Sir John Kenneth Tavener (28 January 1944 – 12 November 2013) was an English composer, known for his extensive output of choral religious works. Among his best known works are The Lamb (1982), The Protecting Veil (1988), and Song for Athene (1993).
Tavener was born on 28 January 1944 in Wembley, London.[7] His parents ran a family building firm[3] and his father was also an organist at St Andrew's Presbyterian Church in Frognal, Hampstead.[8] At the age of 12, Tavener was taken to Glyndebourne to hear Mozart's The Magic Flute, a work he loved for the rest of his life.[9] That same year he heard Stravinsky's most recent work, Canticum Sacrum, which he later described as "the piece that woke me up and made me want to be a composer".[9]
Tavener became a music scholar at Highgate School (where a fellow pupil was John Rutter).[10] The school choir was often employed by the BBC in works requiring boys' voices, so Tavener gained choral experience singing in Mahler's Third Symphony and Orff's Carmina Burana.[9] He started to compose at Highgate, and also became a sufficiently proficient pianist to perform the second and third movements of Beethoven's Fourth Piano Concerto and, in 1961 with the National Youth Orchestra, Shostakovich's Piano Concerto No. 2.[9] He also became organist and choirmaster in 1961 at St John's Presbyterian Church, Kensington (now St Mark's Coptic Orthodox Church),[11] a post he held for 14 years.[9]
Tavener entered the Royal Academy of Music in 1962, where his tutors included Sir Lennox Berkeley.[3][9] During his studies there he decided to give up the piano and devote himself to composition.[9]
The Whale and early operas
Tavener first came to prominence in 1968 with his dramatic cantata The Whale, based on the Old Testament story of Jonah.[3] It was premièred at the London Sinfonietta's début concert,[3] which was also the opening concert of the Queen Elizabeth Hall.[12] Tavener's younger brother, Roger, was then doing some building work on Ringo Starr's home and, gaining the musician's interest, persuaded the Beatles to have The Whale recorded by Apple Records and released in 1970.[3] The following year Tavener began teaching at Trinity College of Music, London.[8] Other works by Tavener released by Apple included his A Celtic Requiem, which impressed Benjamin Britten enough to persuade Covent Garden to commission an opera from Tavener.[3] The ultimate result, to a libretto by playwright Gerard McLarnon, was Thérèse: when staged in 1979 the opera was thought too static to be a successful drama.[3]
Tavener had also been deeply affected by his brief 1974 marriage to the Greek dancer Victoria Maragopoulou.[3][9] His chamber opera A Gentle Spirit (1977), with a libretto by McLarnon based on a story by Fyodor Dostoyevsky, concerns a pawnbroker whose marriage fails to the extent that his wife commits suicide. It has been deemed "far superior to Thérèse, with the internal drama more suited to the stage".[3] Significantly, it also touched on Russian Orthodoxy, to which McLarnon had been a convert for several years.[3]
Conversion to Orthodox Christianity
Tavener converted to the Orthodox Church in 1977.[13] Orthodox theology and liturgical traditions became a major influence on his work. He was particularly drawn to its mysticism, studying and setting to music the writings of Church Fathers and completing a setting of the Divine Liturgy of St. John Chrysostom, the principal eucharistic liturgy of the Orthodox Church: this was Tavener's first directly Orthodox-inspired music.[14]
Later career
Tavener's subsequent explorations of Russian and Greek culture resulted in Akhmatova Requiem: this failed to enjoy success either at its Edinburgh Festival premiere in 1981, or at its Proms' performance the following week where many of the audience left before it finished.[9] Of more lasting success was Tavener's short unaccompanied four-part choral setting of William Blake's poem "The Lamb", written one afternoon in 1982 for his nephew Simon's third birthday.[16] This simple homophonic piece is usually performed as a Christmas carol. Later prominent works include The Akathist of Thanksgiving of 1987, written in celebration of the millennium of the Russian Orthodox Church; The Protecting Veil, first performed by cellist Steven Isserlis and the London Symphony Orchestra at the 1989 Proms; and Song for Athene (1993). The two choral works were settings of texts by Mother Thekla, a Russian Orthodox abbess who was Tavener's long-time spiritual adviser until her death in 2011.[14]Song for Athene in particular gained worldwide exposure when performed at the funeral of Diana, Princess of Wales in 1997.[3]
