Music under the expression of a harmonious combination of sound, it would be unfair on mere a priori, it vilifies contemporary music. Indeed, and provided to put a minimum of good will, only listening in good conditions can be used as an argument to form an opinion. The honesty of the music depends on it. Obviously, the choice of aeuvre and interpretation are essential elements. Composed by Olivier Messiaen in winter 1940-1941 when he was a prisoner of the Germans in Silesia, the Quartet for the End of Time is one of scores that best lends itself to this kind of exercise. It is also one of the most eloquent and most penetrating. Far removed from the traditional string quartet, his training, rather singular (clarinet, violin, cello and piano), was dictated by the camp hardware requirements. Consists of eight parts, each instrument finds the substance necessary to the needs of its expression. Their interaction leads to a sometimes dissonant discourse, often difficult but always fascinating. Chaotic or tragic, it forces the listener to adopt an active behavior because, as can be expected, listening is not always obvious. Only, musicians, all exceptional soloists, the extraordinary miking Agnes Mathon, everything in this record combine to make the task easier than it seems at first listen and above all, encourages perseverance. Test or revelation, everyone will judge, but as it should be: objectively.
