Customer Reviews

Tavener - Total Eclipse · Agraphon / Rozario · Harle · Robson · Gilchrist · AAM · Goodwin

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TOTAL ECLIPSE and AGRAPHON are two newly-recorded works John Tavener has produced in associaton with Paul Goodwin and the Academy of Ancient Music for Harmonia Mundi. If you are familiar with Tavener, then this recording will be quite the surprise upon first hearing it.

I first played it on my car's system, which ordinarily is not the best acoustic for any classical music, as road noise often can interfere with quiet passages. I much prefer my living room setup with 4-channel sound and a subwoofer. In any case the first 30 seconds of TOTAL ECLIPSE nearly blew me out of the car. Not so much in a physical sense, but emotionally.

The first 4 1/2 minutes feature John Harle on saxophone with a string section and some 19 timpani (per the liner notes). This is not your usual Tavener opening. Rather, it is something much more aggressive and modern. It will turn your perceptions of what Tavener's "soundscapes" usually sound like by 180 degrees. What is familiar here is his use of the *ison* or eternity note, played by the string section. Little else in the first few minutes is familiar to this long-time Tavener devotee.

It is quite refreshing to find that once again, Tavener is exploding the traditional parameters that are the intersection of classical and sacred music. It is not for those looking for something *holy* like the Goudod MESSE SOLONELLE or Mozart's MASS IN C-minor. No, what it is heard is a new slate upon which Tavener is again re-writing the conventions of music.

On TOTAL ECLIPSE Tavener brings forth the formidable vocal talents of James Gilchrist and Christopher Robson. The use of a countertenor heightens the otherworldy *feel* of the vocal lines, buttressed at some jarring and effective intervals by the choir, who evidently were recorded antiphonally. Their voices are meant to sound heavenly as a *responsory* to the visions of Saul as he experiences *metanoia*, or transformation throught the power that is the light from God. Quite dramatic and I'm sure most effectively experienced live and certainly not sitting in one's living room. I felt much the same way about Tavener's oratorio WE SHALL SEE HIM AS HE IS, which for me is the pinnacle of modern choral drama.

AGRAPHON featuring the always-superb Patricia Rozario is a setting of a Greek poem by Angelos Sikelianos. It is a piece that is very much a counterpoint to the drama and intensity of TOTAL ECLIPSE. Firstly, it is sung in English and not with nearly as much force. It is more of a recital piece than a full-scale liturgical opera. It does display Rozario's gift for conveying the full range of human emotion through the voice, especially melancholy and despair.

I think the listener is best served by NOT listening to both works consecutively. They are of two completely different motivations from the composer's hand. They stand alone rather than together. My thanks to Harmonia Mundi, the AAM, Tavener and all the artists who have brought these 2 *modern* masterpieces into the world of *modern* music.

I'm glad one man has the vision to write music this impressive. Total Eclipse begins with long, muscular, screaming high notes & powerful, rolling percussion. The over-40-minute piece also has ancient contrapuntal & choral harmonies & sections of very unique melodic lines like nothing else but not in any way directionless noise. These sections & the choral are fused in such a manner as to create an optimal synergy between them. Then, the 2nd piece on the cd, Agraphon, just over half as long as Totasl Eclipse, focuses more on the vocal & choral elements. It all aspires to convey a flash of insight that resonates through eternity -- new music composed of essential elements.

"Total Eclipse" is far far far far far away from what folks have come to expect from John Tavener. This piece is a musical interpretation of the Apostle Paul's conversion on the road to Damuscus. The opening passage is so intense, I didn't know what to make out of it the first time I heard it. Shrill, shrieking, wailing saxaphone that pierces the air with its intensity. In recent compositions, Tavener's juxtapositions of savagery and serenity are awe inspiring. The 19 timpani are enough to make one cower under their thunderousness. A lot of people will hear this not consider it sacred music, but I think in a lot of ways it is. This certainly won't be performed at a church service (or at least I hope not), but it definately has a sacred, spiritual quality in what it tries to achieve (and ultimately does achieve), a profound sense of change...or "metanoia" (denoting conversion of the heart.) As with most of Tavener's work, newcomers must display a certain amount of patience, as Tavener doesn't depend on traditional western classical convetions to create his music (he is one of the few composers that seems to have found a truly unique voice.) The drama, intensity, honesty, and sincerity of this piece make it quite moving. Parts of it move me to tears. If one adds to all this the idea that this is being performed on baroque instruments (minus the saxaphone) than this is also a great technical achievement as well!

