A Festive Debut for Queen’s Concert Orchestra Society

By Carmen Gray

Around this time last year, the Royal Philharmonic Orchestra ran a survey which found that 83% of adults [1] in the UK hoped to experience classic and choral music that Christmas. A year later, as the festive months move into full swing, back too is the familiar echo of the music we all associate with this time of year. Whether it be on radio, in classic films or even group carolling – it seems impossible to remove some form of music from the festive spirited months.

This year, the Concert Orchestra Society, provided an opportunity for a wide audience to experience this familiar music live. A new Orchestra made up of students from Queen’s University Belfast, the Concert Orchestra Society made their concert debut on December 5^th  2025 in the Harty Room. With the privilege to attend the event, I had the opportunity to witness not only an impressive musical performance, but the beginning of what looks to be an exciting new tradition for the university community. With an audience of around 120, the orchestra collaborated with the Queens Choral and Singing Society to put together an impressive selection of Christmas music, both traditional and modern. 

The atmosphere of the room was shaped as much by its decorations as by the music itself. With tinsel and lights elegantly draped across instruments and music stands, the deliberate effort put into the occasion set a tone of warmth, celebration and care. It was clear that time and consideration had been given to how the atmosphere would impact the enjoyment of audience members. As guests arrived, they were welcomed with mince pies, tea and a friendly greeting at the door; small touches which made the evening feel personal and inviting.

The performance opened with a joyful rendition of O Come All Ye Faithful, during which the audience were encouraged to join in and sing along. It proved to be a successful opener: the hall quickly filled with the combined sound of the choir, the orchestra, and the audience’s voices. Choosing a traditional, well-known piece set an immediate tone of togetherness, rather than creating a sense of exclusivity and distance which can sometimes accompany larger concerts. 

The performance continued with a mix of individual performances from the choir and orchestra. One highlight was the choirs performance of Carol Of The Bells, a notoriously difficult piece to compose which was executed delightfully. Another was the humorous take on the Twelve Days of Christmas, accompanied by actions and an impressive number of bird squawks provided by choir members, which lightened the mood and garnered a lot of audience laughter. I found this particularly unusual compared to other concerts I had attended, which often held a more solemn tone. 

A highlight from the orchestra was In Dulci Jubilo, the Mike Oldfield arrangement persisting in its ability to give an innovative spin on a traditional piece. The piece being played in a small ensemble format, it was a distinctive take on music-making in its form and execution as well as being executed to a very high standard. The full orchestra was too something unlike others I had seen. Many members moved across instruments from piece to piece, showcasing their wide variety of abilities. I found this particularly charming, as it contributed to the continued feeling of community and intimacy. 

Speaking to Matthew Waller, the Outreach Officer and a percussionist in the orchestra, he noted that this piece felt ‘symbolic’ of the unconventional spirit of the orchestra. A blend of tradition, creativity, and genuine collaboration, the new orchestra welcomes members of all abilities and intends to highlight each individual’s talent. He described feeling ‘elated’ that the concert was able to go ahead, noting that they had only been rehearsing since September. As with anything new, they had been ‘unsure’ if it would all come together in the way they envisioned- but thankfully, the concert proved a success. 

Speaking to an audience member, he noted the ‘initiative’ of the students in the orchestra, and their ability to band together and create something unique and new. He suggested that since covid, he had seen ‘considerably less’ new ventures, particularly run by busy students. He too recognised the atmosphere as ‘lovely and festive’, and suggested that as a Christmas activity, there was a lot to gain from watching live music.

At a time such as Christmas, where there is traditionally a larger focus on community and family, loneliness for many groups can peak. That be seen across all age groups, whether it be students- overwhelmed with exams, or elderly people with a smaller community. To lead a concert which encouraged engagement and enjoyment from all ages, he noted, was ‘particularly important’ during the festive period. 

The final piece, Have Yourself A Merry Little Christmas, acted as a fitting conclusion to the night. Following suit with their theme, the song was warm and enjoyable, and played impressively by the orchestra. Like the opening piece, the piece encouraged audience participation bringing the evening full circle and restoring the same sense of closeness which opened the concert.

This debut marks not only the beginning for the Concert Orchestra Society, but hopefully a tradition for many years to come. The attributes which we so typically link with this time of year; community, togetherness and joy, were at the front and centre of the concert. The enduring appeal of live music, it seems, is here to stay. 

Reference 

[1] Royal Philharmonic Orchestra (2024). It’s beginning to look a lot like a classical Christmas: Orchestral music more popular than ever this month. [online] Rpo.co.uk. Available at: https://www.rpo.co.uk/news-and-press/95-press/946-its-beginning-to-look-a-lot-like-a-classical-christmas-orchestral-music-more-popular-than-ever-this-month