COMPOSERS have often been obsessed with colour.

Scriabin, particularly, invented a colour keyboard to attempt to relate notes and keys to particular colours. Quite whether it worked or not is open to question. But, for the average listener often transported to unseen realms, colour is an important part of the overall musical experience.

And that’s why Dame Gillian Weir’s recital of Messiaen at the Metropolitan Cathedral was particularly interesting.

For, while she played some of the French master’s best-known and utterly fascinating organ works, the artist Mark Rowan-Hull painted before the audience. Not being remotely an art critic, it did appear to be parallel daubs of paint on a great canvas, presumably representing the colour of each piece. But how is it possible to decide that Joie et Clarte is represented by red, or yellow, or green? Hugely subjective, it seems.

And so to the music. Dame Gillian’s performance was, as always, utterly impeccable. It’s not often that we can welcome such an internationally acclaimed organist to Liverpool, so it was good to hear her once again.

She made the cathedral organ – an instrument well suited to the French repertoire – speak. Messiaen is well known for his undying influence of birdsong and that was evident throughout – particularly in Le Fils, Verbe et lumiere from Meditations sur le mystere de la Sainte Trinite.

And there was the influence of plainsong, evident in Le Dieu cache. Messiaen was a dedicated Roman Catholic and the influence of the Roman doctrine is evident in most of his output: witness, for instance, Joie et clarte des Corps Glorieux – an outburst of exuberance which heard Dame Gillian on her very best form.

From crashing dissonance to sublimely restful, introspective, quiet moments, Messiaen has to be one of the most cerebral composers. This performance brought all the excellence of that supreme musical mind to the fore. Dame Gillian’s return is keenly awaited.