(1908-92) was interned in a
German prison camp, where he discovered among his fellow prisoners a
clarinettist, a violinist and a violoncellist. He added a piano to the
ensemble, to create the Quartet for the End of Time. Messiaen and his
friends first performed it for their 5000 fellow prisoners on January 15,
In a preface to the score, Messiaen commented on
each of the movements:
Liturgy of crystal. Between three and four o'clock
in the morning, the awakening of the birds: a blackbird or a solo
nightingale improvises, surrounded by efflorescent sound, by a halo of
trills lost high in the trees...
Vocalise, for the Angel who announces the end of
Time. 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 violoncello.
Abyss of the birds. Clarinet alone. 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
Interlude. Scherzo, of a more individual character
than the other movements, but linked to them nevertheless by certain
Praise to the Eternity of Jesus. Jesus is
considered here as the Word. A broad phrase, infinitely slow, on the
violoncello, 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."
Dance of fury, for the seven trumpets.
Rhythmically, the most characteristic piece in the series. The four
instruments in unison 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... Music of stone, of formidable,
A mingling of rainbows for the Angel who announces
the end of Time. 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...
Praise to the Immortality of Jesus. Expansive solo
violin, counterpart to the violoncello 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
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