JEREMY THURLOW'S 'AFTER SEVEN THUNDERS' WORLD PREMIERE
Jeremy Thurlow
The world première of Jeremy Thurlow’s superb. After Seven Thunders descended in all its intensity upon an audience packed to the gunnels into Clare Hall’s adapted auditorium . It was so crowded, extra seating whisked in at the last minute, meant there was no chair for the cellist. Tim Lowe: a surprise for a musician whose last gig was the Wigmore Hall. But the players assembled to perform this exquisite, polished work were above the ad hoc nature of the concert hall -cum- dining room. I have no idea how much rehearsal they had, but their rendition of the music appeared perfect.
Jeremy Thurlow on piano blended beautifully with Henry Chandler’s delicate violin and the all-important clarinet of virtuoso performer Poppy Beddoe for an intriguing piece. It began simply enough; the staccato movements evoked the troubled mood of nature. Where were we? And in what time? Somewhere the familiar turns into the confused, and the predictable is outflanked by sounds and rhythms that presage a turbulent world.. The Seven Thunders of the title never emerged, mercifully, but the churn and change in the biblical Revelation of St. John, Jeremy Thurlow’s source of inspiration for his music, was best reflected in the final words ‘ The mystery of God should be accomplished.’
The work had a satisfying coherence, an enjoyable integrity. Particularly lovely was the tutti playing a vital lyrical dance sequence. Perhaps the end of the world is to have its celebrations as well as its woes.
Seven Thunders is linked to Olivier Messiaen’s powerful masterpiece Quartet for the End of Time performed by the same foursome as Seven Thunders in the second half of the concert. We were especially glad to have heard Jeremy Thurlow’s talk beforehand, fifteen minutes of fact and insight illuminated the famous music. In the bleak days of the Catastrophe, the abject surrender of millions of French men- in- arms to the Germans in 1940 , the never to be forgotten Fall of France, Olivier Messiaen was not, as often believed,, in a Concentration Camp, devoted to the destruction of its internees, a place where no art could be expected to flourish No, the defeated French were in tough often brutal camps in freezing temperatures but in the case of the famous artist, he was given time to compose. An enlightened guard bought his musicians a violin cello and piano ( no need for a clarinet, a musician Messiaen had met in the holding camp, had his own with him and would not be parted from it. ) This long- unnamed hero-guard risked, doubtless, everything, to allow the genius composer in his care to flourish under terrible conditions .. He must have had the assent or at least cooperation of his fellow Guards .And he even went on to organize escapes from the Camp and forge papers for those who risked the flight something which surely risked death.. The first performance of Quartet for the End of Time was in a crowded cold barrack full of a motley range of men many of whom had never heard a piece as uncompromising as this work.
Illuminating, thoughtful and welcome, the talk was excellent.
And the playing of the famous Messiaen piece? With the line up of these performers predictably brilliant. The intermede, lively and lyrical in the middle of the sombre demanding piece was especially joyful. Was it taken at a faster pace than we usually hear? Obligingly Radio 3 played it this very morning after the concert and yes, our version had more vivace . Years later Messiaen declared that the original concert, men crowded into a vast barrack, was ‘ the most attentive and understanding he had every experience. short of food and cold as they were, these desperate prisoners had a ray of light and of divine hope in that dark place.
One day I hope, the Colleges will get together to found a concert hall in Cambridge worthy of the name.
