Jaromir Weinberger was a one-hit composer. The success of his 1927 comic opera “Schwanda, the Bagpiper” made it possible for him to devote himself entirely to the writing of more compositions, none of which met with critical acclaim. But the undeniable mastery of “Schwanda” won Weinberger a place among Czechoslovakian composers, and a prominent spot in last night’s Bangor Symphony Orchestra concert at the Maine Center for the Arts.

Under the direction of Werner Torkanowsky, the BSO showed facility and breadth while performing the cheerful Polka and Fugue from Weinberger’s opera. At almost every turn, the orchestra did justice to the multi-textured and lively rhythms.

The brass and percussion sections played with particular vividness, and, except for the surprisingly feeble cymbal, were appropriately pithy and large. Torkanowsky once again proved good judgment in choosing a relatively obscure yet delightfully entertaining piece for his Bangor followers.

The centerpiece of the concert, Tchaikovsky’s Violin Concerto in D Major, featured internationally-known violinist Mark Peskanov, and also showed a careful eye turned toward superb programming.

A polished performer, Peskanov offered an exhilarating and clean rendition of this invigorating symphony. Although the piece seems to beg for an overly romantic presentation, Peskanov never gave in. He maintained an admirably emotional but never muddy or self-indulgent reading. The amazing range of sounds and techniques required of the solo violin in this piece were met with competence and virtuosity.

The featured artist stole no glory from the BSO string section either. His own beautiful tones blended beautifully, and indeed brought out the strengths of the local musicians. While plaintive strings murmured in the background, Peskanov moved between wild frenzy and heart-sinking sweetness. His melancholy cries and cartoonish squeaks pushed through, but never overpowered the other instruments.

At times, it seemed as if his bow was an animal galloping at full speed across the strings. He also showed jocularity and warmth in the expression of his craft.

The result was a spendid lyrical stream of unsentimental though heartfelt music. Peskanov’s endearing display of dexterity, and the clarity of sound he achieved, especially during more rapidly executed segments, were the highlights of the concert.

A foreboding tone marked the beginning of Mendelssohn’s “Scotch” Symphony, the final piece on the program. Inspired by the composer’s visit to Edinburgh, the symphony has a stormy quality that is punctuated by dance-like rhythms and bagpipish sounds. The BSO accomplished the varied nuances in this piece with pleasant amplitude.

The ever-charmed Maestro Torkanowsky kept the musicians respectably concordant. The piece seemed to suit his own energy, and he brought an extra measure of buoyancy and power to the performance.

However, the adagio movement dragged along somewhat, lacking the determination of the other movements, which were generally briskly direct and eloquent. But the leap from the adagio to the final, vivacious movement energized the concert hall, and gave a grand ending to an essentially enjoyable afternoon at the symphony.