{"id":71148,"date":"2026-02-18T16:19:26","date_gmt":"2026-02-18T15:19:26","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/?post_type=kalender&p=71148"},"modified":"2026-02-18T16:19:26","modified_gmt":"2026-02-18T15:19:26","slug":"messiaen-kunstmuseum","status":"publish","type":"kalender","link":"https:\/\/www.musikzeitung.ch\/en\/kalender\/messiaen-kunstmuseum","title":{"rendered":"Messiaen Art Museum"},"content":{"rendered":"

Olivier Messiaen's Quatuor pour la fin du temps was composed in 1940\/41 in the German
\nPrisoner of war camp Stalag VIII-A near G\u00f6rlitz. Messiaen wrote the work
\nfor three professional musicians imprisoned with him - the clarinettist Henri Akoka,
\nthe violinist Jean Le Boulaire and the cellist \u00c9tienne Pasquier - as well as for
\nhimself at the piano. The premiere took place on January 15, 1941 in the camp
\nin front of fellow prisoners and guards.
\nIn eight movements, Messiaen unfolds music of extraordinary density
\nand concentration. Characteristic are the birdcalls, the large time decays and the
\nand the precisely placed timbres, as well as rhythmic mo
\ndelle, which deliberately undermine regular pulse perception. The title
\nrefers to the Revelation of St. John and Messiaen's dedication \u00abto the
\nAngel announcing the end of time.
\nThe Thun Museum of Art will also host a concert in 2026 that combines music and education.
\nart into a lively dialog: sounds and the exhibition permeate each other.
\nand open up new perspectives. The focus is on the individual exhibit
\nby the French artist Fabrice Hyber.<\/p>\n

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