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Da Camera Intermission THE DEPARTMENTOF ......................................................~ School of Music Recital Hall MUSIC Tuesday, 4 March 1986 MEMORIAL UNIVERSITY OF NEWFOUNDLAND 8:00 p.m. DA CAMERA JAMES ( Ar1 P BE LL , CLA R I NET MosHE HAMMER, VIOLIN WILLIAM TRITT, PIANO TsuvosHI TsuTSUMI, CELLO Passacaglia (for violin and cello) G.F. Handel (1685-1759) trans. J. Halvorsen Quartet Peter Schickele Mode rate, j1owing (b. 1935) - Fast, d:t>iving Slow, elegiac Quite fast, dancing INTERMISSION Quartet for the End cf Time Olivier Messiaen Liturgie de cristal (b. 1908) Vocalise Abime des Oiseaux Intermede Louange a l'Eternite de Jesus Danse de la fureur Fouillis d'arcs-en-ciel Louange a l'Immortalite de Jesus The Student Music Society will be sponsoring a reception ~n the lobby of the Recital Hall immediately following the concert. Da Camera ~s managed by General Arts Management Tnc . (GAMI) MUN MUSIC: Coming Events 8:00 p.m., Tuesday, 18 March TUDOR SINGERS 8:00p.m., Thursday, 20 March GRADUATE'S RECITAL Sharon Vaughan, Soprano Susan Mercer, Piano Mark Bonnell, Clarinet Paul Dingle, Piano 8:00 p.m., 22 and 23 March FEST I VAL CHOIR and NEWFOUNDLAND SYMPHONY YOUTH ORCHESTRA Orff- Carmina Burana at the Arts and Culture Centre 8:00 p.m., Tuesday, 25 March MUN CHAt·1BER CHOIR at the Newfoundland Cathedral 8:00 p.m., Hednesday, 26 March MUN JAZZ ENSEMBLE . 8:00p.m., Tuesday, 1 April MUN CONCERT BAND 8:00 p.m., Wednesday, 2 April Graduation Recital JILL DAWE, Piano 8:00 p.m., Thursday, 3 April ELLEN HALLETT, Piano CATHERINE CORNICK, Soprano 8:00 p.m., Saturday, 5 April HEATHER BURRY, Soprano FLOYD THOMAS, Tuba 8 : 30 p . m. , Sun day , 6 Ap ri 1 Graduation Recita1 SONYA GOSSE, Soprano 8:00 p.m., Monday, 7 April GENA PRETTY, Piano SHEILA OSBORNE, Soprano 8:00 p.m., Tuesday, 8 April SHEILA RYAN, Soprano GARY COMPTON, Trumpet JOHN RUSSELL, Baritone QUARTET FOR THE END OF TIME Messiaen Then I saw a mighty angel coming down from heaven, wrapped in a cloud, with a rainbow over his head, and his face was like the sun, and his legs like pillars of fire. And he set his right foot on the sea and, standing on sea and land, he lifted up his right hand to heaven and swore by him who lives for ever and ever, saying: "There should be no delay, but that in the days of the trumpet call to be sounded by the seventh angel, the mystery of God should be fulfilled." (Apocalypse of Saint John, Chapter X, l-7) Conceived and written during my imprisonment, the Quartet for the End of Time had its first performance in Stalag VIII A, January 15, 1941. This took place at Garlitz, in Silesia, during an unusually cold spell. the prison camp was buried in snow. We were thirty thousand prisoners (for the most part French, with some Poles and Belgians). The four performers played on damaged instruments: Etienne Pasquier's cello had only three strings, the keys of my piano would fall straight down and not spring back. Our outfits were unbelievable: I wore a green jacket completely in shreds and wooden shoes. The audience united all classes of society: priests, doctors, merchants, career soldiers, workers, peasants. While I was a prisoner, the lack of food gave me coloured dreams: I saw the Angel's rainbow and strange swirlings of colour. But the choice of the "Angel who announces the end of time" rested on somewhat more serious reasons. As a musician I had worked with rhythm. Essentially rhythm is change and division. To study change and division is to study Time. Time -- measured, relative, physiological and psychological -- is divided in a thousand ways, of which the most immediate for us is the perpetual transition of the future into the past. In eternity, these things do not exist. What problems! I posed them in my Quartet for the End of Time. But, to speak the truth, they have influenced all my experiments in sound and rhythm for forty years. In the name of the Apocalypse, my work has been criticized for its calm and its concern with detail. My detractors· forget that the Apocalypse contains not only monsters and cataclysms, but also moments of silent adoration and marvellous visions of peace. Moreover, I never had the intention of creating an Apocalypse: I chose a beloved figure (that of "the angel who announces the end of time"), and I wrote a Quartet for the instruments and instrumentalists which were available, namely, a violin, a clarinet, a cello and .a piano. As for "the Angel who announces the end of Time", if its mystery calls for music, it discourages iconography. It may be found, however, in the beautiful tapestries of the Apocalypse in the Cathedral of Angers. Albrecht Durer has given it the most impressive interpretation: by respecting all the details of the vision, he has etched a personage without a body, almost surrealistic, unforgettable, terrifying - and totally supernatural. A final remark: My Quartet consists of eight movements. Why? Seven is the perfect number, the six days of creation sanctified by the divine Sabbath; the seven prolongs itself in that repose through eternity and becomes the eight of the pure light, of inalterable peace. 