Tavener's Fall and Resurrection, first performed in 2000, used instruments such as ram's horn, Ney flute and kaval. It was dedicated to the then Prince of Wales, with whom Tavener formed a lasting friendship.[3] His work Ikon of Eros (2003) was commissioned for violinist Jorja Fleezanis, then concertmaster of the Minnesota Orchestra, with vocal soloists and the Minnesota Chorale and recorded at the Cathedral of St. Paul, conducted by Paul Goodwin. Also in 2003 Tavener composed the exceptionally large work The Veil of the Temple (which was premièred at the Temple Church, London), based on texts from a number of religions. Identified by Tavener as "the supreme achievement of my life",[14] it is set for four choirs, several orchestras and soloists and lasts at least seven hours.[10]Prayer of the Heart, written for and performed by Björk, was premiered in 2004.[17] In 2007 Tavener composed The Beautiful Names, a setting of the 99 names of God in the Muslim tradition, sung in Arabic.[14]
It had been reported, particularly in the British press, that Tavener left Orthodox Christianity to explore a number of other different religious traditions, including Hinduism and Islam, and became a follower of the Traditionalist philosopher Frithjof Schuon.[18][19] In an interview with The New York Times, conducted by British music journalist Michael White, Tavener said: "I reached a point where everything I wrote was terribly austere and hidebound by the tonal system of the Orthodox Church, and I felt the need, in my music at least, to become more universalist: to take in other colors, other languages." The interviewer also reported at the time that he "hasn't abandoned Orthodoxy. He remains devotedly Christian."[20] Speaking on the BBC Four television programme Sacred Music in 2010, Tavener described himself as "essentially Orthodox".[21] He reiterated both his desire to explore the musical traditions of other religions, and his adherence to the Orthodox Christian faith, on Start the Week,[22] recorded only days before his death and broadcast on 11 November 2013.
In 2020 Sir David Pountney, former artistic director of the Welsh National Opera, announced that Tavener's final opera, Krishna (which was completed in 2005 but had remained in manuscript form) would be staged by Grange Park Opera. Pountney himself will be directing the production.[23] It will premiere in 2026.[24]
Personal life
In 1974 he married the Greek dancer Victoria Maragopoulou, but it only lasted eight months.[3][9] In 1991 he married Maryanna Schaefer with whom he had three children, Theodora, Sofia and Orlando.[3][25] He had considerable health problems throughout his life. He had a stroke in his thirties, heart surgery and the removal of a tumour in his forties, and had two successive heart attacks which left him frail.[26] He was diagnosed with Marfan syndrome in 1990.[3][27][28] Lady Tavener broadcast a charity appeal on BBC Radio 4 in October 2008 on behalf of the Marfan Trust.[29]
Rutter describes Tavener as having the "very rare gift" of being able to "bring an audience to a deep silence."[33] According to Isserlis: "He had his own voice. He wasn't writing to be popular – he was writing the music he had to write."[33]
Musical style
While Tavener's earliest music was influenced by Igor Stravinsky and Olivier Messiaen – often invoking the sound world of Stravinsky, in particular Canticum Sacrum,[3] and the ecstatic quality found in various works by Messiaen – his later music became more sparse, using wide registral space and was usually diatonicallytonal.[8] Tavener recognised Arvo Pärt as "a kindred spirit" and shared with him a common religious tradition and a fondness for textural transparency.[10]
2008 – premiere of the anthem sung in St Paul's Cathedral in the presence of Queen Elizabeth II and the Duke of Edinburgh.
March 2009 – premiere of Tu ne sais pas for mezzo-soprano, timpani and strings. The Chamber Orchestra of Philadelphia, and Katherine Pracht singing texts drawn from poems by French poet Jean Biès (one of the work's dedicatees) and from Islamic and Hindu sources.
7 July 2013 – premiere of Love Duet from The Play of Krishna, If Ye Love Me and The Death of Ivan Ilyich during an all-Tavener concert given as part of the Manchester International Festival.[36]
^Richard Morrison (November 2004). "99 Names for God: John Tavener Turns his Back on Orthodoxy". BBC Music.: p. 30. Tavener is quoted as saying, "It strikes me now that all religions are as senile as one another."
"John Tavener, composer, Died on 12 November, Aged 69", The Economist (London), no. 8863 (23–29 November 2013), p. 90. N.B.: This obituary is unsigned.
Moody, Ivan, and Caroline Gill. "Sir John Tavener: a World of Light", Gramophone, no. 1105 (January 2014), pp. 16–19.
"Poet George Herbert". Start the Week. BBC Radio 4. 11 November 2013. The composer Sir John Tavener and the writer Jeanette Winterson discuss prayer in a secular age, and the power of music and words to soothe the soul. This programme was recorded before the sad announcement of Sir John Tavener's death.
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