For the final concert of the current MUMS students, and the
last concert in their week long Estival, the Symphony orchestra played the year
out in superb style.
For many this evening it was their last chance to perform as
part of Manchester University as they await the results of their degrees and
look forward to work or further training in September. MUMS [Manchester
University Music Society] will continue next year but with newer students.
This evening however, they were not maudlin or downhearted,
but, instead the atmosphere was light and productive as thank yous were said
and presentations given.
The programme of music chosen for their farewell concert was
very interesting, and surprisingly played through without interval, meaning the
concert finished much earlier than expected. Not that that mattered.
Three pieces were performed in total, and four different
conductors also took their last time on the stand as university students.
The first, Dream
Children, was typical Elgar. And under some nicely controlled conducting the
swells and sustained notes were very effective. Once you have heard the
unmistakeable and unique sound of Elgar strings you cannot unhear them. The work is in two short movements. The
first, slow and melancholic and the second a country dance. the origins of this
composition unclear, but they are nevertheless lovely pieces, which seldom get
to be heard as quite understandably Elgar's oeuvre is large and his longer,
more substantial pieces tend to get much more air-time.
After this, and to a work I had previously no knowledge.
English composer Elizabeth Maconchy's Nocturne'. It was a very atmospheric and
dramatic work, and started with a repetitive 2-note theme which gradually build
in volume and intensity, this then suddenly giving was to a solo violin and
harp before developing further. The harp actually playing a very dominant role
in this composition. This piece however was more of a nightmare than a nocturne;
and certainly not a piece of music to put one in the mood for sleep. Instead it
is a rather disturbing piece with huge crashes and frightening crescendos. With
the conductor's long, graceful sweeping strokes gently bringing the whole down
to a diminuendo and soft, quiet end.
For their final piece, a symphony in four movements (2
conductors conducting 2 movements each) and the symphony in question; Ralph
Vaughan Williams' 5th. Vaughan Williams wrote 9 and a half symphonies before he
died. and after his so-called 'Sea Symphony' (his 9th) this is my second
favourite. It is also quiet a short symphony too, and is often seen to be his
quintessentially 'English' work. I however disagree. If you listen closely to
the melodies and structures one can quite clearly hear both Prokofiev and
Tchaikovsky in there! It is a work of beauty but also quite dark in places
too. From the slow and lyrical start
through a triumphal march-like middle section to the ending of the first movement
being left unresolved, we know that we are not in 'happyville'. The second
movement jaunty Prokofiev-esque cheekiness brings back the joy, whilst the
third movement starts with what can only be described as one of the most
beautiful and haunting largo string passages ever written - if it hadn't have
been spoilt by the entry of brass and woodwind that is! With a lovely violin
cadenza the third movement has a pure harmonic finish . The tumultuous fourth
movement flirts with pomposity as the dynamics and mood of the piece change
from loud and proud to soft and gentle constantly but Vaughan Williams knows
his public and brings the work to a wonderfully quiet, plaintive and harmonic
string-filled conclusion.
The orchestra were in fine voice tonight, and this was
indeed a very English, but very fitting finale to both the week-long Estival
and the whole year of over 50 concerts given by MUMS.
Reviewer - Matthew Dougall
on - 8/6/18
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