Quatuor pour la fin du temps

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Quatuor pour la fin du Temps, also known by its English title Quartet for the End of Time, is a piece of chamber music by the French composer Olivier Messiaen. It was premiered in 1941. The piece is scored for clarinet (in B-flat), violin, cello, and piano; and a typical performance of the complete work lasts about fifty minutes.

[edit] Composition and first performance

Messiaen was captured by the German army during World War II and was being held as a prisoner of war. While in transit to the prisoner of war camp, Messiaen showed the clarinetist Henri Akoka, also a prisoner, the sketches for what would become Abîme des oiseaux. Two other professional musicians were also among his fellow prisoners (the violinist Jean le Boulaire, and the cellist Étienne Pasquier), and he wrote a short trio for them. This piece developed into the Quatuor for the same trio, plus himself at the piano. This combination of instruments is unusual, but not without precedent: Walter Rabl had composed for it in 1896, as had Paul Hindemith in 1938.

The Quartet was premiered in Stalag VIII-A in Görlitz, Germany (currently Zgorzelec, Poland) on January 15, 1941, to an audience of about 400 fellow prisoners of war and prison guards (Rischin, 2003: 62). Messiaen later recalled the occasion: "Never was I listened to with such rapt attention and comprehension." (Stevenson 2005:843)

[edit] Inspiration

Messiaen wrote in the preface to the score that the work was inspired by text from the tenth chapter of the Book of Revelation:

[edit] Structure

The work is in eight movements.

• I. Liturgie de cristal ("Liturgy of crystal") – for the full quartet.

Messiaen described the opening of the quartet as:

The opening movement begins with the solo clarinet imitating almost literally a blackbird's song. This is soon passed on to the violin that imitates the nightingale’s song.

While the melodies and ornamentations are left to the clarinet and violin alone in this movement the underlying pulse is kept by the cello and piano. The cello plays the same fifteen note melody continuously using only the notes C, E, D, F-sharp and B-flat. Another point of note on the cello melody is that it is also palindromic, that is to say it is the same backwards as it is forwards.

The piano line is made up of a seventeen-note value rhythm but this time consisting of twenty-nine chords. Unlike the cello however this is simply repeated over and over.

It is thought that Messiaen chose to give the accompaniment these lines to enhance the feeling of timelessness, with no set beginning or end.

• II. Vocalise, pour l'Ange qui annonce la fin du Temps ("Vocalise, for the Angel who announces the end of time") – for the full quartet.

The first and third parts (very short) evoke the power of this mighty angel, a rainbow upon his head and clothed with a cloud, who sets one foot on the sea and one foot on the earth. In the middle section are the impalpable harmonies of heaven. In the piano, sweet cascades of blue-orange chords, enclosing in their distant chimes the almost plainchant song of the violin and cello.

• III. Abîme des oiseaux ("Abyss of birds") – for solo clarinet.

The abyss is Time with its sadness, its weariness. The birds are the opposite to Time; they are our desire for light, for stars, for rainbows, and for jubilant songs.

A test for even the accomplished clarinetist, Messiaen's extremely slow pulse (quaver (eighth note) = 44), diverges rhythm from the common perception of regular metric musical time. As it has no written time signature, it is implied that the performer is to play "out of time", but not out of rhythm. That is to say that the semiotic comprehension of musical time is to be ambiguous. This "stillness" in the piece is not only to freely interpret the "sadness" of the abyss that is "Time", but also to enforce Messiaen's breakdown of the listener's personal feeling and interpretation of musical pulse. This seemingly paradoxical notion of a movement with continual rhythms as opposed to regular metrical intervals conveys the "sadness" of "Time" and the endless void that is its passing.

• IV. Intermède ("Interlude") – for violin, cello, and clarinet.

Scherzo, of a more individual character than the other movements, but linked to them nevertheless by certain melodic recollections.

• V. Louange à l'Éternité de Jésus ("Praise to the eternity of Jesus") – for cello and piano.

Jesus is considered here as the Word. A broad phrase, infinitely slow, on the cello, magnifies with love and reverence the eternity of the Word, powerful and gentle, ... "In the beginning was the Word, and Word was with God, and the Word was God." (John 1:1 (KJV))

The music is arranged from an earlier unpublished piece, Fêtes des belles eaux.

• VI. Danse de la fureur, pour les sept trompettes ("Dance of fury, for the seven trumpets") – for the full quartet.

An excerpt from Movement VI ("Danse de la fureur..."), which is played by all four instruments in unison. It shows Messiaen's rhythmic technique, in which the underlying quavers (eighth notes) are alternately diminished to semiquavers (sixteenth notes) or augmented to dotted quavers.

Rhythmically, the most idiosyncratic movement in the series. The four instruments in unison and octaves take on the aspect of gongs and trumpets (the first six trumpets of the Apocalypse were followed by various catastrophes, the trumpet of the seventh angel announced the consummation of the mystery of God). Use of added rhythmic values, rhythms augmented or diminished (see also: Messiaen#Time and rhythm)... Music of stone, of formidable, sonorous granite...

• VII. Fouillis d'arcs-en-ciel, pour l'Ange qui annonce la fin du Temps ("Mingling of rainbows, for the Angel who announces the end of time") – for the full quartet.

Certain passages from the second movement recur here. The powerful angel appears, above all the rainbow that covers him... In my dreams I hear and see a catalogue of chords and melodies, familiar colours and forms... The swords of fire, these outpourings of blue-orange lava, these turbulent stars...

• VIII. Louange à l'immortalité de Jésus ("Praise to the immortality of Jesus") – for violin and piano.

Expansive violin solo, counterpart to the cello solo of the fifth movement. Why this second encomium? It addresses more specifically the second aspect of Jesus, Jesus the Man, the Word made flesh... Its slow ascent toward the most extreme point of tension is the ascension of man toward his God, of the child of God toward his Father, of the being made divine toward Paradise.

The music is an arrangement of the second part of his earlier organ piece Diptyque.

Movement descriptions are translated from the score.

[edit] References and further reading

• Messiaen, Olivier (c1942). Quatuor pour la fin du temps (score). Paris: Durand.
• Pople, Anthony (2003). Messiaen: Quatuor pour la fin du temps (Cambridge Music Handbooks). Cambridge University Press. ISBN 978-0521585385.
• Rischin, Rebecca (2003). For the end of time : the story of the Messiaen quartet. Cornell University Press. ISBN 0-801-44136-6.
• Stevenson, Joseph (2005). All Music Guide to Classical Music: The Definitive Guide to Classical Music All Media Guide, LLC. ISBN 0-87930-856-6.

[edit] External links

• Abyss of Birds – Sheet music for clarinet solo on Wind Orchestra Sheet Music

[edit] Analysis

• "Sur le Quatuor pour la fin du temps" – extensive analysis by Francois Nicolas (in French).
• oliviermessiaen.net – home of the Boston University Messiaen Project.

[edit] Listening

• Audio samples of each movement from Atopos Contemporary Classical Music (mp3 format).

[edit] Revelation – Chapter 10

• King James Version from Blue Letter Bible (links to other versions, including Vulgate and Greek, plus concordance, etc).
• "Louis Segond" French language version (likely what Messiaen knew best) from BibleGateway.com (links to other versions, including many English translations).