Hubie Pilkington
Staff Writer
Trinity Orchestra’s adaptations of well known music have become something of a staple of Irish student music scene. Daft Punk, Arcade Fire, Pink Floyd and Stevie Wonder’s tunes have each been put to the baton, receiving resounding applause both in college and further afield. The concerts have become a regular appearance at musical festivals around the country and tours to London and Budapest have further added to the group’s success. It is fair to say, then, that the stage was set for their next challenge, Queen’s greatest hits. From the outset there were high hopes with word that James O’Leary, who, brought audiences to their feet with his arrangement of Pink Floyd’s “Dark Side of the Moon” last year, was, once again, the instigator for the concert. Having adapted the music into an orchestral piece, though, O’Leary gave himself the further task of conducting too. There were other familiar faces too from last year. Alongside those musicians who had not yet graduated since Pink Floyd, Andrew Hozier Byrne and Karen Cowley made their reappearance as part of the vocals team. Aaron O’Connor Lloyd brought together the visuals once more and, although no longer on stage as part of the band, Rob Kearns was ever-present and in charge of the sound deck.
And so, with experience on their side and anticipation in the air the show got under way with an eery build up that transformed into Flash. Between the visuals, lights and a sound that somehow resembled a synth orchestra, a strong sense of science fiction was produced. This punchy and invigorating opening was followed by a seamless transition into Radio Gaga. Sung by Michael Broderick and Becca Roche, the crowd started to become immersed and involved in the music. Meanwhile the crescendos of the orchestra were adapted perfectly to the rise and fall of the song. Don’t Stop Me Now followed with a tactfully reciped build up through the strings and wind instruments resting with Andrew Hozier Byrne’s ever-accomplished voice taking centre stage. Backed up by a confident chorus and interjections from the trumpeters there is no doubt in saying that the party atmosphere was settling in. This ambience was soon to be expanded. We Are The Champions truly presented the strength of the orchestra and the talent of the band while Killer Queen, superbly sung by David Tapley, enticed the audience to join in in singing a few lyrics.
The next four songs – Save Me, Under Pressure, Now I’m Here and The Show Must Go On – each, in turn represented the various forces of the group of people playing before us. The variations of Queen’s music was managed expertly with solos performed without fault, vocals that soared and, overall, an orchestral element which inevitably sent blood to the head and brought a foot-tapping impulse to all in attendance. Queen’s classical capacities were moulded wonderfully to the instruments that it has always seemed to yearn for. Gemma Doherty and Karen Cowley provided excellent variation in Who Wants To Live Forever while the orchestra and band continued to show the versatility of the gig. The initial nerves, if there were any, had long since subsided and every particle of the group joined together before leading us into the eery Innuendo. Clever use of staccato plucking on strings and faux operatic vocal components each promoted a sound that could nearly be compared to something straight out of the Romantic era.
I Want To Break Free further extended such an atmosphere. Cowley’s vocals combined with clever use of the full orchestra was bathed in a slight campness that seemed to aptly tip the hat to Freddie Mercury’s eccentric and exuberant character. Paired with Hugh O’Dwyer’s accomplished guitar soloing and it was unsurprising that the audience seemed to be buzzing. The festivities were soon to become relentless as the first bars of Bohemian Rhapsody were sounded. Undoubtedly it was one of the most anticipated songs of the set and it did not disappoint. The acapella that is integral over the course of the song was performed expertly and supported by the wind in a manner that would make anyone’s spine tingle. Andrew Hozier Byrne was entrusted with the prominent vocals and certainly did it justice. Crescendos rippled magnificently through the various instruments, the “Galileo” harmonies were nothing except smooth and each high note was pitch perfect. The final phases, meanwhile, were produced with such serenity that it nearly felt as if it was a serenade to every individual in attendance!
Whatever the case, it certainly provided a fitting end to a concert that upheld the reputation of Queen and then added to it… before the inevitable encore that is. After the many well deserved “Thank You”s from Paddy Goodliffe we were played out with a song that enabled every particle of the group on stage to come to the fore and leave us wanting more. Fundamentally Somebody To Love always gets people on their feet but this adaptation was something special. Its rallying melody yielded the perfect end credits for all involved be it the musicians, vocalists, conductor, lights director, visuals composer or sound engineer. It is no surprise, then, that it was the song that was whistled, hummed and sung as those in attendance decanted from the Exam Hall.
Ultimately, once again, Trinity Orchestra exemplified the talents of the students that go to this college. There is no doubt that the complexity of Queen’s songs would have proved a challenge for those involved, none more so than James O’Leary as the arranger, but the results of the hard work certainly paid off and I am sure that they shall resume their positions on the larger stages of the Irish music scene in the coming months. The collaboration of the great music of old and the abilities of the young classical musicians of today is something that is very difficult to put down and I am already looking forward to next year’s adaptation, whatever it may be.
