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Quartet For The End Of Time
2018-10-25

Quartet For The End Of Time

By Olivier Messiaen (1908 – 1992)

25 October 2018

Odeion

19:30

“THE IDEA OF THE END OF TIME AS THE END OF PAST AND FUTURE AND THE BEGINNING OF ETERNITY”

Anmari van der Westhuizen and Samson Diamond (members of the renowned Odeion String Quartet), will join with the award-winning soloists Grethe Nöthling and Danrè Strydom to perform one of the 20th century’s most compelling chamber music works, Olivier Messiaen’s Quartet for the End of Time. These musicians need no introduction to Bloemfontein audiences.

Composed while he was a prisoner of war, Messiaen's Quartet has continually wowed audiences since its creation. The oppressive conditions within which the work was conceived - set against the backdrop of wartime conditions in Nazi Germany - contribute to the work’s inner narrative. In this unsettling time of global political and social uncertainty, we aim to reframe this work from the past in order to contemplate the present. Music woven together with other art forms elicit and explain a range of emotions where words often fail.

A selection of striking WWII photos will be projected behind the musicians - reflecting the theme and history of the composition.

About the composition
Olivier Messiaen (1908 - 92)
Quatour pour le fin du temps (1940 - 41)

Olivier Messiaen’s Quartet for the End of Time was written in perhaps the most incongruous spot any great score has been composed in: an unheated barrack in Stalag VIII-A, a German prisoner-of-war camp, during the second winter of World War 2. Messiaen wrote this mystical quartet for the instruments available in the camp (clarinet, violin, cello, and piano) in a setting that is arguably among the least conducive for creative work.

The quartet is Messiaen's musical depiction of and rumination on Revelation 10:1-7, which the composer included as a heading to the score:

“I saw a mighty angel descending from heaven, clad in mist, having around his head a rainbow. His face was like the sun, his feet like pillars of fire. He placed his right foot on the sea, his left on the earth, and standing thus on the sea and the earth, he lifted his hand toward heaven and swore by Him who liveth forever and ever, saying: "There shall be time no longer, but at the day of the trumpet of the seventh angel the mystery of God shall be consummated."

ADMISSION

  • R120 (adults)
  • *R80 (pensioners)
  • *R70 (UFS staff)
  • *R50 (students, learners and block bookings of 10+)

Tickets available at Computicket or online at http://online.computicket.com/web/

*Please note that tickets for pensioners, students, learners and UFS staff can only be purchased at a Computicket outlet (Shoprite Checkers) or at the doors since a valid card or ID has to be presented to qualify for the above-mentioned discount.

ENQUIRIES
Ninette Pretorius (tel. 051 401 2504)


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Tom Waits for No Man

The Johannes Stegmann Art Gallery cordially invites you to the exhibition

Tom Waits for No Man

Gordon FroudCurator of the exhibition, Artist and Senior Lecturerat the Dept. of Visual Arts, UJ will open the exhibition on

Wednesday
2 October
at 19:00

The exhibition closes on 25 October 2013 American singer, songwriter, composer and actor, Thomas Alan Waits (1949 - ), has been a major inspiration to artists, musicians, poets, writers and thinkers for almost 40 years. He is considered as one of the godfathers of grunge and poetic rock and is a master of contemporary narrative - able to weave emotion and intrigue into his stories of urban grit and rural abandonment. His sometimes jaundiced view of the underbelly of society serves as a rich source of visual imagery. Based on the success of the Leonard Cohen Altarpiece exhibition called "Altered Pieces" that Gordon Froud curated and toured in 2011 and 2012, Froud decided to extend his curative activities in the direction of Tom Waits.

This exhibition is based on a roughly LP sized circular format (30cm in diameter). Most works hang on the wall but some artists that wanted to work in 3d, made use of the disc as a base or platform on which to build. There was no restriction on materials or approach. There was no process in selection of songs and each artist was free to use whichever lyric or section of lyrics that they choose (even if someone else had selected this too – artists seldom come up with the same solutions). The exhibition was launched at the ABSA KKNK in April 2013 and has travelled to the UJ Art Gallery and Grande Provence Wine Estate for the Literary Festival. 

Gallery hours:  Mon - Fri 08:30 - 16:30
Enquiries: 051 401 2706 | dejesusav@ufs.ac.za

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