As one previous reviewer said, "Total Eclipse" and "Agraphon" are pretty much on opposite ends of the spectrum. This is a setting of a Greek poem by Angelos Sikelianos (here the poem is translated into English.) This text will probably shock or surprise many people using imagery such as "a dog's bloated carcass." Tavener's writing for Rozario's (soprano) voice is quite unusual here. The musical interludes between verses add heightened tension when set against the beauty of Rozario's voice and the bizarre but beautiful notion the poem conveys. The writing for Rozario's voice goes back and forth between one of self assured contemplation and one of quirkiness. This is one of those things that has to be heard to be believed. A triumph of modern music!

I love music - a lot of it anyway; through metal, modern jazz, 'world' music, folk music of various cultures, French rap (tuned into to FIP recently? - find them online if you don't live in France or Brighton). I am emphatically not religious BUT there is some seriously wonderful music around with religion in mind from medieavil works onwards through Bach, Handel etc to the present day.
This, then, is not a review of the religious merits of the music, just its visceral impact. I first came across Tavener some years ago when I heard a work of his with Bjork on vocal - stunning.
I have recordings by the AAM on Harmonia Mundi, I have enjoyed works by John Tavener before, and I believe Patricia Rozario has probably the best voice in the world (I am not usually a fan of the soprano voice, particularly the operatic variety; in fact I thought a counter tenor was singing when I first heard 'Tears of the Angels', also by Tavener).
As a previous reviewer intimated, the start of the first track, Total Eclipse, seems almost jazzlike with some of the most gorgeous sax playing I have heard in a while (I've not come across John Harle before) the tympani is electrifying, and the choir very fine.
Likewise, the second, shorter, composition, Agraphon, is excellent; the tympani playing is again seriously powerful, Ms Rozario's voice is simply amazing in its power and range and the different tuning of the (early) instruments together with the Eastern influences makes for a truly rewarding listening experience. Recommended.

This piece (Total Eclipse) will shatter all preconceived notions one may have had regarding Tavener's music...and for good reason. Total Eclipse plunges the listener into the depths of hell and will also soar this listener to new heights. It is an emotional roller coaster.

The piece (depicting the curcifixion of Jesus) opens with timpani and alto saxophone having a field day - supported by strings. The saxophone screams out its notes and the timpani pounds out almost a response. Soon after this, the chorus comes in...singing a repeated word at Jesus (they are the mob).

From here on, the piece soars to new heights (at one point a tenor comes out of nowhere singing an absolutely heavenly melody)...at other times it plunges down again (the saxophone usually is involved).

I could go on and on about what occurs in the piece, but that would ruin much of the surprise.

A couple things that are somewhat bothersome. First off, I don't think that Agraphon should have been included on this CD - Total Eclipse compltely overshadows this work (which is a fine work). Second, Total Eclipse is 40 some minutes long, but it's all on one track...which could be annoying to some people.

Buy this CD - it will move you like music has never moved you before. It is truly inspired music.

This is a truly interesting work. I tend to associate Tavener with his gentler works, like The Protecting Veil or Eternity's Sunrise. However, this is a dark, moody, and at times almost aggressive piece...it shows a very different (much more modern) side of Tavener, and it is an extremely unique side worth experiencing.

However, the recording of the choir just bugs me. At times it sounds as though they are singing into a can.

Ultimately, this is definitely worth buying...if it weren't for the actual engineering, this would be a 5 star without any hesitation.