, and the second, in particular, carried a powerful emotional punch. In the third movement, the transcription from the violin line original left the cello with some fiendishly quick scalic and arpeggic work. While a shade scrambled in places, the movement nevertheless had good energy and lively spirit.