Apparently, the work came to him ‘in a flash’ during a short car journey, as he was being driven home by his mother. Sir John Tavener loved Winchester Cathedral. Well, it worked!—leading, in the composer’s words, to ‘a thunderous, awesome theophany’. What struck me at the time was the effect of the second choir singing in canon, three beats behind the first.
Here is the composer’s poignant dedication: ‘The music came to me after attending the beautiful and moving funeral of Marianne Yacoub, wife of the eminent heart surgeon, Sir Magdi Yacoub, who has been such a great support to me over many years.’ I find this one of Sir John’s most extraordinary miniature masterpieces.
It was inspired, like so many of Tavener's works, by Greek Orthodox liturgy, rising in a thrilling crescendo and punctuated at the end by fortissimo organ chords. Song for Athene and The Lamb are just two of the highlights in this Winchester collection of some of Tavener’s most enduring—and endearing—choral music.
Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.
He decided to set Canon Keith Walker’s words quite simply, within the capability of the local choir, but with thrilling clusters of sounds on the organ. eloquently communicate the music's timeless spirituality…[and] the composer's richly coloured blend of Eastern and Western liturgical traditions, Recording Venue: St John's College Chapel, Cambridge. Much of Tavener's creativity is founded on the traditions of his Orthodox faith and of Orthodox chant, and yet curiously, intentionally or unintentionally, he has also, through works such as those presented here, extended the tradition of English choral music.
In just a few short phrases John found a way of matching the innocent symmetry of Blake’s verse with his own musical symmetry, through the use of patterns such as inversion and retrograde.
With As one who has slept we are back to deceptively simple yet atmospheric harmonies. My own favourite is ‘Mother of God, here I stand’, with its ravishing falling intervals (the shape of the melody first heard at ‘radiant brightness’ is exactly the same as ‘Hallowed be thy Name’ in The Lord’s Prayer).
But it is no ordinary melody—the last three notes move unexpectedly, and yet feel inexorably right. It was for the unveiling of a stained-glass window, designed by Cecil Collins, in All Saints’ Church, Basingstoke, that John was commissioned to compose Angels. The school choir was often employed by the BBC in works requiring boys' voices, so Tavener gained choral experience singing in Mahler's Third Symphony and Orff's Carmina Burana. Following the telling silence after the rich F major chord at the end of the first section, the modulation to A flat major, with the chord repeated four times, immediately captures the words ‘O sanctified temple’, once again enhanced by the canon.
Full texts are included. John Tavener's choral music is inspired by his Orthodox faith, and on this disc the choir…. In the outer sections of ‘O Mary Theotokos’, the reverent stillness turns to an ecstatic reverberation of the ornamented melody, in a canon reminiscent of the Hymn to the Mother of God.
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