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TAVENER:Total Eclipse; Agraphon.(Review)

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| August 01, 2001 | FARACH-COLTON, ANDREW | COPYRIGHT 2001 Metropolitan Opera Guild, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

TAVENER:Total Eclipse; Agraphon

[] Rozario; Robson, Gilchrist; Choir of New College, Oxford, Academy of Ancient Music, Goodwin. Texts. Harmonia Mundi 907271

"If there was one thing I wanted to do, it would be to reinstate the sacred into music." Thus spake John Tavener, on the back cover of his latest Harmonia Mundi release. A lofty aim, certainly, although considering the rich repertory of twentieth-century sacred composition, it might rightly be considered arrogant, too. The English composer seems to have a penchant for provocation, having claimed elsewhere that "Western civilization started to go to pieces in the Middle Ages with the introduction of the aggressive ego." But if Tavener's own ego appears to be a particularly aggressive specimen, that is no reason to repudiate his music -- unless one is congenitally allergic to minimalist music in all its manifestations, there is a mesmeric beauty to be found in Tavener's best work.

One can feel the rapture in parts of Total Eclipse (1999), a sprawling, forty-minute "contemplation" on the conversion of Saint Paul. It is not really fair to judge the music from a recording, as the spatial positioning of instruments and voices is essential to the work's structure. Harmonia Mundi's production team does a superb job with the ample acoustic of London's Temple Church, but this is one of those pieces -- like Berlioz's Requiem -- that are probably best experienced live.

Listeners who expect soothing sounds from this composer undoubtedly will be surprised by the opening section, with its thunderous timpani and John Harle's shrieking soprano saxophone. Tavener intended this music to be "fearsome, terrifying, and awesome" (to ...

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