Tavener: Funeral Ikos

“all performed with Tenebrae’s customary poise.” Financial Times, 15th October 2011 ****

“[Tenebrae's] account of Parry's Songs of Farewell abounds in subtleties of phrasing and telling distinctions of dynamic, yet flows beautifully, the textual narrative unfolding with a rare continuity and coherence. Technically the singing is impeccable without being at all effortful or studied...Huge credit to Nigel Short. Of this programme's type, I can't envisage hearing anything better.” BBC Music Magazine, December 2011 *****

“Short gives wonderful shape to the well-known 'My soul, there is a country' and extracts that essential longing from 'I know my soul hath power'...Most impressive, however, is the fluidity of the double-choir motet, 'Lord, let me know mine end', the textual clarity and emotional intensity of that fairly summarises the complexity of the composer's heterodoxy.” Gramophone Magazine, December 2011

“The tone quality achieved by Tenebrae is incredibly smooth and consistent. There isn't a hint of unevenness or unwanted peaks and troughs within individual voice parts. It's an extremely easy choir to listen to...there is a very quiet, still quality to the disc that, over the course of the whole programme, is quite soporific, relaxing and altogether ideal for a winter evening's listening.” International Record Review, February 2012

“perhaps most moving of all is the "Agnus Dei" section of Samuel Barber's Adagio for Strings, re-scored by the composer for eight-part harmonies.” The Independent, 28th January 2011 *****

“Armonica Consort is a very capable choir, clearly responsive to its conductor's urgings and producing a lovely sound which does not need the heavy layers of resonance to enhance it.” International Record Review, March 2011

“The choral blend and recorded balance are of demonstration quality. The music has a predominantly slow harmonic pulse, where vocal lines can float, suspensions can melt and the listener can relax and marvel at the singers' superb breath control and rock-steady intonation...[a] disc of unending delight” Gramophone Magazine, May 2011

“If John Tavener's reputation were to rest solely on his unaccompanied choral music and nothing else, then his stature as one of the most striking and original composers working today would be just as high. 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. Through their popularity The Lamb, The Tiger and Songfor Athene have become immovably imbedded in our choral tradition, but one need only listen to the splendid Magnificat and Nunc dimittis, for instance, to find a unique symbiosis of Eastern and Western traditions at work.
Many of the works presented on this CD have enjoyed wide circulation on numerous Taveneronly and compilation discs, but the performances here from the Choir of St John's College, Cambridge, under the direction of Christopher Robinson, have much to recommend them and the super-budget price makes this issue especially desirable for those seeking a survey of Tavener's choral music for the first time.
Svyati for solo cello and choir, with echoes of The Protecting Veil, opens a window on Tavener's more overtly Eastern/ Orthodox-inspired music. Tim Hugh's serenely beautiful account of the solo cello part is a winner from beginning to end. The recording, made in St John's College Chapel, is resplendently atmospheric.” Gramophone Classical Music Guide, 2010

“The Christmas Proclamation, God is with Us, is the striking first item in this collection of John Tavener's shorter choral pieces. 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. The Song for Athene, well-remembered from the funeral, of Princess Diana, is here presented as an anthem rather than a processional, with the other works, including most of the favourite Tavener items, also superbly sung and atmospherically recorded” Edward Greenfield, The Guardian, December 8, 2000

“John Tavener's choral music is inspired by his Orthodox faith, and on this disc the choir…. eloquently communicate the music's timeless spirituality…[and] the composer's richly coloured blend of Eastern and Western liturgical traditions” The Telegraph

“...the boy sopranos soar effortlessly above the tenor and bass lines, and this made the experience rather special.Of the choral pieces, I found Gray’s What are these that glow bright and full of energy and Parry’s Chorale Prelude a nice diversion. Anyone who hasn’t heard the Benedictus yet from The Armed Man will undoubtedly be moved by it.” MusicWeb International, 22nd June 2004

“As expected, the choir performs admirably and confidently in this bread-and-butter repertoire, and fans of English cathedral music will certainly enjoy the program despite its lack of unusual or rarely heard works...this is a sincerely conceived, solidly performed, and very generously programmed (nearly 79 minutes) effort.” Classics Today, 11th May 2004

“There can be nothing but praise for the excellence of these performances, for the quality and choice of the music itself and, most of all, for the gorgeous sound quality of these recordings made in Ely Cathedral. Add to this some eminently readable booklet–notes and we have a real winner, even if the overall aural effect bears a striking resemblance to those ubiquitous inoffensive compilation discs played in hotel lobbies the world over.
Within the basic theme of death and the soul's subsequent journey to paradise the music juxtaposes chunks of plainsong and standard cathedral choir repertoire with some rather more esoteric choral pieces. Whether it's the ancient plainchant In paradisum, Psalm 121 sung to Walford Davies's fine Anglican chant, William Harris's richly textured anthem Faire is theHeaven or the almost erotically indulgent arrangement by Timothy Brown of Steal Away, Clare College Choir distinguish it all with finely crafted and beautifully shaped performances that aren't just note–perfect but intensely perceptive as well. There's no hint of the sickliness we sometimes experience when church music is exposed to such slick professionalism on disc – rather a real sense of wonder and awe at the timeless beauty of the programme.
It's difficult to listen to the disc in its entirety without falling into some kind of soporific trance, but taken individually each piece is, in its own way, as dramatic and earth–shaking as the garish blue cover leads us to suspect.” Gramophone Classical Music Guide, 2010