John Tavener: farewell to classical music’s cult hero

Few doubted the sincerity of Tavener, whose inspiration was unquestionably enriched by his frequent brushes with death
18 November 2013

It was his Song of Athene, intoned ethereally by the choir as Princess Diana’s coffin was borne out of Westminster Abbey in 1997, that brought John Tavener, who died on Tuesday November 12, aged 69, to the attention of millions. Yet he was, in a sense, already a cult figure. His extraordinary cantata The Whale (1968), which opened with the distinguished BBC newsreader Alvar Liddell delivering an encylopaedia entry on the sea mammal “of the order of cetacea”, and whose score instructed the choir to snort, yawn and make vomiting noises, was famously taken up by the Beatles on their Apple label. Tavener later said he was less surprised at John Lennon’s enthusiasm for it than that of Ringo Starr.

Over the decades to come Tavener was to abandon the pop and jazz elements that jostled so riotously with classical in The Whale to develop the more mystical quality that Lennon had perhaps divined. The Protecting Veil, premiered at the BBC Proms in 1989 [by the cellist Steven Isserlis], took its inspiration from the feast of The Protecting Veil of the Mother of God — Tavener had converted to the Russian Orthodox Church in 1977 — while the all-night vigil The Veil of the Temple (2003), for soprano, string quartet, piano and four Tibetan temple bowls, brought music, meditation and religious ritual together in an idiosyncratic but undeniably powerful way.

Tavener hated the label “Holy Minimalist”, employed to describe this paring away of musical resources in pursuit of spiritual enlightenment. But the seven-hour Veil of the Temple was not the only work to test the patience of some listeners: what adherents found uplifting, sceptics often experienced as pretentious or boring. Few, however, doubted the sincerity of Tavener himself, whose inspiration was unquestionably enriched by his frequent brushes with death.

Tavener’s last work, Three Shakespeare Sonnets, is to be premiered on Friday November 15 in Southwark Cathedral, curatedplace.com

Letters to the editor

John Tavener immersed himself in all things spiritual, spent a lot of time learning and appreciating other religions, wrote music that was powerfully spiritual and uplifted the soul of the listener, but he also loved the finer things of life like good food and wines, fast cars and smart clothes.
In both his large dramatic works and his more delicate ones, John developed a sound world instantly recognisable as his. He has left a wealth of amazingly beautiful choral works which will be performed and loved the world over.
Patricia Rozario

I found John a very open and humble man. Sincere and appreciative always that I should want to take on preparing and performing his work, thankful that I take every opportunity to check with him on suggestions. He made me, and those working for him feeling like part of his extended family, and musicians warmed to him and wanted to do their best for him because he felt so deeply about what he was wanting to convey.
Tecwyn Ewans

John Tavener’s music was haunting and ageless and will stand as testimony to his distinctive view of the world, and the life beyond. But it’s as a wonderful man that I will remember him, deeply committed to his music and faith but above all, his family.
I first met him at his home, where he accompanied me at the piano, poured me mint tea and juggled his then baby boy all at the same time. When I last saw him, at the premiere of his Love Duet at the Manchester International Festival, he was surrounded by family and friends, and delighted and humbled by the success of the concert.
He was a composer who enjoyed hearing his work come to life and was open to suggestion from performers, as well as encouraging and praising them in rehearsals. He will be hugely missed, and remembered in every note that he wrote.
Elin Manahan Thomas

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