Tavener: We Shall See Him As He Is

Editorial Reviews
Amazon.com essential recording
Tavener and librettist Mother Thekla have conceived this work as a series of icons depicting scenes from Christ's life. As with painted icons, the text and music don't narrate a scene but rather depict its individual elements to concentrate the worshiper's mind. Take, for example, the complete text of Ikon IX: "I saw: The Cross. His Body crucified. The Blood. The Water. Linen clothes. Napkin." The music, though similarly simple, is vivid (and beautifully performed): The Creation arises from bubbling bass chaos; the Dove at the Baptism descends in a shimmering violin halo; the Wedding at Cana is one wild party. Tavener's technique of repeating melodies throughout works well here: themes are scored differently at each appearance and come to seem like similar colors used in different icons. --Matthew Westphal

Tavener: We Shall See Him As He Is, Music, Michael George, John Senter, John Tavener, Frances Cooke, John Hugh Thomas, Richard Hickox, Simon Wright, BBC Welsh Symphony Orchestra, Patricia Razario, Patricia Rozario, Andrew Murgatroyd, John Mark Ainsley, Choral, Classical, Classical Composers, Sacred Music for more than one Solist, Chorus, and Instru
Tavener: We Shall See Him As He Is
Average customer rating: 4 out of 5 stars
  • Another work from a true master
 Tavener: We Shall See Him As He Is

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

All Works by TavenerAll Works by Tavener | Tavener, John Kenneth | ( T ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Sacred & Religious | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
ASIN: B000000AQW
Release Date: 1994-07-27

Tracks:

  1. The Unfolding Of The Great Mystery
  2. Ikon I
  3. Ikon II
  4. Ikon III - Refrain
  5. Ikon IV
  6. Ikon V - Refrain
  7. Ikon VI
  8. Ikon VII - Refrain
  9. Ikon VIII
  10. Ikon IX
  11. The Tomb
  12. Ikon X
  13. Ikon XI

Amazon.com essential recording

Tavener and librettist Mother Thekla have conceived this work as a series of icons depicting scenes from Christ's life. As with painted icons, the text and music don't narrate a scene but rather depict its individual elements to concentrate the worshiper's mind. Take, for example, the complete text of Ikon IX: "I saw: The Cross. His Body crucified. The Blood. The Water. Linen clothes. Napkin." The music, though similarly simple, is vivid (and beautifully performed): The Creation arises from bubbling bass chaos; the Dove at the Baptism descends in a shimmering violin halo; the Wedding at Cana is one wild party. Tavener's technique of repeating melodies throughout works well here: themes are scored differently at each appearance and come to seem like similar colors used in different icons. --Matthew Westphal

Customer Reviews:

4 out of 5 stars Another work from a true master.......1999-12-13

I must admit, when this piece was first performed in my home town, I knew nothing about it. Thus it was something of a surprise to find out that it was commissioned for Chester Cathedral's 900th. Anniversary. This recording was made five days after the Chester premiere, during a BBC Proms performance under the same people. Unfortunately, this is an example of how live recordings can be a bit of a let-down- there is coughing, spluttering and rustling galore at times, which is a particular problem in the very quiet sections (such as the very haunting depiction on high strings of Christ in the Tomb). Hence, I am giving it four stars (it really deserves four and a half). Technicalities of recording aside, the piece and its execution here represents undoubtedly some of Tavener's finest work ever, and he certainly deserves more recognition for it. The iconic element is certainly present throughout the work: depictions in simple words and music that bring Christ to life in our very ears. Freshness oozes forth from the music, particularly in the halos of strings that recur frequently at the ends of several ikons. As for the performance, the low basses so typical of Tavener seem dull and not sonorous (though having been on the choral scene myself as early as 1992 I know that not many basses in Chester could cope with the demands placed upon them) but in the main, this is a truly great and outstanding interpretation of a powerful work. Tavener has stated that he believes music comes through him, not from him. If you doubt that, listen to this disc. You may start to wonder...

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