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tavener, john  -  Requiem; mahashakti; eternal memory / vasily petrenko, royal liverpool philharmonic orchestra

9.99 € - 20%
7.99 €
  • Format : CD

  • Etat général : original neuf
  • Etat pochette : S (?)
  • Etat disque : S (?)

  • Label : EMI 35134
  • Pressage : UPC/EAN: 5099923513426 - EU
  • Année : 2009
  • Commentaire : Tavener: Requiem / Petrenko, Royal Liverpool Philharmonic Release Date: 06/02/ ... Voir plus bas

  • Quantité disponible : 1
Commentaire du vendeur :
Tavener: Requiem / Petrenko, Royal Liverpool Philharmonic

Release Date: 06/02/2009
Label: EMI Classics Catalog #: 35134 Spars Code: DDD
Composer: John Tavener
Performer: Andrew Kennedy, Elin Manahan Thomas, Ruth Palmer, Josephine Knight
Conductor: Vasily Petrenko
Orchestra/Ensemble: Royal Liverpool Philharmonic Choir, Royal Liverpool Philharmonic Orchestra
Number of Discs: 1
Recorded in: Stereo
Length: 1 Hours 3 Mins.

Works on This Recording

1. Requiem by John Tavener
Performer: Andrew Kennedy (Tenor), Elin Manahan Thomas (Soprano)
Conductor: Vasily Petrenko
Orchestra/Ensemble: Royal Liverpool Philharmonic Choir, Royal Liverpool Philharmonic Orchestra
Period: 20th Century
Written: England
2. Mah Shakti by John Tavener
Performer: Ruth Palmer (Violin)
Conductor: Vasily Petrenko
Orchestra/Ensemble: Royal Liverpool Philharmonic Choir, Royal Liverpool Philharmonic Orchestra
3. Eternal Memory by John Tavener
Performer: Josephine Knight (Cello)
Conductor: Vasily Petrenko
Orchestra/Ensemble: Royal Liverpool Philharmonic Choir, Royal Liverpool Philharmonic Orchestra
Period: 20th Century
Written: 1991; England

Notes and Editorial Reviews

John Tavener converted to the Russian Orthodox Church in 1977 convinced that it retained a “primordial essence” that the tired Western devotional traditions had lost. Increasingly oriental influences which we associate with timelessness have become part of the fabric of his music.

Just before I played this disc I had been reviewing another very recent Tavener release of two works from the turbulently active and more avant-garde 1970s. They are Canciones Españolas (1972) and Requiem for Father Malachy (1973) on Lyrita SRCD.311. Their complexity and sometimes spiky fracture is in contrast with these works from the last 18 years. Even so Tavener evidently espoused melody even then although it was through the prism of the times.

There are a number of Tavener requiems – four in all. The others are Celtic Requiem (1969), Father Malachy Requiem (1973), Akhmatova Requiem (1980) and the just issued 2008 Requiem.

Commissioned by Liverpool Culture Company as part of the 2008 European Capital of Culture programme the Requiem is to be performed in a cruciform hall. The cello needs to be placed in the centre with choir and brass in the East, strings, solo soprano and tenor in the West and percussion in the North and South. The audience should sit amid these forces.

Josephine Knight's trembling unadorned high-lying cello introduces us to and also bids farewell to the 2008 Requiem. Knight's line is touched in with the tinkle of spare and gentle bells. At the start this is soon joined by the pure-voiced Elin Manahan Thomas and the choir. The choir and brass toll out a bell figure and are joined by the impassioned tenor – here the mercilessly tested Andrew Kennedy. The stratospheric Advaita Vedanta (trs. 3 and 5) raptly explores dizzy Allegri-like heights via the choir and the rapt Thomas and Kennedy. This is followed by the groaning and furious abrasion of the Dies Irae of Kali's Dance. Between short paragraphs of this dancing fury the tenor and the serpentine cello and strings muse more quietly on destruction. Towards the end of the prayer-like Interlude (tr. 6) for orchestra and solo cello there is a moment of bell-dominated animation that suggests inspiration from Messiaen and Tippett. The final Ananda (tr. 7) is lovely moment, hypnotic, ecstatic, unbombastic and spiritual. It makes joyously irresistible use of the high registers of the soprano, choir and cello in a fine gradient pulsing crescendo and a moving decrescendo.

