En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Quatuor pour la fin du temps pour clarinette, violon, violoncelle et piano

Raphaëlle Moreau. Yan Levionnois. Paul Meyer. Adam Laloum. Quatre noms et un Quatuor pour la fin du Temps surnaturel, qui a emporté les Sommets musicaux de Gstaad vers des hauteurs inattendues.

Deborah Nemtanu, Livia Stanese, Florent Pujuila et François-Frédéric Guy se sont réunis salle Cortot autour de l'œuvre de Haydn et de Messiaen. Quatre belles personnalités musicales pour un programme très inspiré.

Le Chilingirian Quartet a proposé au Shakespeare's Globe un programme marqué par l'expérience personnelle de la guerre et transfiguré par le Quatuor pour la fin du temps de Messiaen. 

Alina Ibragimova and friends join forces at the Queen Elizabeth Hall in two powerful chamber works composed at the height of the Second World War. 

Ein beeindruckendes zur christlichen Osterbotschaft passendes Konzerterlebnis mit Het Collectief.

A thrilling performance of Messiaen's Quartet for the End of Time by members of the London Sinfonietta follows two rarely heard chamber works by Krzysztof Penderecki.

Ullmann's one act opera, written in the concentration camp at Terezin, receives a powerful performance from the BBC Symphony Orchestra.

The Second Ragged Music Festival showcases young musicians in Bach and Messiaen in East London.

British cellist Laura van der Heijden proved herself to be the sister of soul on the cello for the second night in succession.

Das Philharmonische Staatsorchester widmet sich unter Kent Nagano dem Ende des Schaffens und der Zeit.

Starting her Perspectives series, Janine Jansen invited three outstanding musicians to join her in 20th century repertoire.

James Ehnes, Steven Osborne and Alban Gerhardt captured the lamentations of Shostakovich's Second Piano Trio before they were joined by clarinettist Jean Johnson for Messiaen's quartet at St John’s Smith Square.

If not the ideal first half to precede the Quartet for the End of Time, there could be no quarrel with the execution thoroughout.

What’s next for the outgoing Music Director of the New York Philharmonic? It’s unclear. But this program reflected both his legacy and the gifts he will carry down the road.

Yo-Yo Ma joined forces with members of the Chicago Symphony Orchestra in an afternoon of French chamber music

A stellar quartet deliver Messiaen's time-stopping depiction of the eternal in Edinburgh's Greyfriars Kirk.

Mitsuko Uchida and players from the Berlin Philharmonic Orchestra played Berg, Schubert and Messiaen at Wigmore Hall, creating moments of sheer beauty.

Silence spoke volumes in this tribute to John F. Kennedy at the Nasher Sculpture Center, Dallas, which contained pieces by Messiaen, Steven Mackey and John Cage.

It is rare to find a venue where one can walk from a Cuban big band set (Orquestra Estelar) and into a performance of one of Messiaen’s most transcendental and intimate masterpieces. Rarer still for such a venue to place the latter performance next door to the former in a lecture room entirely lacking in acoustic shielding, so that any noise from outside is clearly audible.

The fascinating Rest is Noise festival at Southbank Centre has now reached its mid-point, with the focus on music created out of oppression and war.

It’s easiest to describe Christian Tetzlaff’s approach to playing the violin by what he isn’t trying to do. He is not trying to play as beautifully as possible, in the conventional sense. He is not trying to sound like a nightingale, soaring long, honeyed lines above an accompaniment.

The works featured in this concert, composed in 1912 and 1941, might be considered rather old fare for Birmingham Contemporary Music Group, but they remain as startlingly original today as they must have seemed back then. It was a pleasure to hear them in the brand new Elgar Concert Hall at the University of Birmingham in all its shiny, wooden splendour.

Pairing together Schubert and Messiaen at first glance may appear slightly far-fetched. However, there are more similarities between the two composers, and indeed the two pieces in this evening’s program, than one might at first realise. Schubert and Messiaen were in many ways both experimental composers, especially the latter.

Not being a French national and having only just heard about their excellent series of Tuesday night concerts, this was my first visit to the Institut Français, Kensington. This was the last in a series of concerts focusing on French music, moving chronologically toward contemporary/modern composers over the course of the series.

Olivier Messiaen’s extraordinary Quatuor pour la fin du temps was written in a German prisoner of war camp, and first performed in the camp by Messiaen and his fellow prisoners on broken instruments.