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Third-year student Daniel Parkinson conducted the first half. Opening with ‘The Magic Flute Overture’, Parkinson tackled the disconnected opening chords with a majestic sense of unity. Apart from isolated, minor intonation issues, the orchestra performed the work comfortably.
However, it was Fauré’s Pelléas et Mélisande suite that truly impressed. It’s beautifully expressive quality suited Parkinson’s conducting strengths; the ‘Sicilienne’ in particular, with its folk-like flute melody over a flowing harp accompaniment, sounded stunningly serene. Throughout the suite, numerous solo passages highlighted the instrumentalists’ skills as soloists as well as orchestral players.
Dr John Stringer retook his position as conductor after the interval. A premiere of Paul Edis’s ‘Four Scenes Unseen’ began the half, with a very different sound-world to the previous works. At first the connection between this piece and the rest of the concert was unclear; but soon it was evident that, despite its contemporary techniques and methods, ‘Four Scenes Unseen’ is as expressive as the Fauré and as exciting as the Ravel that followed. UCO always tackle contemporary works expertly: this was no exception.
The concert concluded with the most awaited piece of the night – Ravel’s Piano Concerto in G, featuring third-year soloist Paul Sild. Ranging from thrilling, jazzy highs to the exquisitely mellow middle movement, Sild’s mesmeric playing, accompanied conscientiously by the orchestra, proved the highlight of the concert. Greeted by a standing ovation and explosion of applause, it rightly received the most euphoric approbation of any piece in this year’s concert series. A dazzling conclusion, an outstanding concert; UCO always delights.
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