The least oriental work here is Eternal Memory for cello and strings. It's the oldest piece here and the shortest. It is not at all holy minimalist but in its ten minutes arches from and to an inward and reverential melody recalling the chant at the start of Tchaikovsky's 1812. In between the work rises to an episode of Shostakovich-like brutality which seems almost shameful by the side of its buttressing introspection.

More finely and vulnerably spun in gleaming misty silver is the Mah?shakti for solo violin, tam-tam and strings. This slow-blooming music is a heartbeat away from the religious mysteries of Alan Hovhaness; the tam-tam's barely perceptible impacts underlines the reference. It also has a harmonic softness that reminds me of the Vaughan Williams Tallis and Lark and the tender Wenceslas Chorale of Josef Suk. Ruth Palmer sustains the rapt atmosphere – the unhurried arabesque; the modest yet confident invocation.

The composer's notes are supportive but short on factual material.

Tavener here speaks through his music as sincere spiritual melodist not minimalist.

-- Rob Barnett, MusicWeb International


AllMusic Review by Stephen Eddins [-]
John Tavener's Requiem, given its premiere in 2008 by the Royal Liverpool Philharmonic Orchestra and Choir, is not one of the composer's more coherent works. It draws its text not only from the traditional Latin requiem, but from Hindu, Muslim, and Christian scriptures and writings, a diversity that's not uncommon in contemporary religious works, but Tavener fails to use them in making a convincing musical statement. Part of the problem lies in his general approach, in which a free-floating, vague mysticism prevails; the score is full of directions like "with deepest sympathy" and "awesome, apocalyptic," without much of a larger sense of musical purpose. Specific problems arise from Tavener's eccentric orchestration. He seems unwilling to use the orchestra to produce conventionally resonant sonorities and the result sounds more strange and inept than visionary. He frequently has the solo cello double the solo soprano and tenor lines (both of which lie extremely high) and the combination tends to sound sour and strident. Tavener comes closest to the transcendence for which he is aiming in the final movement, in which multiple layers of musical gestures serenely overlap, building and receding, like waves breaking on the shore. He is altogether more successful in the two instrumental works Mahashakti for violin, tam-tam, and strings and Eternal Memory for cello and strings. Mahashakti, in particular, is a work of radiant tranquility, like the Vaughan Williams of The Lark Ascending meeting the Hovhaness of Mysterious Mountain, and it's warmly beguiling, a piece that deserves broad exposure. Violinist Ruth Palmer and cellist Josephine Knight play with self-effacing generosity and make the music really shine. The Royal Liverpool Philharmonic has a chance to show its mettle in its disciplined and nuanced playing in these pieces, led by Vasily Petrenko. The sound is clean in the instrumental works and is also, in fact, good in the Requiem, but that piece is constructed in such a way that the sonic impression it leaves is sometimes muddled and cluttered.


Der Name John Tavener steht für moderne Spiritualität, aber auch für die Verbindung vieler Musikstile der Welt, um - wie Tavener selbst sagt - "mit der immerwährenden Wahrheit das musikalische Werk zu einen". Ein musikalischer Höhepunkt des Jahres 2008 war die Uraufführung von Taveners Requiem in der damaligen europäischen Kulturhauptstadt Liverpool. Die BBC schnitt die Premiere mit. Jetzt erscheint das Dokument mit zwei weiteren Tavener-Werken auf CD.

In einem großen Kreuz sind die Mitwirkenden des siebenteiligen Requiems im Raum verteilt, und auch die musikalische Gestaltung folgt geometrischen Mustern. Dabei wirkt das Stück, in dem Tavener Texte verschiedener Weltreligionen vertont hat, hochexpressiv und überzeugt den Hörer auch auf emotionaler Ebene. "Das Werk reflektiert höchst eindrucksvoll Taveners Überzeugung, dass alle Religionen derselben Quelle entspringen", wie die Times über das Stück schrieb. Dafür sorgen neben Chor und Orchester die Vokalsolisten Elin Manahan Thomas und Andrew Kennedy sowie die Cellistin Josephine Knight, der Tavener im Zentrum des Werkes ein großes Solo zugedacht hat. Der 1944 geborene Tavener, der am Beginn seiner Karriere von Strawinsky beeinflusst wurde, fand in den 70er Jahren zur Religion als bedeutender Inspirationsquelle und trat zum russisch-orthodoxen Glauben über. Seitdem besitzen seine Werke durchweg liturgischen Charakter: So auch das an indischen Traditionen orientierte konzertante Stück "Mahashakti" (2003) für Violine und Streicher sowie "Eternal Memory" (1997) für Violoncello und Streicher.


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