SEEN AND HEARD INTERNATIONAL

Messiaen, Bartòk :  Soloists of the Philarmonia Orchestra (Matthew Schellhorn (piano), James Clark (violin), Barnaby Robson (clarinet), David Cohen (cello), St George’s Hall  Bristol 19. 7.2008 (DRD)

Bela Bartok: Contrasts for violin, clarinet and piano (1940)
Olivier Messiaen: Preludes (1930); Fantasie for violin and piano (1933), Quatuor pour le fin du temps (1941)

In a recent review Bob Briggs stated that “modern” music could still clear a concert hall these days and whilst the music played at this concert  in Bristol with such verve and aplomb is mid C20th, there are undoubtedly many people who may regard Bartòk and Messiaen as too modern for their tastes. Fortunately, this was not the case for this very well supported chamber concert in St George’s Hall and, in talking to regular concert goers, I discovered that the turn-out was not unusual. The venue is excellent; a converted church with superb acoustics where the staff are friendly and where my son and I enjoyed an excellent meal before the concert in the former crypt along with many  others from the audience.

The concert, mainly of music by Messiaen, was one of several that Matthew Schellhorn and Soloists of the Philharmonia Orchestra have done recently to coincide with the recent release of Quatuor pour la fin du Temps and other pieces including a world premiere recording on SIGNUM SIGCD126. Matthew studied with Messiaen’s wife Yvonne Loriod-Messiaen who has described him as “an excellent pianist and exponent” and said of his performances that they were “wonderful in every detail, everything as Messiaen wanted.” There was no question that this was again the case, for both Matthew and his three Philharmonia colleagues on this occasion. Bartòk’s Contrasts for violin, clarinet and piano began the concert and I found it much more accessible than a lot of the composer's other music; I know the quartets are highly regarded but I find them tough nuts to crack. This piece was composed for Benny Goodman, Joseph Szigeti and Bartòk himself and though it’s clearly written in a  classical framework, the piece reminded me of Gershwin with its jazzy inspiration. The piece was conveyed very well by the trio and it is to be hoped that they will  record it too.

Messiaen’s Préludes for piano were written in 1928–9 upon recommendation by the composer’s teacher, the great Paul Dukas (Messiaen was therefore the sorcerer’s apprentice!) and Matthew Schellhorn played three of them. The pieces do slightly outstay their welcome (as the French composer Georges Dandelot complained at the premiere in 1930) but it was good to hear them played so well; Schellhorn’s playing was limpid and colourful with superb technique and committed artistry.

The first half concluded with the rediscovered Fantasie for violin and piano from 1933 which I first heard last year with Elizabeth Cooney and Matthew Schellhorn. Here the violinist was James Clark and I was struck once again by the work’s Gallic melodiousness mixed with early modernism. The Fantasie is a continuous composition of 161 bars with two distinct themes, though the different sections also comply with the standard structure of exposition, development and recapitulation. The piece begins with a rhythmic theme for piano alone, which in fact anticipates the “Danse de la fureur, pour les sept trompettes” from the Quatuor pour la fin du Temps.  The second theme is a melody (marked molto appassionato) sustained by a variegated piano accompaniment. I enjoyed the work enormously at this second hearing, thanks to another performance in which violin and piano delivered consummate excellence.

After enjoying a complimentary drink in the garden along with very cheerful audience members it was time for  the Quatuor pour la fin du Temps, the main work in the concert. Written whilst Messiaen was a prisoner of war at  Stalag VIII-A, 70 miles east of Dresden, the first performance was in January 1941 and uses the combination of instrumentalists that  Messiaen had available to him at the time The work is inspired by the Apocalypse of St John and felt very appropriate in this magnificent former church. The playing was simply inspired. In eight movements, only certain instruments play at times and as ever with Messiaen, birds appear in Abîme des oiseaux (III) brought to life with very effective playing by Barnaby Robson on clarinet. The fifth movement -  “Louange à l'Éternité de Jésus” – seemed to become literally beyond time on the cello and piano. When the final chords faded there was a silence for half a minute before rapturous applause and a standing ovation. Like me, much of the audience had been overwhelmed by the music and such wonderful playing.

David R Dunsmore


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