THERE could hardly be a better musical way to commemorate National Holocaust Memorial Day – this year, centred on Liverpool.

Olivier Messiaen’s colossal Quartet for the End of Time, writ-ten while interred in Stalag VIIIA concentration camp, is as de-manding on performers as on listeners, subjected to moments of extreme soul-searching – moments where the composer seems almost to have passed into paradise along with moments where he almost seems to be losing hope.

And what a performance this was – for virtuosic display, for the sheer depth of emotion of the four players and for the compelling standing ovation.

Pianist Joanna MacGregor returned, her stupendous performance of Messiaen’s Vingt Regards fresh in the memory, joined by RLPO principals: cellist Jonathan Aasgaard, violinist James Cox and clarinettist Nicholas Cox.

The first movement’s delicacy contrasted with thunderous, almost angry, outbursts in the second. Of particular note was the unison sixth movement, an exercise in rhythmic vitality which could so easily go badly astray but kept together by the performers’ consummate skill.

The other work was Busqueda, by James MacMillan, another for whom his Catholic faith is central to creativity.

This was an ambitious production: actors – for which read speakers – positioned in two groups on the balcony, three sopranos, a narrator and musical ensemble. And it worked.

The opening – and highly effective – inhalation and exhalation of breath added a certain realism and vitality to what is a disturbing work.

The speaker Cathy Tyson was excellent in her diction, her voice clear, often sensuous. The three sopranos – Fleur Bray, Caroline Krogius and Emma Morwood – had clear, almost boyish voices. Another triumphant performance.

But, the crashing and clattering outside the hall spoilt quiet moments in the Messiaen. Something must be done.