Making their second stop on a three-week European and American tour, the newly-formed Ukrainian Freedom Orchestra made their Proms appearance with their founder, music director and conductor Keri-Lynn Wilson. Having only met as an ensemble for the first time last week, the UFO are a temporary orchestra consisting of Ukrainian musicians who play in ensembles there or further afield. Under Wilson’s stewardship, their aims are simple: to emphasise the struggles of Ukrainian musicians, highlight the cultural life of the war-stricken country and raise money in support of these. The atmosphere in the hall had parallels with that of the Last Night and there was a heartfelt and sincere welcome as the musicians took their places with many in the audience taking to their feet.
The exiled Ukrainian Valentin Silvestrov is a contemporary composer we do not hear enough of. Silvestrov’s Symphony no. 7 is a one movement work written in 2002-3. Like Silvestrov’s other works, it juxtaposes consonance and dissonance for a deeply emotional experience. The programme notes comment the work “begins with a cry of pain”, which Wilson and the UFO conveyed strongly. As the dissonance of the harmony resolved, the polished sound of the UFO shone through beautifully. The central section of the symphony contains a rather touching, but cinematic, episode for piano which orchestral pianist Oksana Gorobiyevska played with conviction. The ending of the work was hushed and Wilson held the dignified silence hauntingly and poignantly.
Chopin’s Second Piano Concerto was given an engaging performance from Ukrainian pianist Anna Fedorova. This no-nonsense rendition was touching from beginning to end. Wilson and Fedorova found the gentle nuances in the music, Wilson making the most of Chopin’s uncomplicated orchestral accompaniment. The three movements were aptly paced, in the first, Maestoso, they both found the majesty, using rubato subtly and allowing Fedorova to bring an air of spontaneity and improvisation to the piano writing. The gentle Larghetto was delicately executed, showcasing the delicate balance in Fedorova’s hands, emphasising the cantabile melody and the beautiful tone high in the piano register. The Allegro vivace was paced aptly and both pianist and conductor mirrored each other’s phrasing to bring a strong sense of unity to the work.