Written in a Nazi prison camp by the French composer Olivier Messiaen, Quatuor pour la fin du temps (Quartet for the End of Time) is one of the most important pieces of music of the 20th century, and perhaps even in the history of classical music.
A melancholy work for an unusual set of instruments—clarinet, violin, cello, and piano—this choice was partly dictated by the availability of musicians and instruments in the camp. The quartet reflects Messiaen’s deep religious convictions and his fascination with the apocalypse, time, and eternity.
The piece consists of eight movements that contrast sharply with one another. It begins with the first movement, Liturgie de cristal, featuring soft arpeggios that depict birds singing at dawn, symbolizing a timeless liturgical moment. The music then continues into the dramatic and intense second movement, which reflects a more apocalyptic vision.
This dramatic progression, with high dynamic contrasts, continues throughout the composition.
The 2024 performance of this remarkable piece by Hank Landrum (Clarinet), Jeanne Hourez (Piano), Zongheng Zhang (Violin), and Bobae Lee (Cello) released by Ladoga Records, is one of the most intriguing interpretations to date.
Hank Landrum's mastery of the clarinet is exceptional, both in harsh fortissimo staccatos and soft legato solos. Maintaining a consistent dynamic level through large interval jumps is difficult, yet Landrum performs this as though it were effortless.
The same can be said for the other performers. Jeanne Hourez’s command of the piano is astonishing, filling the harmonies and contributing melodically. The incredible synchronization, both in tuning and rhythm, between the clarinet and violin is most impressive in the fourth movement, where the two play a duet-like section, constantly contrasting and accompanying one another.
In the fifth movement, Bobae Lee’s cello truly shines. The control Lee exhibits over the nuances of tone and the seamless transitions between bow strokes are stunning. The cello’s melody feels like a kite floating weightlessly in the sky, while the piano provides an earthy, rhythmic foundation. Lee's ability to create this sense of freedom and lightness is remarkable.
Even though almost 80 years have passed since this piece was composed, it still sounds modern and contemporary, thanks to Messiaen's genius. However, we should not forget how challenging it is to perform such a work. Comparing a modern piece to a classical or baroque piece is like comparing a modern poem to a classical one.
Consider this classical poem by Alexander Pope:
"The Rape of the Lock" by Alexander Pope
“From Canto II”
This nymph, to the destruction of mankind, Nourished two locks, which graceful hung behind In equal curls, and well conspired to deck With shining ringlets the smooth ivory neck.
Now compare it to this modern poem, more aligned with Messiaen's style:
"Four Quartets" by T. S. Eliot
From "Burnt Norton"
Time present and time past Are both perhaps present in time future, And time future contained in time past.
As you can see, Eliot’s modernist style is more difficult to read—it doesn’t rhyme in the same way as classical poetry. The beginnings and ends of his sentences are more ambiguous. Reciting a modern poem requires more focus; the phrasing, expressions, and emphasis can easily be lost, making the poem sound like ordinary prose.
The same applies to music. A piece by Mozart or Bach is inherently symmetrical, with clear melodic phrasing. In contrast, a modern piece like Messiaen’s quartet doesn’t follow the same rules. Expressing its phrases correctly, balancing the dynamics between instruments, and maintaining coherence within each instrument's line requires true mastery.
The quartet of Landrum, Hourez, Zhang, and Lee has handled this difficult task with incredible skill. The result is a powerful and nuanced performance of this extraordinary piece of music.
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