Bowdoin International Music Festival
Studzinski Recital Hall
July 11, 2018
by Christopher Hyde
Olivier Messiaen’s “Quartet for the End of Time” is not generally considered a vehicle for virtuoso display, but its sublime beauty can be revealed only by those with extraordinary musical ability.
Such was the case Wednesday night at Studzinski Recital Hall, when Amir Eldan, cello, Derek Bermel, clarinet, Pei-Shan Lee, piano, and Ayano Ninomiya, violin, gave a definitive reading of this seminal work.
The players are faculty members of the Bowdoin International Music Festival, taking place now through the beginning August, but they might have been playing the quartet together for years, judging by the ensemble supporting three outstanding solo performances.
Lee held it all together and assisted as ably as the composer directing from the piano.
I never tire of hearing this work, which is said to have had a lifelong effect on those who first heard it performed in a German prison camp. Too often, however, it is played as a curiosity, as a memorial to the victims of World War II, or even as evidence of Messiaen’s quaint beliefs. It stands alone, without historical trappings, as a musical masterpiece, and so it was treated on Wednesday night
It began characteristically with nightingale and blackbird opening the “Liturgie de crystal” for the full quartet, followed by a “Vocalize, pour l’Ange qui announce la fin due Temps.”
The first of the major solos is by the clarinet, played very slowly, with huge fermatas and sustained notes that test the lungs of any performer. It is called “Abîme des oiseaux.” The abyss is time, in all its sadness, according to the composer, while the birds, also imitated by the clarinet, represent freedom and joy. Bermel painted the picture perfectly, testing the limits of his instrument.
After a brief interlude without piano, it was the turn of the cello, also playing very slowly and “ecstatically,” in the “Louange (praise) à l’Éternité de Jésus.” The melody, often repeated, evokes Genesis: “In the beginning was the Word, and Word was with God, and the Word was God.”
The most rhythmic, verging on jazzy, movement is the “Danse de la fureur, pour les sept trumpets.” announcing the apocalypse. It is also more terrifying than any other composer’s Dies Irae, and includes some impossibly loud tutti, which must have reached the far rows of its original 5000-man audience.
The “rainbow tangles” of the seventh movement give the composer a chance to play with his favorite blue-orange chords, during which Lee brought out some striking inner voices
In the final movement, “Louange à L’Immortalité de Jésus,” the violin speaks, like the cello before it, but this time of Christ’s life on earth—a long limbed melody that dies away into the almost imperceptible reaches of the upper register. The large audience, which included many festival students, stayed entranced for several moments before giving it a loud standing ovation.
The gods, which do not permit human perfection, smuggled in cellphones, not once but twice during this solo, the first a piano ringtone and the second a beep. Please people, I beg of you, leave that electronic junk at home. You can never be sure that it is silenced.
The Quartet obscured a lively and brilliant rendition of a work never intended to be profound, the Hayden Piano Trio in C Major (Hob. XV:27), played by Julian Martin, piano, Robin Scott, violin, and Julia Lichten, cello. Thanks to Martin for pointing out the Janissary Band references, which predate Mozart’s famous Turkish March.
Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at email@example.com.