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Written for the full quartet, the opening movement begins with the solo clarinet imitating a blackbird's song and the violin imitating a nightingale's song. The underlying pulse is provided by the cello and piano: the cello cycles through the same five-note melody (using the pitches C, E, D, F-sharp,
632:
Large violin solo, counterpart to the violoncello solo of the 5th movement. Why this second eulogy? It is especially aimed at the second aspect of Jesus, Jesus the Man, the Word made flesh, immortally risen for our communication of his life. It is all love. Its slow ascent to the acutely extreme is
388:
And I saw another mighty angel come down from heaven, clothed with a cloud: and a rainbow was upon his head, and his face was as it were the sun, and his feet as pillars of fire ... and he set his right foot upon the sea, and his left foot on the earth .... And the angel which I saw stand upon the
536:
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, "whose time never runs out". The melody stretches majestically into a kind of gentle, regal distance. "In the beginning was the
475:
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,
347:
The quartet was premiered at the camp on 15 January 1941 in front of about 400 prisoners and guards. Messiaen claimed that 5,000 people attended the performance and that the musicians had decrepit instruments, but those claims are now considered "somewhat exaggerated". The cello was bought with
618:
Recurring here are certain passages from the second movement. The angel appears in full force, especially the rainbow that covers him (the rainbow, symbol of peace, wisdom, and all luminescent and sonorous vibration). â In my dreams, I hear and see ordered chords and melodies, known colors and
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Rhythmically, the most characteristic piece of the series. The four instruments in unison imitate gongs and trumpets (the first six trumpets of the
Apocalypse followed by various disasters, the trumpet of the seventh angel announcing consummation of the mystery of God) Use of added values, of
363:
Marcel DuprĂ©âs role in securing
Messiaenâs release was a crucial one. He later recalled how he visited Fritz Piersig (at the Propaganda-Staffel in Paris) in early 1941 to plead the case for Messiaen, and was assured that "in ten daysâ time, at the latest, he will be in an office". DuprĂ©âs
619:
shapes; then, after this transitional stage, I pass through the unreal and suffer, with ecstasy, a tournament; a roundabout co-penetration of superhuman sounds and colors. These swords of fire, this blue-orange lava, these sudden stars: there is the tangle, there are the rainbows!
457:
Between three and four in the morning, the awakening of birds: a solo blackbird or nightingale improvises, surrounded by a shimmer of sound, by a halo of trills lost very high in the trees. Transpose this onto a religious plane and you have the harmonious silence of
389:
sea and upon the earth lifted up his hand to heaven, and sware by him that liveth for ever and ever ... that there should be time no longer: But in the days of the voice of the seventh angel, when he shall begin to sound, the mystery of God should be finished ...
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for them; this piece later became the quartet's IntermĂšde. Later, he decided to write for the same trio with himself at the piano, developing it into its current state. The combination of instruments was unusual at the time, but not without precedent:
273:; a typical performance of the complete work lasts about 50 minutes. Messiaen wrote the piece while a prisoner of war in German captivity and it was first performed by his fellow prisoners. It is generally considered one of his most important works.
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augmented or diminished rhythms, of non-retrogradable rhythms. Music of stone, formidable granite sound; irresistible movement of steel, huge blocks of purple rage, icy drunkenness. Listen especially to all the terrible
364:
intervention was clearly effective. An emotional letter from
Messiaen to Claude Arrieu announcing his newly found freedom allows us to date his return from Silesia (via Nuremberg and Lyon) to Neussargues in the Cantal.
463:
and B-flat) and a repeating pattern of 15 durations. The piano part consists of a 17-note rhythmic pattern permuted strictly through 29 chords, as if to give the listener a glimpse of something eternal.
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Messiaen and
Etienne Pasquier (cellist at the initial premiere) later recorded the quartet on LP for Club Français du Disc (1956), together with Jean Pasquier (violin) and André Vacellier (clarinet).
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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.
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Several months later, Messiaen was released (with the help of BrĂŒll) thanks to an entreaty by his former organ teacher and professor at the
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437:"Fouillis d'arcs-en-ciel, pour l'Ange qui annonce la fin du temps" (Tangle of rainbows, for the Angel who announces the end of time)
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A solo for the clarinet, this movement is a test for even the most accomplished clarinetist, with an extremely slow tempo marking
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donations from camp members. Messiaen later recalled, "Never was I listened to with such rapt attention and comprehension."
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of the augmentation of the theme and changes of register of its different notes, towards the end of the piece.
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Scherzo, of a more individual character than the other movements, but linked to them nevertheless by certain
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the ascent of man to his god, the child of God to his Father, the being made divine towards
Paradise.
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An excerpt from
Movement VI ("Danse de la fureur ..."), which is played by all four instruments in
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A duet for violin and piano, the music is an arrangement of the second part of his earlier
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Messiaen wrote in the
Preface to the score that the work was inspired by text from the
434:"Danse de la fureur, pour les sept trompettes" (Dance of fury, for the seven trumpets)
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enclosing in their distant chimes the almost plainchant song of the violin and cello.
