Customer Reviews

Tavener: Protecting Veil / In Alium

5 star:		(0)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This disc juxtaposes one of Tavener's recent masterpieces with one of his earliest successes. "The Protecting Veil" is a stunning concerto-like work demanding true virtuosity from the performer and a sensitive accompaniment. It is not always easy to get that mixture, but Maria Kliegel and the Ulster Orchestra seem assured. However, I feel that her performance, although technically sound, lacks the level of "spirit and soul" that previous interpreters have put into it- to perform Tavener successfully, one has to enter into the spiritual element of his writing. "In Alium" is a shorter work that proved most popular at its premiere in the 60s, although modern audiences (particularly if approaching this as dyed-in-the-wool Tavener) may be surprised. Eileen Hulse gives it her all in some very challenging solo vocal writing, and as with all music involving tape it is to Takao Yuasa's credit that the orchestra and the special effects are synchronised. My final word- a fine piece of recording, but "In Alium" may be a little off-putting, and there are more powerful renditions of "The Protecting Veil" than this (try Steven Isserlis' original recording or Yo-Yo Ma's very noble take with David Zinman).

This recording provides an introduction to two differing periods of Tavener's work. The first work is from the period following his conversion to Orthodoxy. Following his reception into the Orthodox Church, Tavener's work begins to take on more or less overtly religious themes. For those who might be leery about putting down nearly $20 for a recording of The Protecting Veil, this is a perfectly acceptable substitute. I've not heard any other versions of this work as yet, but Yuasa and Kliegel do provide technically assured and sympathetic interpretations.

The second work, In Alium, is quite different from the first. In this second work, we see Tavener experimenting with electronics, tape, and other things that were de rigeur in the 1960s. It is a tonal piece. However, it does not seem to me as technically assured as the music of George Crumb, for instance. It is an interesting work, but I do believe that the first work is superior to In Alium. All in all, it is good fun, though. However, fans of Monty Python may find themselves a bit disconcerted in the fourth movement, as the soprano repeats "spem, spem, spem..."

The protecting veil is described by Tavener as an icon painted in music, which is a good metaphor. The music is very moving. At times,the orchestration kind of reminded me of Arvo Part's Tabula Rasa. The second piece:in alium is a very eccentric piece which strange vocalisations and recorded pieces interwoven with the music. This would not be my favourite Tavener (hence the 4 stars) as I have a preference for his choral music.