The wonderfully talented students
of the Manchester University Music Society performed an eclectic mixture of
American pieces worthy of bringing anyone out to see it on such a dark and
miserable Saturday night. Performing the works of Leonard Bernstein, Florence
Price, Stephen Paulus, Dan Forrest, Elaine Hagenberg and ending with Francis
Poulenc, the MUMS Symphony Orchestra and Chorus made for the perfect marriage
in entertainment and musical ability.
Presented by the friendly face of
conductor, Robert Guy, an alumnus of Manchester as well as having many other
achievements in the musical world, as well as introducing a number of talented
members of the society, what the night successfully got across was that despite
the relatively relaxed mood and informality of the event, the orchestra, chorus
and more widely the society are as good and should be respected as much as any professional
orchestra. The Whitworth Hall added to this too, with its high vaulted gothic
ceiling, and impressive organ (which would be put to use), made for a magical
setting to perform and listen in.
Once the lights had gone down and
the audience had settled, the first performance to kick off the evening was
Leonard Bernstein’s Overture To Candide,
a piece that would set the tone for Florence Price’s Song of Hope at the end of
the first half with its Gershwin inspired melodies that encapsulates and defined
early to mid-20th Century American music. The overture was the
perfect warm up and display of the musician’s talents as well as providing the
perfect distraction from the dreadful weather outside for the drenched
audience. However this was the only a glimmer of what was in store.
Juxtaposed to Bernstein’s 50’s
classic, was a more recent composition by Stephen Paulus, The Road Home, employing the chorus as well as orchestra to produce
what has to be one of the most beautiful pieces of music this reviewer has ever
witnessed. Assisted by the 1835 Southern
Harmony Songbook, what Paulus created was a sentimental blend of new and
old which when performed by both groups made for a truly wonderful moment in
the night. My only wish was that it was a longer piece, but good things come in
small packages.
Following from The Road Home was Good Night, Dear Heart by Dan Forrest. Taking inspiration from
gravestone of Mark Twain’s daughter, Good
Night, Dear Heart is a cappella inspired by heartbreak and is filled with a
bittersweet melancholy. This piece showcased the University of Manchester
Chorus’ prowess and delicateness, their voices reaching the farthest corners of
the hall without being harsh or fortissimo. If there is a piece which the
chorus’s members ought to be most pleased with themselves for, then it was
this.
Rounding off the first half was
Florence Price’s Song Of Hope. Price,
a name and talent seldom known or appreciated until somewhat recently, but one
musicians should be glad to perform and audiences glad to hear is a new
personal favourite. Taking inspirations from the dance rhythms popular in the
1920s and 30s, Song Of Hope appears
more brooding and dark compared to other works by the composer. A majestically
poignant ending to a first half which began the ramp up to the Poulenc’s Gloria finale.
Whilst there was an interval,
there shall be a slight interval in this review to say that there were a
handful of up-and-coming and talented members who performed in different
capacities either as guest conductors or soloists. It seems almost unfair to
pick out certain persons, however sometimes it cannot be helped. Levi Collins
not only wowed us as a member of the strings, but also as a mezzo-soprano,
performing both roles in the previous piece, all with much ease and grace.
Additionally the other special stand out performance has to be from Medical
student and soprano, Niamh Mullaney whose technical ability was outstanding in
her solo performance in Poulenc’s Gloria. This must not detract from the
burgeoning talents presented to the audience, with the sopranos Laura Crooks
and Aiofe Downey were incredible as well as baritone and guest conductor, Josh
Hill. Other conductors included Kwankawe Ruantrakool, Isabelle Hussey and
Alanis Dalledone, some of who conducted various movements in Gloria. Of which, more to follow.
However let me use this opportunity to say that these talented people are names
we are sure to see more of in the coming years and their skill is an
inspiration to those who do not partake in music anymore, or those who want to
partake. The future of music is in safe hands.
After the interval, we were
treated to Still With Thee, by Elaine
Hagenberg. Based on the abolitionist Harriet Beecher Stowe’s poetry,
Hagenberg’s cappella seemed suited to the halls church nave like structure;
with the chorus situated below the halls organ facing out to the dark gothic
beams high up. It was almost as if Hagenberg had pictured the Whitworth Hall
when composing the piece. However as good as Still With Thee was, there appeared to be an atmosphere in the
audience, apprehension or excitement for the grand finale which was to follow
this piece.
Replacing Gershwin’s Porgy And Bess (which when one looks at
the likes of Bernstein and Price earlier in the programme makes sense), was
Francis Poulenc’s masterpiece, Gloria (commissioned and premiered in America,
thus keeping with the American theme of the night). An all-encompassing piece
in six movements which employs the orchestra, chorus, soloists and organ.
Drawing inspiration from the likes of Stravinsky in parts, Poulenc created a
work which seems timeless and much which appears older than its sixty year
existence. The entire piece was seamlessly conducted by four conductors, each
smoothly transitioning to the podium. It was incredible how each one brought
their own touch to the piece, yet there was no jarring change overall to
disrupt the flow of the performance. This in itself was a truly impressive
feat.
The entire coordination between
conductor, orchestra, chorus and soloists throughout Gloria was at such a high level, one forgets that these individuals
are students. It made for such a culmination which left one almost awestruck,
and with Mullaney’s performance, made for a truly enchanting and stellar
performance and ending to what was already an exceptional evening.
MUMS and the Chorus never fail to put on a wonderful show. It almost goes beyond music, it’s a shared passion between students of different subjects and backgrounds. It was so wonderful to see fellow students in the audience waving to their friends in the orchestra or chorus. The talent that each and every member possesses too is incredible. If you want an evening of good music, but you perhaps don’t wish for that perceived stuffiness that accompanies a professional orchestra than this is it. In fact it’s a shame that these concerts are not filled to the rafters with people other than family or friends, it’s a university society but they are as good as any professional group you may come across. All those involved should be immensely proud of themselves, not just about the evening’s performance but for what else they bring. They bring a mood/ atmosphere/ emotion which I’m still struggling to my finger on... it has to be experienced.
Reviewer - Daryl Griffin
on - 16.3.23
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