Album insights
This recording could hardly have been more personal for me. Following the initial performances of "The Death of Ivan Ilyich" and the version of "Mahámátar" at a pure Tavener concert during the Manchester International Festival 2013, I called John to tell him about discussing with Hyperion Records that we wanted to record both pieces. I was surprised and moved by his joy, considering his music wasn't frequently performed at the time. His persistent self-doubt due to severe health issues post his 2007 heart attack had grown, taking him a long time to resume composing. I hope this recording demonstrates his unwarranted worries; his final works are among the most powerful and beautiful he ever composed, expanding his compositional horizons in new and unexpected directions.
It was a long journey from deciding to record the pieces performed in Manchester to realizing this album. Following the devastating news of John's passing at the end of 2013 (soon after our phone call), we were doubly determined to carry out the project. However, with "The Death of Ivan Ilyich" and "Mahámátar" totaling about 42 minutes, we needed additional substantial pieces to complete the album. Overcoming these challenges involved arranging pieces such as "Preces and Responses" and "No longer mourn for me." Engaging the appropriate ensemble for the recording, including eight cellists, a bass-baritone, a Sufi singer, a boys' choir, an orchestra, and a conductor, was another hurdle. I am immensely grateful to all who made this recording possible, allowing me to fulfill my promise to a man I dearly miss.
Originally composed for a capella choir, the "Preces and Responses" were among John's last completed works, symbolizing a unique journey into diverse spiritual and cultural influences. Despite his initial reluctance to write for a church he felt disconnected from, he crafted one of his most poignant pieces. The central part, an extremely affectionate setting of the Lord's Prayer, is particularly moving.
"The Death of Ivan Ilyich" was an extraordinary achievement, reflecting John's personal struggles with pain and mortality. The work demanded exceptional vocal and cello performances, resonating with autobiographical elements. Despite our strained relationship before his heart attack, reconnecting during his illness and collaborating on the composition was a powerful and emotional experience.
John labeled "Mahámátar" as a mantra, blending Eastern and Western spiritual influences in a unique musical tapestry. The collaborative performance featuring high-profile artists was a testament to Tavener's ability to transcend cultural boundaries and create profound musical experiences.
"Popule meus," a contemplative piece on divine rejection, showcased Tavener's profound ability to blend sacred text with universal themes. Despite initial reservations, the piece ultimately revealed its compelling essence during recording.
"No longer mourn for me," a part of the "Three Shakespeare Sonnets" cycle, held deep personal significance for John, reflecting his journey back to music after a period of illness. The piece was performed posthumously, serving as both a tribute and catharsis for those touched by his extraordinary legacy.