(4 / 5)

In the perfect setting for Messiaen, St George’s in Southwark proved a stunning evening for Britten Sinfonia. With no strings in sight, this wind ensemble would also feature brass and the famous percussion too.

Stravinsky’s Symphonies of Wind Instruments is often paired with Messiaen Et Exspecto. These delightful few minutes features shrill, bouncy moods followed by more sensual bars. The deep acoustic of the cathedral may not have faired well for this opener. The Choir of Merton College, Oxford followed in brief motets by Poulenc and Duruflé. These were the real deal, powerful stuff from these young singers. Poulenc’s Tristis est anima mea might have been the strongest, though all were truest declarations of faith.

Stravinsky’s Mass may prove why he didnt write much choral writing. Moments had promise and an experimental edge, yet it doesn’t quite take off.  Passages of Orthodox singing and strange murmurings were note worthy, the wind players getting the expectedly angular writing. Benjamin Nicholas shared the baton with Nicholas Daniel both driven with the fire of this music. Daniel, best know as an oboist have a lush solo for Messiaen’s Vocalise-étude. This is lovely in its mawkishness, brief moments of flower scents and an unbroken style that could on be Messiaen. The Choir return only now at the entrance to the cathedral with the continuing French composer’s O Sacrum Convivium. The music levitates in real time, its just so warm these singers sung it flawlessly in their last feature of the night.

In Et Exspecto Resurrectionem Mortuorum, Messiaen conjured a terrifying memorial to the dead of both World Wars. A stunning array of tubular bells, tam-tams, cowbells all feature heavily and shine. The loudness is considerable, though I think the larger tam-tams could have had the crescendos a little more stretched out. Even in Messiaen’s whole canon there is nothing this earthy or alarming. The silences between each movement are baked into the score, another powerful feat. The finale sees temple gongs played ad nauseam, as all players blast and scream through the horror. It’s quite an unforgettable feat.

Nicholas Daniel, who is now leaving the Britten Sinfonia. We will dearly miss him.