Abstract
One of the strangest of quartets ever composed and assembled was Olivier Messiaen’s Quartet for the End of Time. The composer was a prisoner-of-war in Stalag 8A, in Silesia. During his incarceration he found inspiration from the Book of Revelation: in the depths of despair he held on to the hope that, in time, Adolf Hitler would be defeated and also, ultimately, that “the kingdoms of this world would become the kingdoms of God and his Christ”.
In the freezing snows of the Silesian winter, the composer assembled the only musicians he could find: there was a piano, a cello, a clarinet and violin. It was an unusual combination of instruments; but with those slender resources the music evoked the splendid colours and apocalyptic drama of that mysterious Book. After the very intense performance, the prisoners were deeply moved, many of them to tears.
Down the centuries, and largely because of its often bizarre imagery and complex symbolism, the Book of Revelation has prompted a number of different interpretations. Karl Barth said, with some annoyance, “If only I knew what to do with the Apocalypse!” And, with some understatement, F.C. Thompson, in his popular Chain Reference Bible of 1908, said of these interpretations, “These have been exceedingly varied, often fantastic…,” so an eclectic view is probably the best to be adopted.
Some believe that it largely deals with the condition of the Seven Churches in Asia Minor with which John, the writer, seemed familiar. Frequently, preachers have taken these churches to be typical of churches throughout Church History. Another view has seen the book as the unfolding of the long history of the Church and the world, from the post-Apostolic period until the end of time. This view has been very popular in the last century; and some of us have seen pull-out charts, like concertinas, in which we can, if we so desire, find out what there is on offer in the dessert-menu of the Marriage Supper of the Lamb!
However, setting aside ongoing scholarly rumination regarding interpretation, we return to Messiaen’s quartet, bearing in mind that it was his avowed aim to create an essential link between theology and music. As far as I am concerned, he certainly succeeded and despite his slender resources, he managed to achieve and capture the quintessence of that complex and uniquely challenging book of the New Testament.
The quartet, above all, portrays the final victory of God at the end of time. Its triumphant agent is, of course, Jesus, both the Dying Lamb and the Eternal Word; and the quartet’s tranquil and meditative movements celebrate Him as such. But blithe birdsong is never far away- the composer’s abiding inspiration – representing longing for the enjoyment of eternity and peace.
Thematically, the Apocalypse discloses great similarity with the Fourth Gospel - surely an important link here- the Son was always at the side of the Father from eternity (John 1:1) and subsequently, through the Incarnation as the Son of Man who died for our sins. In the great vision the Lamb is still bearing upon Him “the marks of slaughter”, albeit triumphantly!