30:"Quartet for the End of Time" redirects here. For the novel by Johanna Skibsrud, see
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856:â Musical and Biblical Analysis from Lawrence University Freshman Studies curriculum
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A duet for cello and piano, the music is arranged from an earlier composition, "IV.
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832:(with synchronised score), played by Barnaby Robson, James Clark, David Cohen, and
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In his preface to the score, Messiaen describes the opening of the quartet:
784:
All Music Guide to
Classical Music: The Definitive Guide to Classical Music
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A trio for violin, cello, and clarinet, Messiaen writes of this movement:
849:
Boston
University Messiaen Project: performances, studies and information
734:. Cambridge, United Kingdom: Cambridge University Press. pp. 68â70.
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297:, Poland). While in transit to the camp, Messiaen showed the clarinetist
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Simeone, Nigel, ``Messiaen in 1942: a working musician in occupied Paris
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VII. "Fouillis d'arcs-en-ciel, pour l'Ange qui annonce la fin du temps"
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Below, quotations are translated from
Messiaen's Preface to the score.
440:"Louange à l'Immortalité de Jésus" (Praise to the immortality of Jesus)
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285:. He was captured by the German army in June 1940 and imprisoned in
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431:"Louange Ă l'ĂternitĂ© de JĂ©sus" (Praise to the eternity of Jesus)
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686:, Cambridge Music Handbooks (Cambridge University Press, 2003)
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Messiaen writes of this movement, which is for full quartet:
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Also for the full quartet, Messiaen writes of this movement:
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799:, Robert Sholl (Ed.), Cambridge University Press, 2008,
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II. "Vocalise, pour l'Ange qui annonce la fin du temps"
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For the End of Time: The Story of the Messiaen Quartet
301:, also a prisoner, the sketches for what would become
845:â extensive analysis by François Nicolas (in French).
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that borrows its title and structure from the piece.
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Word, and Word was with God, and the Word was God." (
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448:
414:"Vocalise, pour l'Ange qui annonce la fin du temps" (
276:
645:" (1930), transposed up a major third from C to E.
257:. It was premiered in 1941. The work is scored for
1432:Compositions for clarinet, violin, cello and piano
602:Toward the end of the movement the theme returns,
569:VI. "Danse de la fureur, pour les sept trompettes"
1002:La Transfiguration de Notre Seigneur JĂ©sus-Christ
1418:
1184:Méditations sur le MystÚre de la Sainte Trinité
762:. Ithaca, New York: Cornell University Press.
753:
751:
418:, for the Angel who announces the end of time)
305:. Two other professional musicians, violinist
281:Messiaen was 31 years old when France entered
954:Trois petites liturgies de la présence divine
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359:, as Messiaen scholar Nigel Simeone writes:
91:"To the Angel who announces the End of Time"
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614:Messiaen writes of this quartet movement:
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624:VIII. "Louange à l'Immortalité de Jésus"
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684:Messiaen: Quatuor pour la fin du temps
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868:â the documentary film by H. Paul Moon
862:â an appreciation by Michael R. Linton
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331:, 1902â1989), Messiaen wrote a short
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994:Et exspecto resurrectionem mortuorum
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421:"AbĂźme des oiseaux" (Abyss of birds)
340:had composed for it in 1896, as had
243:"), also known by its English title
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32:Quartet for the End of Time (novel)
24:
1168:Verset pour la fĂȘte de la DĂ©dicace
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528:V. "Louange Ă l'ĂternitĂ© de JĂ©sus"
27:1941 Music composition by Messiaen
25:
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653:The piece is the inspiration for
585:by a semiquaver (sixteenth note).
277:Composition and first performance
213:(cello), Olivier Messiaen (piano)
1427:Compositions by Olivier Messiaen
1401:
1400:
1227:Vingt Regards sur l'enfant-JĂ©sus
1128:Apparition de l'Ă©glise Ă©ternelle
249:, is an eight-movement piece of
565:("infinitely slow, ecstatic").
503:. It was originally written in
407:"Liturgie de cristal" (Crystal
854:"Quatuor pour la fin du temps"
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561:of 1937. The tempo marking is
559:Paris International Exposition
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230:[kwatÉ„ÉÊpuÊlafÉÌdytÉÌ]
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1:
1380:Mode of limited transposition
705:"Quartet for the End of Time"
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1370:Olivier Messiaen Competition
1061:Quatuor pour la fin du temps
841:Quatuor pour la fin du temps
829:Quatuor pour la fin du temps
822:Quatuor pour la fin du temps
730:Dingle, Christopher (2007).
707:. laphil.com. Archived from
674:Quatuor pour la fin du temps
393:
289:, a prisoner-of-war camp in
221:Quatuor pour la fin du Temps
41:Quatuor pour la fin du Temps
7:
1275:Petites esquisses d'oiseaux
1192:Le Livre du Saint-Sacrement
1104:Offrande au Saint Sacrement
866:Quartet for the End of Time
860:"Music for the End of Time"
656:Quartet for the End of Time
246:Quartet for the End of Time
205:Jean le Boulaire (violin),
74:Quartet for the End of Time
18:Quartet for the End of Time
10:
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1321:Chants de Terre et de Ciel
1010:Des Canyons aux Ă©toiles...