1. Crystalline Liturgy - Toward five o'clock in the morning, a solitary bird warbles, surrounded by a haze of sound, by a halo of harmony lost very high up in the trees. Transfer that to the religious plane: you will have the harmonious silence of heaven. The piano provides a rhythmic ostinato based on a juxtaposition of three Hindu rhythms: regavardhana, candrakala, lakskmica. The clarinet unfurls the song of the bird. 2. Vocalise, for the Angel who announces the End of Time - The first part and the coda (both very short) evoke the strength of that powerful angel, crowned wi~ a rainbow and clothed in clouds, who places one foot on the sea and the other on the land. The background: the impalpable harmonies of heaven. In the piano: gentle cascades of chords, blue and mauve, gold and green, violet-red, blue-orange --dominated over-all by steel gray. By their distant carillon these chords envelop the almost plain-chant-like melodic line of the violin and cello. 3. The Abyss of the birds - Clarinet alone. The text melodic and monodic, without any accompaniment. The abyss: it is Time, with its sadness, its lassitude. The birds serve as a contrast: they symbolize our desire for light, for stars, for rainbows and jubilant vocalises! In the beginning: sadness. Note the long-held tones swelling in sound: pianissimo, crescendo molto, as far as the most intense fortissimo. The birdcalls are written in the fantastic and gay style of the blackbird. The return to desolation takes place in a low register, with the beautiful, somber timbre of the chalumeau of the clarinet. Conclusion on an arpeggio of the dominant chord, heard often in the course of the work. 4. Interlude - A little scherzo, extroverted in character. It is related to the other movements by several recalls or premonitions: an arpeggio on the dominant chord in the clarinet, theme of the sixth piece, the "climacus resupinus" {N.B. --a plain-chant neum equivalent to a "turn") of the blackbird already heard in the first piece. 5. Praise to the Eternity of Jesus - Here Jesus is considered as the Word. A broad phrase, extremely slow, in the cello magnifies with love and reverence the eternity of the powerful and sweet Word, "whom the years can never exhaust." Majestically, the melody expands in a distantly tender and elevated manner. "In the beginning was the Word, the Word was in God, and the Word was God." 6. Dance of Fury, for the seven trumpets - The four instruments are in unison. They do not pretend in any way to evoke the trumpets of the Apocalypse and the various catastrophes which accompany them. It is above all a study in rhythm ••• toward the end the tempo accelerates, a raging stringendo followed by a long tr111 introduces the conclusion with the theme fortissimo treated by augmentation a.nd changes of register. 7. Tangles of Rainbow, for the Angel who announces the End of Time- Piece dedicated to the Angel, above all to the rainbow which envelops him {the rainbow, symbol of peace, of wisdom, and of every luminous and sonorous vibration). In my coloured dreams, I underwent a whirling, a spinning intermingling of sounds and co 1ours: these chords -- vi o 1 et -red, b 1 ue-orange, gold -green: these swords of fire, these jagged stars; behold the rainbows. 8. Praise to the Immortality of Jesus - A broad solo for the violin, a counterpart to the cello solo in the fifth movement. Why this second hymn of praise? It is addressed specifically to the second aspect of Jesus, to Jesus the Man, to the Words made flesh, resurrected immortal in order to communicate His life to us. It is all love. Its majesty builds to intense climax, it is the ascent of man to his God, of the child of God to his Father, of the sanctified creature to Paradise. OLIVIER MESSIAEN ( transla ted by He Zen Baker) JAMES CAMPBELL, Clarinet One of the leading wind players of our time, Mr. Campbell regularly perfor ms with major orchestras around the world and with other internationally acclaimed musicians including the Ama d eus and Guarneri String Quartets, the Borodin Trio, Elly Ameling, Aaron Copland and Janos Starker. MOSHE HAMMER, Violin Born in Israel, Mr. Hammer moved to the United States after graduating from the Academy of Music in Tel Aviv.
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