World War II
Olivier Messaien (1908-92) was a French composer trained at the Paris Conservatoire. When World War II broke out, he served in a medical unit in the French army but was captured in 1940 and sent to prisoner-of-war camp in Poland called Stalag VIII-A. One of his German guards recognized him and provided Messaien with everything he needed to continue to compose: sheet music, pencils, a piano, and instruments that could be played by the other professional musicians in the camp (clarinet, violin, and cello).
Messaien wrote a work that he called Quatour pour la fin du temps (Quartet for the End of Time)—an ominous and heavy title that reflects the feeling of the entire world coming to an end as much of France was destroyed by the German occupation, as winter settled on the camp, and as the prisoners couldn’t find out whether their families were still alive. Two important factors shape the sound of this piece: (1) the instrumentation, and (2) Messaien’s religious faith.
There were three other professional musicians imprisoned in the camp, a clarinetist, a violinist, and a cellist. The guards were able to procure instruments for all of them that were, by all accounts, terrible but playable. Messiaen’s quartet is special partly because no composer had ever previously combined these instruments—this piece is driven by the limited resources available to the composer.
In addition, Messaien took great comfort in his faith—he was Catholic—and his inspiration for the piece came from the Book of Revelation in the Bible that he experienced in a dream:
“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 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.”
—Revelation 10:1-7, King James Version
Messaien regarded death and destruction on Earth not as a terrible end but as a hopeful beginning, the chance to begin eternal life in heaven. Here is the end of Quatour, in which you’ll hear very long notes in the violin reaching ever higher, on top of chords, two at a time, in the piano—the violin calm and graceful no matter what the piano does underneath, and the symbolism of ascending to heaven is pretty clear. The premiere, held outdoors in the middle of winter, was attended by the guards and inmates of the camp, who were already weary of the war and held in rapt attention for the entire work. Describing the experience later, Messaien said, “Never have I been heard with as much attention and understanding.”
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