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A long phrase for the cello, infinitely slow, magnifies with love and reverence the eternity of this powerful and gentle Word, 'which the years can never efface'. His classes became legendary, and he trained and influenced nearly all of the most important musicians (including Boulez, Xenakis, and Stockhausen) in Europe's post war avant-garde. Listen above all to the terrible fortissimo of the theme in augmentation and the changes in register of its different notes, towards the end of the piece."Example 1: "Abîme des oiseaux," bars 14-17 (clarinet solo)Example 3: "Praise to the Immortality of Jesus," bars 1-3Messiaen makes extensive use of the octatonic scale throughout his compositional career and particularly in the Quartet. The somewhat unusual instrumental combination was due to the musicians present in the camp. Most scholars date the letter from the latter half of the 1st century CE."Rhythmically the most characteristic piece of the set. That camp was the Stalag VIII A, located near the town of Görlitz-Moys in Silesia, Germany. As we'll see, only a few scales feature this property. (Some pitches have alternative spellings; e.g., A-sharp is the same as B-flat. During the course of his captivity, Messiaen met three fellow prisoners who were also accomplished musicians: Etienne Pasquier, a world-class cellist who had already secured an international reputation as a member of the Pasquier Trio; Jean Le Boulaire, a violinist who had studied at the Paris Conservatory; and Henri Akoka, a clarinetist who was a member of the Paris-based Orchestre National de la Radio.
In the opening section of the third movement (Example 10), the melody of the A section slowly unfolds the t=4 (Group 2) form of the octatonic scale. Music composed with symmetrical scales often gives the impression of stasis or, at least, depends on factors other than pitch (rhythm, texture, dyanmics) to impart a sense of drama, development, or progression. The dialogue continues in bar 49-51 as the violin and cello echo the end of the clarinet melody and are themselves echoed by the clarinet.Example 5a: "Intermezzo," bars 1-14The verses that inspired Messiaen to compose the Quartet are reproduced below on the left as they appear in French in Messiaen's preface to the score. John also mentions (1:9) that his vision took place while he was in exile on the island of Patmos (in the Aegean Sea near modern-day Turkey).
Messiaen* - Olivier Messiaen, Jean Pasquier, Etienne Pasquier, André Vacellier – Quatuor Pour La Fin Du Temps Label: Musidisc – 30 RC 719, Musidisc – RC 719
What Messiaen means by "limited transposition" is that, depending on the mode, only a limited number of transpositions will actually produce a new collection of pitches while preserving the mode. Accordingly, Messiaen scored his quartet for violin, cello, clarinet, and piano, and these four prisoners gave the piece that first performance in 1941 before an audience largely consisting of other prisoners of war. In any case, although John humbly describes himself as a servant of God (1:1), it is clear from the epistolary style that he is a person of some stature and authority in the early church.