Customer Reviews

Tavener: Eternity's Sunrise

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4 star:		(2)
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Just the idea of this album should intrigue listeners: The Academy of Ancient Music commissions a new work to be on old instruments. Ideally it would strectch both the composers and the players...which I think is achieved.

The title piece "Eternity's Sunrise" is so arrestingly beautiful that I have often shed tears listening to it. The piece eliminates all pretense and is just naked emotion. It doesn't even matter that the words to Blake's poem are unintelligble without a lyric sheet. One can readily understand this subtly shifting piece and the yearning of both composer and poet to reach the Heavenly Kingdom. The handbells coupled with orchestra provide the perfect platform for soprano Patricia Rozario's voice to soar (and it can REALLY soar.)

"Song of the Angel" hinges on a concept foreign to western classical music (as much of Tavener's music does) in that it takes one word or a simple phrase and concentrates on it for the whole piece trying to bring both performer and listener into an exhalted spiritual state. While sounding nothing like it, it is similar in concept to druphad or qawwali singing...both traditions of religious devotion. Tavener hasn't Christianized those forms (because this piece sounds nothing like either of those) but they are similar in aim. It is somewhat similar to the "Jesus Prayer" in the Orthodox tradition in that it helps to have God ever-present in your conciousness.

"Petra: A Ritual Dream" is one of the more musically uneventful pieces on the CD. There is certainly some beautiful moments, but it just doesn't stack up against the first two pieces. Lyrically, it is quite intriguing. This piece, and many other pieces on this CD touch on some of the more esoteric aspects of Eastern Christianity.

"Sappho: Lyrical Fragments" is one piece that stands apart both lyrically and musically. When I say stands apart, I don't mean stands above. That's not to say that it is a bad piece, it is just not a superb piece. The content of the lyrics is quite different from the other in that this cleary stands outside of the Christian tradition. Not only that, but this piece is much more dissonant than others on the album. It is okay, but definately the worse piece on the disc.

"Funeral Canticle" the last and longest piece on the disc is wondeful. Solemn and somber as the title would suggest, this piece suggests peace, rest, and eternal beauty. The piece contains some of most beautiful serene music I've ever heard in my life. I'm sure the fact that it was written for his dying father also had much to do with the pieces tender beauty. I think this piece ranks alongside Tavener masterpieces like "The Protecting Veil," "Akathist of Thanksgiving," "Village Wedding," "The Lamb," "The Repentant Thief," "Wake Up & Die" and many others.

This disc is highly recommended and becomes more rewarding with every listen. This is certainly a departure from most western classical music, and even a departure from much of Tavener's work for that matter. It is more successful than not, and it is definately worth investing in.

This CD has some things going for it- five tracks, all of which are premiere recordings; a chance to hear the very special sound of modern music played on baroque instruments; more superb interpretations of Tavener's solo soprano writing from Patricia Rozario; and an insight into the mystical qualities of Tavener's music (the booklet notes are by the composer himself). Tavener has offered his highest praise for the CD, and I agree with him that it is "beautiful". However, for many it may prove a touch tedious- I'm thinking in particular of "Funeral Canticle", which must surely be one of the 'ne plus ultras' of minimalist composition in that it is 24 minutes of the same pattern of chords (the Kliros) over and over and over, with refreshing but relatively shorter phrases at the start of each verse. On the other hand, I urge listeners to look at this piece in context before being too judgemental- it was originally composed (in bits) for the funeral of Tavener's father and it confronts that loss in a very calm and rational manner. A great piece for relaxation, I think- and you will be hard pushed to find a more heart-rending moment than the beginning of the first Kliros, when the strings join the voices in an abrupt yet touching change of key. Three other tracks are also minimal in content- "Eternity's Sunrise", "Song of the Angel" and "Petra: a ritual dream". Of those, the first is undoubtedly the most effective- it is the only work that was originally commissioned by the Academy of Ancient Music and Tavener takes advantage of their full range of instruments (whereas all the other works seem to feature strings only). Several bits also seem very familiar- the end of each verse of "Eternity's Sunrise" uses a melody from the earlier string quartet "The Hidden Treasure", whilst the fragmentary refrain sung by the chorus in "Petra" is a direct quotation of the anthem "As One Who Has Slept" (composed in the same year). The most remarkable track for me is "Sappho: Lyrical Fragments"- included by director Paul Goodwin as 'a complete change of style', this is a setting of an ancient Greek fantasy poem that is admittedly very discordant but effectively so. In it, there is certainly more variety than in all the others, though I wouldn't recommend this one for relaxtion- in places, it can be likened to the musical equivalent of an alcoholic stupor! The conclusive verdict: it's a fascinating CD, but I wouldn't recommend it to anyone who is unfamilliar with John Tavener.

I once bought a 2 CD set with that title, but if the producers had listened to this CD, they would have had to call their product "The second most relaxing classical album..."

This is tavener at his best, and probably one of his most accessable works. Those unfamiliar with Tavener should start here. Tracks 1-3 & 5 are very beautiful and is among the most tranquil music I've heard (and this includes most "New Age" music.) The lyrics that go along with the music are also very beautiful.

Track 4 is more dark and sorrowful. Some people like it, for the change of pace. if you don't just program your CD player to skip it.

Yet more incredibly beautiful choral music by John Tavener (who can forget the recessional music accompanying Princess Di's coffin as it left Westminster Abbey). The AAM do it full justice. Highest recommendation

Eternity's sunrise, the first track on the album, is to my mind stunning, it alone is worth the price of the whole album. Its kind of operatic (but in a mystical way) like the chants d'auvergne. And, Rosario sings stunningly. The only track on the album that I thought was not up to the same standard was the Funeral Canticle. I felt at more than 20 minutes, it went on too long and did not have enough musical ideas to sustain it. I thought the Sappho piece with its Berg like orchestration was striking. I only wish that Tavener had followed this approach more often in his work because it is quite an eerie work. The violin accompaniments in some of the pieces were particularly special.

As of right now, I have only listened to this CD and two others from Tavener. The others are "Lament for Jerusalem" and "Lamentations and Praises." These two pieces have become some of my favorites from the 20th/21st Century. Two of the five pieces on this CD have also become some of my favorites, mostly because of their excessively heavenly qualities. The four-minute "Song of the Angel" and the 24-minute "Funeral Canticle" are more than just choral works: they're songs that sound like they've actually been made in heaven itself. I would never forget these two even if I had been forced to.

The other three pieces here are sensational indeed, although "Eternity's Sunrise" does not live up to the others. It's very otherworldly, with a typical Tavener flow, but it is not as inspirational as the others on this disc. "Petra" is something to look forward to, as it is gives a no-nonsense attitude from beginning to end. It reminds me of the softer passages in Kodaly's "Psalmus Hungaricus" and Stravinsky's "Symphony of Psalms." Finally, "Sappho" is completely different to all four pieces. The sound is dark, almost nightmarish, and it shows that Tavener does not do the same thing more than twice.

You simply can't go wrong with maestro Paul Goodwin and The Academy of Ancient Music. Even though this is the first time I've heard from this conductor and orchestral ensemble, I can tell that they really get into the music. The soloists Rosario, Gooding, Mosley, and Manze give extraordinary performances throughout the CD. I really hope they're doing very well with their musical careers right now.

These world premiere recordings are something to look forward to if you're a fan of Tavener, or if you're a fan of 20th century church music.