Visions de l'Amen - Messiaen

All Messiaen's music seems to have AMDG written over it in large letters. In the case of the Visions de l'Amen, the composer's printed preface ensures that the extra-musical implications of the work - theological, mystical and doxological - do not go unnoticed. It is all to the greater glory of God and the love that appears carnal is not carnal at all but a paroxyism of the thirst of divine love.

The composer's mysticism, conventional in its verbal expression, finds its outlet in music of extraordinary originality and complexity; the performers need to be both technically adept and in sympathy with the ideas behind the music. Dearbhla Collins and Therese Fahy at the two pianos fulfilled these desiderata and were also totally in rapport, producing gorgeous sounds that, even at their most restrained, filled the musical space.

Messiaen mentions bells and carillons in his preface and he makes the two pianos sound like bells whose overtones, so discordant at the top of the range, almost drown the basic notes. A kaleidoscopic richness of rapidly changing harmonies is to be heard though the basic notes remain the same.

The audience in the Lane Gallery on Sunday received the work with great enthusiasm, not because of its religious message, but because of the energy and understanding and skill with which the performers brought it to life.