Manchester University Music Society (or MUMS to the initiated) is a large and diverse student body comprising both music major students and non-music students and perform in various ensembles - including a large symphony orchestra - at local concerts and more widespread competitions throughout the scholastic year.
It's been a tough time over the last 20 months or so, and live concerts have been non-existent. No need to tell you why...! And so, coming back to the Martin Harris Centre in the middle of the university complex on Oxford Road felt a little more like a homecoming than anything. And with four separate ensembles ready and waiting to perform in public for perhaps the first time since the start of the pandemic, the atmosphere was also just a little high!
First to hit the eager audience with their musical notes this afternoon was the Wind Orchestra (MUWO). Performing two pieces, this predominently female orchestra sounded superb. They started with an early work by Gustav Holst; his 'First Suite', which is a set of three movements: country dances and marches with an early hint of both Holst's unique style and his genius. This was followed by Tom Davoren's tour-de-force showpiece, 'Return To The White City'. Composed to commemorate the 2012 London Olympic Games, this piece is a sprint in itself, once it starts, not stopping until the final cadence! Loud, percussion-driven, the piece is rhythmic, with a subtle jazz beat, but is also a relentless blast of hugely enjoyable and joyous noise!
After this, the pace, mood, and even ensemble changed, and we were now to watch the second of the afternoon's ensembles, The String Orchestra (MUSO). Thank you to student conductor Caroline Morris for her lovely and clear introductions. Sadly, I am unable to credit any of the other student conductors in this extravaganza as they are omitted from the programme.
And after such a rousing rollercoaster of wind, it was lovely to sit back and listen to the more mellow, but still quite dramatic 'Romance' by Jean Sibelius. It's Early Romantic in style and exposition, but nonetheless, we can still hear a few of the ideas and orchestration development he would employ in later works. This was followed by four movements from Vaughan-Williams's 'Charterhouse Suite'. The movements all had a very Irish flavour to them, especially the first and last, and the characteristic Vaughan-Williams orchestration and use of country dance rhythms and melody fragments was omnipresent.
After an interval, and again, another complete change. And now we are in Brass Band land! The MUMS Brass Band took the stage and us by storm. Starting in traditional Brass Band form with German's 'The President March', a favourite for all marching bands everywhere. The mood changed with their second piece, and this was easily my favourite piece of the whole concert: 'Blue' by Thomas Gansch. The piece started with a septet playing in front of the band, and was indeed a very mellow, bluesy tune, which eventually, after a clever 'cadenza' on the trumpet, the whole band is brought in, and the chord structure and progression underneath the melody was just lush and delightful.
This was followed by 'The Londonderry Air' (Danny Boy), and Bernstein's 'Times Square' (music from 'On The Town'). And by way of a seasonal encore the Brass Band finished their selection with another true band number. This time a traditional waltz-tune from Austria / Bavaria, "Schneewaltzer", which has been arranged many times in many ways - this one for Brass Band and audience movement! Bravo!
This was followed by 'The Londonderry Air' (Danny Boy), and Bernstein's 'Times Square' (music from 'On The Town'). And by way of a seasonal encore the Brass Band finished their selection with another true band number. This time a traditional waltz-tune from Austria / Bavaria, "Schneewaltzer", which has been arranged many times in many ways - this one for Brass Band and audience movement! Bravo!
Finally, it was the turn of the fourth ensemble to play for us. We moved from Brass Band to contemporary Big Band, and the instrumentalists had all donned colourful and summery Hawaiian style shirts. It was time to let our hair down!
Their first piece was 'Times Suite'. This required a wordless female voice as part of the orchestration, but sadly, mic levels weren't quite optimal, and her voice, despite it being meant to be only one voice of the ensemble and not a solo, was still inaudible at times. An interesting piece which showcased the band extremely well. Then came a rather more easy-on-the-ear piece called 'Vesper' which ended in a lovely piano solo. And then, just as we were getting started, it was time to finish. Their final piece was the interestingly-named 'Baby Carrots' by Jacob Mann. A funky piece with a surprise ending.
Their first piece was 'Times Suite'. This required a wordless female voice as part of the orchestration, but sadly, mic levels weren't quite optimal, and her voice, despite it being meant to be only one voice of the ensemble and not a solo, was still inaudible at times. An interesting piece which showcased the band extremely well. Then came a rather more easy-on-the-ear piece called 'Vesper' which ended in a lovely piano solo. And then, just as we were getting started, it was time to finish. Their final piece was the interestingly-named 'Baby Carrots' by Jacob Mann. A funky piece with a surprise ending.
What a fantastic concert from all. Live music is back (thank goodness!), and this was a superb way to celebrate it! Let's have more, lots more...please!
Reviewer - Matthew Dougall
Reviewer - Matthew Dougall
On - 5.12.21
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