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Prom 67, Messiaen Quartet for the End of Time: Martin Fröst (clarinet), Anthony Marwood (violin), Matthew Barley (cello), Thomas Larcher (piano) BBC Proms, Royal Albert Hall, London. 4.9.2008 (CR)


Messiaen’s Quartet for the End of Time was famously first performed is the Stalag VIIIA Görlitz prisoner of war camp during the Second World War.  The powerful historical and emotional connections associated with the premiere make this piece one of the most thought provoking of Messiaen’s output, and previous Proms performances of the work have included a wealth of excellent performers.

Tonight’s quartet of musicians had a hard act to follow, then. I was immediately impressed by the intimacy of the performance; in a venue the size of the Royal Albert Hall it is easy to try to compensate and raise the overall dynamic level. These performers resisted that temptation, instead drawing the audience in to the quietest pianissimos and creating a magical atmosphere, while saving their full dynamic force to the moments which required it.

Each of the players had much to offer the performance, and in combination, this was an inspiring quartet of musicians. The ensemble playing in the faster sections (most notably, Danse de la fureur) sounded almost as if one person were playing four different instruments; the playing was neat, secure and always together.

Martin Fröst’s rendition of Abîme des oiseaux was intense, beautifully controlled and completely captivating. He demonstrated an extraordinary dynamic range and the attention he commanded from both the audience and his fellow musicians was completely deserved. His playing had a sense of drama, with the birdsong providing both character and light relief, in stark contrast to the deeply melancholic writing in the rest of the movement.

Matthew Barley and Anthony Marwood both performed excellent, intense solos, breathing life into the music and providing deep concentration. Their playing was expressive and emotive, and deeply thought provoking.

Mention also should be made of Thomas Larcher’s extraordinary piano playing; the writing in this piece demands almost that the piano provides a backdrop for the others to play against, and the level of sensitivity that Larcher demonstrated was extremely special. His accompanying skills are clearly excellent, and the sound he produced was truly magical. Despite not having a prominent solo, he was, for me, the star of the show.

This was a stunning performance that will stay in my mind for a long time.

Carla Rees


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