Brighton Philharmonic Orchestra, Sunday 14 April 2025, 2.45pm Review by Janet Lawrence

The name comes from the two Sanskrit words: ‘Turanga’ (times) and ‘Lîla’ (play). The symphony consists of ten short movements highlighting love in all its forms, with titles like: ‘Chant d’Amour’, ‘Jardin du Sommeil d’Amour’, ‘Joie du Sang des Étoiles’ (Joy of the Blood of the Stars), and in between them the title ‘Turangalila’. Messiaen came from an academic background, born in 1908, only leaving us in 1992.

Sometimes it was difficult to figure where a sound came from. What sounded like tapping sticks, could have come from over the left somewhere, with the tubular bells. I never saw the instrument that the taps came from.

Turangalila is essentially a love poem, manifest in instrumental charisma and variety with, in particular, the addition of the specially designed piano called the Ondes Martenot. Translated from French: Waves of Ginette Martenot. In our concert, ‘the unchallenged sovereign of the Ondes Martenot’ is Cynthia Millar. She performs the world over and is always in demand. Even had a part written for her by Thomas Adés. Indeed, it’s nothing but the best for Brighton Phil’s concerts. If there’s anybody world renowned, Artistic Director, and pianist, Joanna MacGregor CBE will find them.

So Cynthia played this piano-like instrument, with its extra layer and buttons to press, to produce the long loud whining sounds. that feature in the symphony.

Without describing note for note and phrase for phrase, the ten-movement piece brought us excitement, calm, thrills, and a feeling of a big story going on. Mainly about the union of two lovers.

Joanna, after the performance, said how happy they were about this season’s concerts. “Our ticket sales were up by something like 26%. We’ve had lots of young people come to the concerts as well as the old supporters, and people who love to be here. The (innovative) programme has ignited some new members of the audience - and they’re coming back. They’ll come back and hear more classical music as well.” The bar stays open afterwards now, so that people can linger and talk to any of the orchestra members who are circulating.

I found one of them: Second Clarinet Laurie Cutriss. He explained how he felt about his part in this unusual symphony. “Well yes, it’s really wonderful to be playing such a unique piece. With Joanna conducting, it’s a really great experience.”

In the absence of the scheduled conductor Sian Edwards, Joanna had to take over as conductor. She therefore had to find a replacement pianist for this rôle. Excellent former student of Joanna’s - Joseph Haviat, from Australia - gave the part the best performance ever. The piano plays a large part and Haviat rose to the occasion with flying colours. A performer we would happily see again. Thank you, Joseph.

“Oh yes,” she continued, “I still had to know the work and in fact the orchestra need every cue you give them. It’s not played that often. Because I’ve played it a lot (on the piano) I really got to know it very well.“

The Symphony ran right through without an interval. We have a stormy opening on low strings with a groan from the trombone and percussion hits in the background. Piano comes in with a capricious melody with the orchestra’s response.

We hear the piano early, conversing with the brass and percussion sticks, some hits on a side drum at the back.

The work is full of slithering notes, many from the Ondes Martenot at the front - it looks like a piano but has a bit where you press buttons to get that slithery wail. Without going into fine detail, there are slight pauses between the ten movements, so that we can follow the themes as they progress.

There’s melody and there’s discord. Brass combined with piano, and with strings; strings along with what sounded like coconut tapping. There are peaceful solos; quiet interludes in the love themes, and the occasional wail from the Ondes Martenot. Fascinating to watch Cynthia’s fingers, from where I was sitting. Seeing how she chose the notes and the effects. Rumbling slides - up, then down. It plays an extraordinary part.

We had many a solo followed by loud clashes. This work contained everything - from melody to discord, agitation to peacefulness. Sudden sounds; loud orchestral phrases to slow peaceful solos. Tubular bells over in the left corner. It’s a work that should be attended whenever it appears - a work that shows something new with every hearing. An addiction, almost.

Messiaen’s ‘Turangalila’ was an appropriate finale to a concert season that contained new experiences, from jazz improvisations, to Evelyn Glennie and Gwilym Simcock in person.

We have yet to learn what the next Brighton Philharmonic season will bring, but for sure we’ll be happily surprised and full of anticipation.

Janet Lawrence