The UCF Pegasus String Quartet and faculty from the School of Performing Arts presents Inspired, a concert featuring works for piano, clarinet and strings.

The Pegasus String Quartet, UCF’s elite graduate string quartet under the direction of Ayako Yonetani, performs Rachmaninoff’s Unfinished String Quartet No. 1 and the Florida premiere of a quintet arrangement of Chausson’s Concerto for Violin, Piano and String Quartet, featuring UCF professor of piano, Sun-A Park.

The second half of the concert features UCF professors Ayako Yonetani, violin; Keith Koons, clarinet; David Bjella, cello; and Sun-A Park, piano, performing Messaien’s Quartet for the End of Time, inspired by a passage in the Book of Revelation. Messaien wrote the piece while a prisoner of war in 1941, and it was premiered by inmates of the concentration camp. The work is considered mystical and spiritual and showcases Messaien’s compositional innovations.

UCF faculty and staff, and students from any institution with a valid ID can use the code ILOVEUCF2023 for a $5 discount.

Inspired: An Evening of Chamber Music for Strings, Piano and Clarinet

String Quartet No. 1 — Sergei Rachmaninoff (1873-1943)

II: Romance, Andante espressivo
III: Scherzo, Allegro

Ekaterina Iskhakova, violin
Ayako Yonetani, violin
Cesia Corrales, viola
Anton Wachmann, cello

Concerto for Violin, Piano, String Quartet, Op. 21, arranged for String Quartet and Piano (Florida premier of the arrangement) — Ernest Chausson (1855-1899)

I: Décidé
II: Sicilienne
III: Grave
IV: Très animé

Ayako Yonetani, violin
Ekaterina Iskhakova, violin
Cesia Corrales, viola
Anton Wachmann, cello
Sun-A Park, piano

Quartet for the End of Time — Olivier Messiaen (1908-1992)

I. Liturgy of crystal
II. Vocalise, for the angel who announces the end of Time
III. Abyss of the birds
IV. Interlude
V. Praise to the eternity of Jesus
VI. Dance of fury, for the seven trumpets
VII. Cluster of rainbows, for the angel who announces the end of Time
VIII. Praise to the immortality of Jesus

Ayako Yonetani, violin
Keith Koons, clarinet
David Bjella, cello
Sun-A Park, piano
Bert Scott, lighting designer


"I saw a mighty angel descending from heaven, clad in mist, having around his head a rainbow. His face was like the sun, his feet like pillars of fire. He placed his right foot on the sea, his left on the earth, and standing thus on the sea and the earth he lifted his hand toward heaven and swore by Him who liveth for ever and ever, saying: 'There shall be time no longer, but at the day of the trumpet of the seventh angel the mystery of God shall be consummated." - REVELATION, X

Conceived and written in the course of my captivity, the Quartet for the End of Time was performed for the first time in Stalag 8-A on January 15, 1941, by Jean Le Boulaire, violinist; Henri Akoka, clarinetist; Etienne Pasquier, cellist, and myself at the piano. It is directly inspired by this excerpt from "The Revelation of St. John." Its musical language is essentially transcendental, spiritual, catholic. Certain modes, realizing melodically and harmonically a kind of tonal ubiquity, draw the listener into a sense of the eternity of space or time. Particular rhythms existing outside the measure contribute importantly toward the banishment of temporalities. (All this is mere striving and childish stammering if one compares it to the overwhelming grandeur of the subject!)

This quartet contains eight movements. Why? Seven is the perfect number, the creation of six days made holy by the divine Sabbath; the seventh in its repose prolongs itself into eternity and becomes the eighth, of unfailing light, of immutable peace.

I. Liturgy of crystal.

Between the morning hours of three and four, the awakening of the birds: a thrush or a nightingale soloist improvises, amid notes of shining sound and a halo of trills that lose themselves high in the trees. Transpose this to the religious plane: you will have the harmonious silence of heaven.

 II. Vocalise, for the angel who announces the end of Time.

The first and third parts (very short) evoke the power of that mighty angel, his hair a rainbow and his clothing mist, who places one foot on the sea and one foot on the earth. Between these sections are the ineffable harmonies of heaven. From the piano, soft cascades of blue-orange chords, encircling with their distant carillon the plainchant-Iike recitativo of the violin and cello.

III. Abyss of the birds. Clarinet solo.

The abyss is Time, with its sadnesses and tediums. The birds are the opposite of Time; they are our desire for light, for stars, for rainbows and for jubilant outpourings of song!

IV. Interlude. Scherzo.

Of a more outgoing character than the other movements but related to them, nonetheless, by various melodic references.

V. Praise to the eternity of Jesus.

Jesus is here considered as one with the Word. A long phrase, infinitely slow, by the cello expatiates with love and reverence on the everlastingness of the Word, mightly and dulcet, "which the years can in no way exhaust." Majestically the melody unfolds itself at a distance both intimate and awesome. "In the beginning was the Word, and the Word was with God, and the Word was God."

VI. Dance of fury, for the seven trumpets.

Rhythmically the most idiosyncratic movement of the set. The four instruments in unison give the effect of gongs and trumpets (the first six trumpets of the Apocalypse attend various catastrophes, the trumpet of the seventh angel announces the consummation of the mystery of God). Use of extended note values, augmented or diminished rhythmic patterns, non-retrogradable rhythms – a systematic use of values which, read from left to right or from right to left, remain the same. Music of stone, formidable sonority; movement as irresistible as steel, as huge blocks of livid fury or icelike frenzy. Listen particularly to the terrifying fortissimo of the theme in augmentation and with change of register of its different notes, toward the end of the piece.

VII. Cluster of rainbows, for the angel who announces the end of Time.

Here certain passages from the second movement return. The mighty angel appears, and in particular the rainbow that envelops him (the rainbow, symbol of peace, of wisdom, of every quiver of luminosity and sound). In my dreamings I hear and see ordered melodies and chords, familiar hues and forms; then, following this transitory stage I pass into the unreal and submit ecstatically to a vortex, a dizzying interpenetration of superhuman sounds and colors. These fiery swords, these rivers of blue-orange lava, these sudden stars: Behold the cluster, behold the rainbows!

VIII. Praise to the immortality of Jesus.

Expansive violin solo balancing the cello solo of the fifth movement. Why this second glorification? It addresses itself more specifically to the second aspect of Jesus – to Jesus the man, to the Word made flesh, raised up immortal from the dead so as to communicate His life to us. It is total love. Its slow rising to a supreme point is the ascension of man toward his God, of the son of God toward his Father, of the mortal newly made divine toward paradise.

– And I repeat anew what I said above: All this is mere striving and childish stammering if one compares it to the overwhelming grandeur of the subject!

Olivier Messiaen

(Translated from the preface to the score)