Sunday, May 24, 2026
Ittinger Pentecost Concerts - Concert 5
Concert title
Ittinger Pentecost Concerts - Concert 5
Date
Sun 24.05.2026
Start of the concert
17:00
Contributors
Name of the ensemble
Trio Gaspard
Vox Clamantis (Jaan-Eik Tulve, conductor)
Vox Clamantis (Jaan-Eik Tulve, conductor)
Line
Reto Bieri, Artistic Director
Soloists
Mark Padmore, tenor;
Anthony Romaniuk, piano;
Jürg Kienberger, acting, glass harp, vocals, narrator;
Claudia Carigiet, director and text;
Markus Güdel, audio
Anthony Romaniuk, piano;
Jürg Kienberger, acting, glass harp, vocals, narrator;
Claudia Carigiet, director and text;
Markus Güdel, audio
program
APROPOS ETERNITY...
Franz Schubert
Farewell to the Earth D 829
for voice and piano
Olivier Messiaen
L'eau
from Fête des belles eaux
for six Ondes Martenots,
performed by audio recording
Jürg Kienberger
Apropos Eternity
Olivier Messiaen
O Sacrum Convivium
for mixed choir
György Ligeti
Poème Symphonique
for 100 metronomes
Olivier Messiaen
Quatuor pour la fin du temps
for clarinet, violin, cello and piano
One can be mistaken about many things. Only about eternity. For it is, as the Brothers Grimm described it, not a state, but a story: A little bird that comes every hundred years to scratch its beak at a mountain. And when the mountain has disappeared, a second of eternity has passed. That is not a metaphor, that is a measure.
György Ligeti erected a mechanical monument to it – a hundred metronomes ticking as if trying to overtake each other. An absurd concerto of time, listening to itself until it falls silent. In the end, a single beat remains. And then: nothing.
Olivier Messiaen's Quartet for the End of Time was composed in a prisoner-of-war camp. It is music written against hunger, against the cold, against despair – but not against time. Time flows differently within it, intangibly. The rhythms are boundless, the notes radiate as if coming from a great distance. The quartet tells of angels with rainbows above their heads and of birds circling above the abyss. It is a hymn – to that which does not perish.
And Woody Allen? He says he isn't afraid of death, he just doesn't want to be there when it comes. Perhaps we all feel that way. But this music – it is there. And we, for a moment, with her.
Franz Schubert
Farewell to the Earth D 829
for voice and piano
Olivier Messiaen
L'eau
from Fête des belles eaux
for six Ondes Martenots,
performed by audio recording
Jürg Kienberger
Apropos Eternity
Olivier Messiaen
O Sacrum Convivium
for mixed choir
György Ligeti
Poème Symphonique
for 100 metronomes
Olivier Messiaen
Quatuor pour la fin du temps
for clarinet, violin, cello and piano
One can be mistaken about many things. Only about eternity. For it is, as the Brothers Grimm described it, not a state, but a story: A little bird that comes every hundred years to scratch its beak at a mountain. And when the mountain has disappeared, a second of eternity has passed. That is not a metaphor, that is a measure.
György Ligeti erected a mechanical monument to it – a hundred metronomes ticking as if trying to overtake each other. An absurd concerto of time, listening to itself until it falls silent. In the end, a single beat remains. And then: nothing.
Olivier Messiaen's Quartet for the End of Time was composed in a prisoner-of-war camp. It is music written against hunger, against the cold, against despair – but not against time. Time flows differently within it, intangibly. The rhythms are boundless, the notes radiate as if coming from a great distance. The quartet tells of angels with rainbows above their heads and of birds circling above the abyss. It is a hymn – to that which does not perish.
And Woody Allen? He says he isn't afraid of death, he just doesn't want to be there when it comes. Perhaps we all feel that way. But this music – it is there. And we, for a moment, with her.
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