The Du Bois Orchestra’s Sunday concert at first Church Cambridge opened with the Symphony No 2 in D Major by Joseph Bologne, Chevalier de Saint-Georges (1745-1799), a work they had presented once in 2021 and twice in 2022 as part of conductor

’s goal of performing underrepresented composers. The Allegro Presto (also Overture to L’amante Anonyme, 1780) begins unassumingly with scalar and chordal assertions of the tonic (D major) until we reach the dominant halfway through the exposition. We then hear a series of short lyrical phrases in the violins which turn into a conversation between oboes and violins. The orchestra conveyed the requisite elan with clean attacks, buoyant short scalar figures, and subtly shimmering tremolos in the upper strings. The ending (12 measures on the tonic chord) sounded resolute and decisive.

The Andante, written for strings only, offers a stately dance in 2/4 time. The orchestra enhanced a charming, but somewhat repetitive piece through dynamic contrasts and flawless articulation.

In 6/8 time, the Presto opens on repeated notes outlining a D major chord. The addition of oboes and horns after eight measures adds to the valedictory atmosphere. A two-bar phrase forms the kernel of the movement’s melodic material, leading to a playful dialogue between upper strings. The violins contributed an unerring contrast between staccato and legato, while long pizzicati (3/8 note) in the lower strings added a warm resonance. A coloristic mix of texture and color delighted. The symphony ends with a literal repeat of the exposition. Throughout, Hoskin maintained the light, playful style that is so critical to an effective performance of this piece.

Schubert’s Symphony no. 8 in B Minor, Unfinished states its opening theme in eight measures that end in a rising fourth. Then come four measures of a 16^th-note stepwise figure in the violins accompanied by pizzicato in the lower strings. A second melody (also 8 measures) was then introduced by the oboes and clarinets—an efficient and laconic display of varying musical ideas on Schubert’s part. All is marked pp. The orchestra communicated the hushed, muted atmosphere perfectly. As the symphony progresses, much drama unfolds. An f to pp chord held by the bassoons and horns at measures 33-35 presages the appearance of a third, dotted-rhythm theme. The chordal sequence is not marked fermata, but Hoskin held it slightly, adding to the drama. Variations on the third theme continue throughout the exposition. Another moment of textural color arrived in the first statement of that theme in the flutes, which Catherine Zolkos and Anabel Diaz projected splendidly.

The development begins with a restatement of the opening theme, but the raised fourth at the end is now a descending scale. A subtly slowing tempo and diminuendo evoked pathos. The poignancy of the moment was captured as sections exchanged fragments of the same theme. Hoskin’s use of rubato allowed the audience to absorb varying emotional states, culminating repeatedly in triumphant surges. Again, the orchestra met the varying demands with clean attacks and cutoffs and delivered the abrupt changes in dynamics with textural clarity. The movement comes full circle, when, in the final statement of the opening theme, the original rising fourth is restored. However, the theme ultimately disintegrates as the movement closes in a piercing, tragic b minor chord.

The melodiousness of the Andante con moto provides a marvelous contrast with the brooding intensity of the opening Allegro moderato. Nonetheless, pathos remains ever present, as in the second theme, first heard in the clarinet and then in the oboe, accompanied by a short descending phrase in the celli. Although full of drama, the ebb and flow jars less than in the first movement. A 16^th-note rising and descending arpeggio (something of a leitmotif), always stated in a major key, lends an occasional sunny quality. The movement ends pp on an E major chord.

Elgar’s Introduction and Allegro for Strings, scored for string quartet and string orchestra served as the closer. The orchestra produced sumptuous sound, the solos thrilled, and the balance between quartet and orchestra was (generally) excellent.

Sunday’s outing was the Du Bois’s only full orchestra concert of the season. One reason is that the orchestra is becoming part of the Cambridge Music Society, an organization with a broad musical vision for the community. We look forward to a successful transition, and to the Du Bois bringing its refined sensibilities to the varied musical agenda of the Cambridge Music Society.

Retired medical biology researcher Dinah Bodkin is a serious amateur pianist and mother of Groupmuse founder Sam Bodkin.