- Ex Maria Virgine, a christmas sequence for chorus & organ
- Birthday Sleep, for chorus
- O, do not move, for chorus
- A Nativity Carol, for chorus
- Marienhymne, for 2 choruses
- O Thou Gentle Light, for tenor & chorus
- Angels, for chorus & organ
John Tavener: Ex Maria Virgineby Clare College Choir
Call it the breakthrough of John Tavener, or the mainstreaming, depending on your perspective. Beginning around the turn of the millennium, this British exemplar of holy minimalism began to move away from his identification with the Eastern Orthodox faith. At the same time, his musical language broadened, maintaining its repetitive sound but adding a new dramatic spirit and a richer harmonic palette. For a long time Tavener was the province of choirs, and engineers, who specialized in his music, but here he definitively moves into the British cathedral tradition with performances by (and music commissioned by) the Choir of Clare College, Cambridge, and production by none other than the dean of pleasing British religious music, John Rutter. The central work here, "Ex Maria Virgine" (2005), is Marian in theme and was dedicated to the Prince of Wales and Duchess of Cornwall on the occasion of their nuptials, with an appropriately joyous mood. It gives a good idea of the direction in which Tavener's style is moving, with startling choral effects such as the repeated staccato notes in the second movement, "Nowell! Nowell! Out of your sleep," with the organ playing a role that harks back to the French late Romantics, and with massive planes of harmonic tension in the ninth movement, "Unto us is born a son." That movement has a macaronic text (adapted from a Latin hymn of the fifteenth century), and the big Mahlerian climax is assigned to the verse "O and A, and A and O/Cum cantibus in choro./Let our merry organ go/Benedicamus Domino." There are 10 movements in all, using a variety of texts of which Rutter himself would have been proud. The choir itself brings a big sound under confident control, although text intelligibility is a problem, even with the booklet texts in front of you (and some of those are missing due to copyright restrictions). It's quite a powerful work, with "minimalist" movements set off against more conventional ones, and many listeners will find that Tavener is accomplishing something parallel to what American composer John Adams has made of his minimalist background, although the philosophical orientations of the two could not be more different. The rest of the disc is filled out with pieces, some of them familiar by now, that offer music closer to what one expects from Tavener, with repeated figures and static harmonic fields, although the other contemporary piece, "Marienhymne," has a similar harmonic edge. Rutter's production is as excellent as one might expect, and this is a release that will be cherished by Tavener fans, although perhaps not so much by Tavener fanatics.
- Release Date:
Performance CreditsClare College Choir, Cambridge Primary Artist
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I¿m hard pressed to think of another contemporary composer presently writing more challenging and beautiful choral music than John Tavener. Whether he¿s adapting existing ancient melodies or setting various poetic texts to music, the British-born musician has shown a special knack for imbuing his vocal pieces with a meditative and mystical ambience. His latest CD, ¿Ex Maria Virgine,¿ is no exception. Described as a ¿Christmas sequence for choir and orchestra,¿ it¿s a 10-part work, completed in 2005, that evokes Tavener¿s deep religious faith through a celebration of the Virgin Mary. And it does so in his usual idiosyncratic fashion. Tavener eschews the static nature of most choral music for a variegated and dynamic range of harmonic and rhythmic patterns of breathtaking intensity. The pieces range from stately (Verbum Caro) to discordant (Nowell! Nowell! Out of Your Sleep) to beatific (Rocking). Tavener creates some of the most gorgeous melodies imaginable, but with a lyrical astringency that darkens and complicates them in wonderful ways. His music thus bridges tradition and modernism, and imbues even the most sacred musical moments with a vibrant, almost brash immediacy. Rounding out this collection are six additional songs set to religious texts, all of them brought to life through the dazzling performance of the Choir of Clare College, Cambridge under the supple and knowing direction of Timothy Brown. This is holiday music of uncommon power and beauty that transcends its seasonal context to provide emotional and spiritual sustenance throughout the year.