For their first major concert of the year, and a superb joining of forces, the MUMS Symphony Orchestra and the UoM Chorus held their concert, 'Towards The Stars' in the concert hall at next door's RNCM. It was the right move to make since even in this venue, space was incredibly tight, and would have been impossible to have had it staged at their home base at the Martin Harris Centre.
If anything the concert was a little on the long side, but we didn't mind that since the music was sublime and the performing of it, some of the best playing I have heard from students of Manchester University for a very long time.
The orchestra started the concert with the well-known and loved Fantasy Overture to Romeo And Juliet by Tchaikovsky. the conducting for this was split between two student conductors, and although the change-over was completely seamless, it was quite incredible to experience the change in the orchestra's attitude. Where they had been playing quite happily and harmoniously they suddenly became thrilling and attentive. The first conductor being a little tentative and her arm movements not exact enough so it was difficult to follow her, whereas, once the second conductor took the stand ,. his clear and strident and highly positive markings jolted the orchestra out of complacency and the his interactivity with the players made them respond much clearer. This is not a criticism of the first conductor however, since I would be totally lost with a baton in my hand, just a simple observation.
The second piece in the evening repertoire was a choral piece with organ accompaniment. This was a slow, close harmony hymn called 'Seek Him That Maketh The Seven Stars' by Dove. A piece new to me, and I did find it rather repetitive but the choir sang with skill.
This was followed by the more well-known psalm, 'Du Fond De L'Abime' in this version by French composer Lili Boulanger. This was a piece for both orchestra and choir combined and was typical of both Boulanger's ouevre and the era in which she was composing. Sometimes there were clashing discords which resolved in an unexpected key, colliding sounds building in intensity and volume before fading to an almost funeral pitch and process. The soloists would have benefitted rom mics since it was impossible to hear them from the other side of the hall, so i heard only one soprano and the young tenor but missed everything that was sung by the other two young ladies on the far side of the podium sadly. It is a dynamically interesting piece and was, along with all the works in this evening's concert, a hugely challenging one. It paid dividend though, as both choir and orchestra sounded wonderful and brought the first half to a lovely close.
The second half started in darkness, save for an annoying bar of lights on the conductor's stand! Accompanying music was heard way off in the balcony, and the choir sang what can be described as something quite contemporary and experimental; 'Stars' composed by Esenvalds. Composed in 2011 it was the most up-to-date piece in this evening's repertoire and served as a 'novelty' opening to the second half nicely. The main body of the second half was Sibelius's Symphony no 7. Perhaps, despite it being given the nomenclature of a symphony it would be better described as a tone poem - something for which Sibelius had a fondness and creative gift. It is played without a break and doesn't follow the usual symphonic rules, but instead gives you picture fragments of his homeland... a stream, a valley, a lake, the hills, nature in all its awesome majesty.
The finale of the evening was again another old favourite: Borodin's Polovtsian dances from Prince Igor. However, there was a twist this evening... they were performed in a choral version. something completely new for me and had no idea that there was even a choral version ever written!
Both choir and orchestra outdid themselves this evening, perhaps because they were in the august surrounds of the RNCM, but whatever the reason, they have never sounded better, and it was exciting and interesting to watch so many student conductors take their turn on the stand; and watching their differing approaches to the music.
Reviewer - Alastair Zyggu
on - 21.3.26
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