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MacMillan and Messian : Soloists, Ensemble 10/10, St. George’s Hall, Liverpool, 26.1.2008 (GMH)


There could hardly have been a better musical way to commemorate National Holocaust Memorial Day; which was, this year, centred on Liverpool.

The recital, aptly named Music for the End of Time, included Olivier Messiaen’s colossal Quartet for the End of Time, written while he was interred in Stalag VIIIA concentration camp. It’s a piece which is as demanding for the performers as on the listeners who are all subjected to moments of extreme soul-searching, moments where the composer seems almost to have passed into paradise,  along with other passages where the composer almost seems to be losing hope. Yet, the whole work ends with an inspirational display of hope – something, surely, in short supply in those dark days of World War II.

And what a performance this was – for virtuosic display, for the sheer depth of emotion demonstrated by the four players and for the compelling standing ovation at the conclusion.

With her stupendous performance of Messiaen’s Vingt Regards at the opening of this new venue still fresh in the memory, pianist Joanna MacGregor returned.  She was joined by principals from the Royal Liverpool Philharmonic Orchestra: clarinettist Nicholas Cox, violinist James Cox and cellist Jonathan Aasgaard.

The delicacy of the first movement contrasted with thunderous, almost angry, outbursts in the second movement. Of particular note was the unison sixth movement, an exercise in rhythmic vitality which could so easily go badly astray but kept together by the consummate skill of the performers. Cox’s demanding clarinet solo in the third movement was exemplary: for control of dynamics and the balance of introspection and exuberance.

The other work in the programme was Busqueda by James MacMillan, another composer for whom his Roman Catholic faith is central to creativity.

This was an ambitious production: actors – for which read speakers – positioned in two groups on the balcony, three sopranos, a narrator and musical ensemble. And it worked.

The opening – and highly effective – inhalation and exhalation of breath added a certain realism and vitality to what is a somewhat disturbing work. Just occasionally, the speaking groups seemed to be coming adrift when this appeared not to be the intention.

The speaker Cathy Tyson was excellent in her diction, her voice clear and often sensuous. The three sopranos – Fleur Bray, Caroline Krogius and Emma Morwood – has clear’ almost boyish voices, though they did seem to be totally subsumed in the Agnus Dei sections. Of particular note was Caroline Krogius, a powerful voice of extreme purity.

Some dramatic fortissimos from the brass section of Ensemble 10/10 along with Clark Rundell’s clear direction made this another triumphant performance.

But, the crashing and clattering which went on outside the hall, now surely recognised as one of the UK’s prime chamber music venues, spoilt quiet moments in the Messiaen. In the words of Edward VIII,  ‘something must be done’.

Glyn Mon Hughes


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