Possibly made in the late 19th – early 20th centuries. Similar to Schoenberg’s atonal pieces.
Very angular, non-flowing melodies. Homophonic. Erratic. Few playing at one time. Sparse texture. Many different instruments.
String quartet, flute, lute, clarinet, piano.
Beginning homophonic. Atonal in places –(1:16 – 20). Trill at end (1:39:43). Dissonance
First 20 have the instruments in unison
35 seconds onwards – plucking. 38 – 39 arpeggio
Staccato of string quartet at (1:39) Finish on perfect cadence.
Quartuor pour la fin du temps
Dates - December 10, 1908 – April 27, 1992)
Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré were his teachers at the Paris Conseratoire
Wrote Quatour in a German prisoner of war camp (Görlitz, Stalag VIII-A)
Scored for piano, clarinet, cello, violin
T
Debussy, Gamalan.
He was influenced by birdsong (world’s greatest composers). Fascinated by birdsong from an early age.
Palindromic rhythms (not able to retrograde)
Colour for mood and styles (music with and w/o colour)
The piece starts with the quartet playing in unison in a homophonic manner. At 21 seconds.
At 34 seconds, the piece becomes more gentle with soft plucking of the violin. 39 seconds arpeggio on the clarinet into new violin. 54 seconds return to 21 second
Very angular, non-flowing melodies. Homophonic. Erratic. Few playing at one time. Sparse texture. Many different instruments.
String quartet, flute, lute, clarinet, piano.
Beginning homophonic. Atonal in places –(1:16 – 20). Trill at end (1:39:43). Dissonance
First 20 have the instruments in unison
35 seconds onwards – plucking. 38 – 39 arpeggio
Staccato of string quartet at (1:39) Finish on perfect cadence.
Quartuor pour la fin du temps
The piece starts with the quartet playing in unison in a homophonic manner. At 21 seconds.
At 34 seconds, the piece becomes more gentle with soft plucking of the violin. 39 seconds arpeggio on the clarinet into new violin. 54 seconds return to 21 second