It's Not British but...Olivier Messiaen's Quatuor pour la fin du temps

Three things will assist the listener who is not familiar with the Quatuor pour la fin du temps (Quartet for the End of Time) for clarinet, violin, cello, and piano. Firstly, it is important to understand that in 1940/41 Olivier Messiaen was being held as a prisoner of war at Stalag VIII-A Görlitz, Lower Silesia. Secondly, through the auspices of a sympathetic German camp commander, Franzpeter Goebels, the composer had fresh manuscript paper and a piano to practice on. And, most importantly, the premiere performance on 15 January 1941 was either given in the camp theatre or out in the bitter cold. Some 400 fellow prisoners and some camp administrators were in attendance. Messiaen later recalled that “Never have I been heard with as much attention and understanding.”

The liner notes give details of the original soloists: Jean Le Boulaire (violin), Henri Akoka (clarinet), Étienne Pasquier (cello) and Olivier Messiaen (piano).

The basic theological inspiration of the Quartet was a quotation from the last book in the New Testament, The Revelation of St John the Divine. Chapter 10: 1 declares that “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 …” The work is presented in eight hugely contrasting movements. This represents the seven days of Creation with the final eighth movement evoking Eternity. The general impact is “one of meditation, amity and detachment from the harsh realities of existence.”

My benchmark for any performance of Messiaen’s Quatuor is the resultant ability of the ensemble to “bend time.” Certainly, this is essential in the two heart-breaking slow movements: Louange à l'Éternité de Jésus and the Louange à l'Immortalité de Jésus. Both last for about eight minutes but must create the impression that they will never stop, and that the listener would never want them to conclude. This is achieved here. I was impressed throughout by the contribution from the clarinettist, Ib Hausman, especially in the brilliant solo, Abîme des oiseaux. The unison playing in the Danse de la fureur, pour les sept trompettes is clean and well controlled. Great contrast of dynamics is clear in the Vocalise, pour l'Ange qui annonce la fin du temps.

The booklet was assembled by Ib Hausman: it is printed in German and English. The programme notes are in three parts. Firstly, several personalized comments describing some of the challenges of performing the Quartet. The balance between the strict notation of the work and the fact that each musician “is allowed a certain degree of latitude for inspiration and improvisational freedom” is explained. This is followed by a brief overview of Messiaen’s life and milieu, with emphasis on the composer’s understanding of time and eternity. There is a historical introduction to the Quartet as well as a discussion of the first performance. The booklet includes a translation of Messiaen’s important preface and notes for each movement printed in the Edition Durand score.

There is a detailed resumes of the Amatis Trio and about the clarinettist Ib Hausman. This information can be accessed at their websites, here and here.

The duration of this disc seems a bit mean, with only 46 minutes of music. Seven years ago I reviewed an exceptional performance of this Quartet by the Ensemble Nordlys. (Review here). This Danacord CD managed to include the relatively rare Fantasie for violin and piano (1933) and the Thème et variations for violin and piano (1932). Enthusiasts of Messiaen will know of several other examples of his chamber music that could have been included: Le Merle Noir (1952) for solo flute, the Pièce pour piano et quatuor à cordes (1991), the Chant dans le style Mozart, Fugue sur le sujet de Georges Hüe (1930/31) and the Chant donneé (1953) which are all rarely heard. To be sure, they would have required an additional soloist.

This is an excellent and absorbing version of Messiaen’s Quatuor pour la fin du temps. There is nothing here to repel listeners who may regard some of his music as fearsome. Perhaps the theological superstructure may be difficult for some. However, if the piece is simply regarded as a meditation on the philosophical concept of eternity, and not as a religious tract, then the work can become a revelation to all.

Several years ago I counted more than 39 versions of the Quartet. Some 33 are currently listed on the Eurodisc webpage. The Quatuor pour la fin du temps is one of Olivier Messiaen’s undoubted and abiding masterworks and any new issue is always welcome. This present recording is especially appreciated for its attention to the nuanced balance between freedom of musical expression and the composer’s written demands.

Track Listing:
Olivier Messiaen (1908-92)
Quatuor pour la fin du temps for clarinet, violin, cello, and piano (1940/41)
Ib Hausman (clarinet), Amatis Trio: Lea Hausmann (violin), Samuel Shepherd (cello), Mengjie Han (piano)
Rec. 2018, SWR Studio Kaiserslautern, Germany.
C-AVI MUSIC AVI 8553042 [46:00]