BOHEMIAN ORCHESTRA.

New Zealand Herald, Volume LXV, Issue 20111, 23 November 1928, Page 16

BOHEMIAN ORCHESTRA.

THE SCHUBERT CENTENARY.

A DELIGHTFUL PROGRAMME. Tlio centenary of the death of that great musical genius, l'Vanz Schubert, was celebrated Hie musical world over on November 19, and it was but fitting that tho Bohemian Orchestra should, at tlio fourth concert of the season given in tlio Town Ilall last evening, mark such an important occasion by playing a programme mainly devoted to works by this esteemed composer. The passage of time has increased the value of the wonderful musical heritage which Schubert lias bequeathed to us, and to day when wo are celebrating his centenary he is known and loved wherever music is made. Tlio Bohemian Orchestra, conducted with such ability by Mr. Colin Muslon, is to bo con gratulated upon the representative choice of music made for this concert. I'oreniost of the Schubert compositions was tlio Swan song, the great "Symphony ill (J Major." Ordinarily this monumental work takes an hour to perform. For its inter pretaticn last cvoning the symphony was divided into tlireo sections, each being played at intervals in tlio programme More was frequently noticed moro varied orchestral colouring than is met with in many of the Beethoven symphonies, par ticularly in the treatment of tho brass A wealth of melody, giving tho fullest scope for each instrument, was also a prominent feature. Schubert's unerring facility in scoring was observed in tho opening "Andante" and "Allegro Ma Non Troppo," the latter being led up to by an inspiring crescendo. Tho whole of this section pulsated with life, and all departments strove to excel. There were many romantic touches in the plaintive strains of tho succeeding "Andante" see tion which contained more than a hint oi gipsy themes, while an air of mystery pervaded the horn passages. A tier a forceful outburst by the strings, led with certainty by Miss Edith Wintelaw, the charm of (iic "Scherzo" made itself moro fully manifest in the episode assigned to the oboes and horns. The playful second subject given out by tho strings to an accompaniment of clarinets and bassoons was presented in highly appropriate manner. Exuberant energy marked the closing "Allegro Vivace" of this noteworthy symphony, every bar of which teemed with effective music. The brightness and fascination of Schubert's overture to "Rosamundc" made a speedy appeal, not tho least contributing factor being the abundantly joyous first subject oi' the "Allcgi •o" section.

J. S. Bach's Concerto No. 5 had for its exponents Mrs. Macandrcw (piano), Miss Edith Whitelaw (violin) and Miss Simpson (flute). These talented musicians discoursed some of the most delightful polyphonic music to an accompaniment by a small string orchestra. In the "Allogro" movements much technical facility and requisite understanding was displayed, though it may be affirmed that the executive honours were carried off by Mrs. Macandrew—no surer interpreter of Bach's pianoforte music could bo easily found Two Aubades for small orchestra were arresting examples of graceful scoring, while the intricacies of the Prelude to Act 3 of Wagner's "Lohengrin" wero graphically portrayed. Mr. Barry Coney showed a fine estimate of the vocal possibilities of Schubert's fine song "The Wanderer," and one only regretted that he did not choose the same composer's dramatic "The Erl King" for his first item, instead of O'Connor Morris' arrangement of an old Easter hymn, "Alleluia," impressivo as this was. Being warmly encored. Mr. Barry Coney responded with popular songs. Mrs. A. W. Macandrew showed marked ability as pianoforte accompanist.