'An atmospheric and deeply spiritual performance' - 6.06.03

[Review: Salisbury Cathedral] 6th June 2003, BBC Wiltshire Arts News

Choral works by Tallis, Ireland and Britten plus a world premiere by Sir John Tavener meant few would be disappointed by Tenebrae’s candlelit cathedral appearance during this year’s Salisbury Festival. There was a distinct air of anticipation ahead of the performance – particularly with Sir John Tavener seated in the audience. With Thomas Tallis’ setting of Te lucis ante terminum marking the start of the evening the audience sensed they were in for a very special performance. A plainsong requiem followed Tallis, immediately conveying the audience back to the cathedral of old when such sound was commonplace.

Tavener’s The Song for Athene, a piece originally commissioned by the BBC in 1994, recalled the funeral of Diana, Princess of Wales where its mournful combination of Russian Orthodox funeral service and Shakespeare’s Hamlet was used to such great effect.

The first half ended with The Dream of Herod written by Tenebrae’s founder and musical director Nigel Short. This was much more than just a faithful choral reproduction: Short’s work added a touch of high opera to the evening, the piece being staged thoughtfully to make good use of the cathedral’s space. Although the subject matter might have been too heavy for some there will be few who can deny they weren’t taken by Herod’s dilemma and, later, his eventual redemption by the symbolism of divine light.

The programme drew parallels with Short’s narrative and the musical persuasions of Tavener’s Mother and Child, performed in the second half and given its world premiere. ‘Enamoured of its gaze the mother’s gaze in turn contrives a single beam of light along which love will move’. With such ‘complex simplicity’ this splendid work was undeniably Tavener containing overtones of his earlier piece, The Song to Athene. The ‘Tavener touch’ was evidently in place: the use of single notes and rising expression coupled with a dramatic outpouring midway are built upon layers of texture brought to the fore by Salisbury’s Willis organ and punctuated by a Hindu gong. Further reflections of Tavener’s profound interest in the Russian Church and its rich musical heritage were suggested between his world premiere and the following piece: Sheremetiev’s Rejoice New the Heavenly Powers, bringing a taste of Russian liturgy to Salisbury.

Overall, with its perfect mix of the spiritual and the contemplative, Tenebrae’s faultless performance was matched only by the ever-dependable performance of Salisbury Cathedral. It may not be the ideal concert venue but witness Tenebrae’s dextrous use of the cathedral’s space and resulting acoustic and you are made to realise that it was for this very music that the cathedral was designed. Wherever you chose to sit voices could still be heard and singers could still be seen leaving nobody unmoved by Tenebrae’s atmospheric and deeply spiritual performance.