782:Stevenson, Joseph (2005),
563:infiniment lent, extatique
241:Quartet of the End of Time
236:Quatuor de la fin du Temps
64:Invitation to the premiere
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758:Rischin, Rebecca (2003).
541:1:1 (King James Version))
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100:15 January 1941
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1018:Ăclairs sur l'au-delĂ ...
797:, In: ``Messiaen Studies
481:III. "AbĂźme des oiseaux"
449:I. "Liturgie de cristal"
1267:La Fauvette des jardins
1243:Quatre Ătudes de rythme
1136:La Nativité du Seigneur
927:Saint François d'Assise
676:(score) (Paris: Durand)
253:by the French composer
786:(All Media Guide), 843
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962:TurangalĂźla-Symphonie
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398:The work is in eight
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226:French pronunciation:
1053:FĂȘte des belles eaux
912:List of compositions
732:The Life of Messiaen
551:FĂȘte des belles eaux
1294:O sacrum convivium!
1259:Catalogue d'oiseaux
1045:ThĂšme et variations
557:, performed at the
353:Paris Conservatoire
1251:RĂ©veil des Oiseaux
1144:Les Corps glorieux
1096:Le Banquet CĂ©leste
834:Matthew Schellhorn
711:on 26 January 2018
672:Olivier Messiaen,
659:, a 2014 novel by
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382:King James Version
380:(Rev 10:1â2, 5â7,
378:Book of Revelation
1442:Apocalyptic music
1437:1941 compositions
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1219:Visions de l'Amen
1077:Feuillets inédits
970:Oiseaux exotiques
820:Nigel Simeone on
769:978-0-8014-7297-8
741:978-0-521-63547-9
628:Messiaen writes:
532:Messiaen writes:
485:Messiaen writes:
322:Carl-Albert BrĂŒll
303:AbĂźme des oiseaux
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287:Stalag VIII-A
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261:(in B-flat),
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1349:(first wife)
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1235:Cantéyodjayù
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357:Marcel Dupré
350:
346:
316:and cellist
302:
283:World War II
280:
245:
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218:
209:(clarinet),
73:
40:
1305:Song cycles
986:Sept haĂŻkaĂŻ
946:L'Ascension
715:4 September
372:Inspiration
338:Walter Rabl
325: [
310: [
299:Henri Akoka
207:Henri Akoka
1421:Categories
1115:(ca. 1929)
1107:(ca. 1928)
1088:Solo organ
938:Orchestral
691:References
604:fortissimo
596:fortissimo
202:Performers
138:50 minutes
104:1941-01-15
88:Dedication
1316:(1936â37)
1262:(1956â58)
1246:(1949â50)
1214:(1928â29)
1163:(1951â52)
1155:(1949â50)
1064:(1940â41)
1029:(1990â91)
1021:(1988â92)
1013:(1971â74)
1005:(1965â69)
981:(1959â60)
973:(1955â56)
965:(1946â48)
957:(1943â44)
949:(1932â33)
930:(1975â83)
583:augmented
426:Interlude
400:movements
394:Structure
344:in 1938.
295:Zgorzelec
197:, Germany
143:Movements
127:Publisher
119:Published
96:Performed
83:1940â1941
1406:Category
1375:Biomusic
1211:Préludes
1120:Diptyque
839:"Sur le
643:Diptyque
553:" for 6
549:" from "
416:Vocalise
259:clarinet
187:Location
174:Premiere
157:clarinet
135:Duration
80:Composed
1363:Related
1176:Monodie
1112:Prélude
1037:Chamber
641:piece "
521:melodic
458:Heaven.
409:liturgy
291:Görlitz
195:Görlitz
151:Scoring
111:Görlitz
102: (
70:English
1340:Family
1332:(1944)
1329:Harawi
1324:(1938)
1297:(1937)
1278:(1985)
1270:(1970)
1254:(1953)
1238:(1949)
1230:(1944)
1222:(1943)
1195:(1984)
1187:(1969)
1179:(1963)
1171:(1960)
1147:(1939)
1139:(1935)
1131:(1932)
1123:(1930)
1099:(1928)
1080:(2001)
1072:(1952)
1056:(1937)
1048:(1932)
997:(1964)
989:(1962)
803:
766:
738:
579:unison
505:Verdun
496:quaver
269:, and
263:violin
160:violin
1286:Vocal
1203:Piano
919:Opera
639:organ
547:L'Eau
329:]
314:]
271:piano
267:cello
166:piano
163:cello
146:eight
801:ISBN
764:ISBN
736:ISBN
717:2020
539:John
333:trio
179:Date
122:1942
384:):
50:by
1423::
750:^
682:,
507:.
500:44
402::
355:,
327:de
312:fr
265:,
239:("
193:,
108::
895:e
888:t
881:v
843:"
772:.
744:.
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428:)
411:)
224:(
106:)
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
