Akoka: Reframing Olivier Messiaen’s Quartet for the End of Time – Review

June 12, 2014

“Akoka – Reframing Olivier Messiaen’s Quartet for the End of Time” = DAVID KRAKAUER: Akoka; MESSIAEN: Quatour Pour La Fin Du Temps; JOSH DOLGIN (‘So-called’): Meanwhile – David Krakauer, clarinet/Matt Haimovitz, cello/Jonathan Crow, violin/Geoffrey Burleson, piano – Oxingale Records OX2022, 63:45 [Distr. by E1 Ent.] (4/01/14) ***:

Mostly quite interesting but a little weird.

Messiaen’s Quartet for the End of Time is an iconic piece of music. It is not just one of Messiaen’s greatest and best known works but it holds a very important place as – arguably – the best known work to have been composed, literally, by any composer as they were being held as a prisoner of war during the Nazi oppression. It is a brilliant and emotional work that finds great favor with clarinetists in particular but is also written in the style that will, in many ways, come to define the music of Messiaen. There have been hundreds of recordings of this work and this one is a welcome, if slightly quirky, addition.

David Krakauer is one of the world’s great clarinetists with ample technique and a tone quality that can – and often does – cross the bounds between Klezmer and classical and with equal skill. Similarly, Matt Haimovitz is an amazing cellist gifted with incredible technique and beautiful tone. While I was not as familiar with violinist Jonathan Crow or pianist Geoffrey Burleson, these two are also incredible performers. So, their collective rendition of the Quartet is excellent and well worth having. I call it “quirky” because – purely for me some of the tempos are over or under what I am used to hearing and I am not sure it rates as my new favorite (I rather like David Shifrin’s with Chamber Music Northwest or the old Gervase De Peyer) but it is, none the less, very good.

This entire album, here, is intended as a tribute to Henri Akoka, the Algerian-born clarinetist who, essentially, pestered Messiaen to keep composing when both were prisoners of war in a German camp during World War II; resulting in this landmark work. So, Krakauer’s own piece, Akoka, was written in his memory and in recognition of some of the horrors of the camp. This is largely a vehicle to show off Krakauer’s trademark slippery ethnic tone and ample flourishes. The work, as a whole, does sound quite unsettling but is, ultimately, just a little disconcerting and somewhat incomplete.

I had a stronger and less positive opinion of Meanwhile by “beat architect” So-called (a.k.a Josh Dolgin) This work takes samples of the quartet in performing/rehearsing the Messiaen Quartet and splices in sound bites of old radio broadcasts, cantorial singing and some drumming and techno hash. I admit I did not like listening to this and I probably missed the significance of the work. While I recognize the snippets of the Messiaen work and some of the radio bits that do discuss the Nazi purge, ultimately I thought, “Why?” – especially some of the urban techno beat behind the more para-oriental parts of the Messiaen original.

My reaction to this concept album is, therefore, mixed. This performance of Messiaen’s masterpiece is very good. Not my new fave; but very good. I could personally do withoutAkoka and Meanwhile. Others may think it’s brilliant.

By: Daniel Coombs

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Akoka: Reframing Olivier Messiaen's Quartet for the End of Time

Akoka: Reframing Olivier Messiaen’s Quartet for the End of Time

Akoka: Reframing Olivier Messiaen's Quartet for the End of Time

Akoka: Reframing Olivier Messiaen’s Quartet for the End of Time

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“A shatteringly beautiful performance of Olivier Messiaen’s ‘Quartet for the End of Time.'”

-The Jewish Week

In this reframing of Olivier Messiaen’s masterpiece Quartet for the End of Time, clarinetist David Krakauer — praised internationally for his ability to play in a myriad of music genres with “prodigious chops” (The New Yorker) and “soulfulness and electrifying showiness” (The New York Times) — and musical pioneer cellist Matt Haimovitz — described as “one of the leading cellists of his generation” (The New York Times) and “intensely sensitive and perfectly poised (Gramophone Magazine) — have created a recording and live concert experience of great emotional power. Continue reading

TMI: Matt Haimovitz at Music Mountain

June 20 2013

Cellist Matt Haimovitz rode the twentieth century into the staid precincts of Music Mountain’s music barn Sunday, introducing four pieces that had never before been played there in the festival’s 84 years of hosting chamber music. Continue reading

The Litchfield County Times: Seldom Played Works, Celebrated Composers at Music Mountain in Falls Village

June 3, 2013

The theme this year at the acclaimed summer chamber music venue, Music Mountain in Falls Village, is “Seldom Played Works by Celebrated Composers,” and while that will mean plenty of Beethoven, Mozart, Medelssohn, Schubert, Shostakovich and more, an alternate theme might be stars and serendipity. Continue reading

Columbia Free Times: Cellist Matt Haimovitz Plays Southern Exposure Series

November 17, 2010

When last we heard Matt Haimovitz’s cello, it was scratching and scraping through a gloriously raucous rendition of Jimi Hendrix’s own rendering of “The Star Spangled Banner.” For more than five concentrated minutes, Haimovitz wrenched every last idiomatic drop from his 300-year-old instrument. To the underage punks outside on State Street, it no doubt sounded like Continue reading

Classical Music Odd Couple

August 5, 2010

The  title of this CD, Odd Couple, refers to the fact that the cello and  piano combination, although a pairing first introduced by Beethoven for  his great cello sonatas, has always been considered an awkward or  maladjusted blend of instruments. Well, if that were true, a countless  number of masterpieces would never have seen the light of day. Instead, I  believe this CD Continue reading

Odd Couple

Odd Couple

Odd Couple

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Two powerhouse performers, cellist Matt Haimovitz and pianist Geoffrey Burleson, come together on Odd Couple, released September 16 from Oxingale Records.

Odd Couple Celebrates Elliott Carter’s 100th birthday Continue reading