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JOHN TAVENER (B.1944) JOHN Canciones Españolas (1972)* (16’23”) 10 IX Tres Morias M’Enamoram

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JOHN TAVENER (B.1944) JOHN Canciones Españolas (1972)* (16’23”) 10 IX Tres Morias M’Enamoram SRCD.311 STEREO ADD JOHN TAVENER (b.1944) JOHN Canciones españolas (1972)* (16’23”) 10 IX Tres morias m’enamoram. 1 I Si la noche se hace oscura (1’00”) (Anónimo) (0’48”) 2 II Prelude (1’35”) 11 X Postlude (1’27”) 3 III Pastorcico, non te aduermas. TAVENER 12 XI Háceme vivir penada (1’24”) (Anónimo) (1’05”) 4 IV Dime a do tienes las mientes. Requiem for Father CANCIONES (Alonso de Mudarra) (1’58”) Malachy (1973)** (35’27”) 5 V Pase el agua ma Julietta. Danza. 13 Requiem aeternam (4’50”) ESPAÑOLAS (Anónimo) (0’53”) 14 Kyrie eleison (3’37”) 6 Kevin Smith Canto (0’26”) 15 Dies Irae (9’41”) 7 VI Interlude (1’15”) 16 Offertorium (3’33”) James Bowman 8 VII Rosa das Rosas. Cantiga de Santa 17 Sanctus (1’27”) Maria. (Alfonso X el Sabio) (3’11”) 18 Hosanna (2’29”) 9 VIII Maravillosos et Piadosos. 19 Agnus Dei (2’58”) REQUIEM FOR Cantiga de Santa Maria. 20 Libera me (6’52”) (Alfonso X el Sabio) (1’21”) (52’00”) FATHER MALACHY * James Bowman & Kevin Smith ** The King’s Singers The King’s Singers Nigel Perrin countertenor, Alastair Hume countertenor, Alastair Thompson tenor, Tony Holt baritone, Simon Carrington baritone, Brian Kay bass The Nash Ensemble The Nash Ensemble conducted by John Tavener The above individual timings will normally each include two pauses. One before the beginning of each movement or work, and one after the end Conducted by John Tavener P 1976 The copyright in these sound recordings is owned by Lyrita Recorded Edition, England This compilation and digital remastering P 2009 Lyrita Recorded Edition, England C 2009 Lyrita Recorded Edition, England. Made in the UK LYRITA RECORDED EDITION. Produced under an exclusive license from Lyrita by Wyastone Estate Ltd, PO Box 87, Monmouth, NP25 3WX, UK JOHN TAVENER is one of the most original, intensely personal voices in contemporary IX music, celebrated for the unparalleled range of his sacred music. Born on 28 January Tres moricas m’enamoran en Jaén Three Moorish girls fell in love with me in Jaen, 1944 into a Presbyterian family in Wembley Park, North London, he was educated at Axa, Fatima y Marién, Axa, Fatima and Marien, Highgate School, where he composed for the school orchestra. Some of his earliest Dixe les: ¿Quién soie Señoras, I said to them: ‘Who are you, ladies, acknowledged compositions date from this period, including a Credo (1961) and the de mi vida robadoras? robbers of my life?’ short oratorio Genesis (1962), both written for a local church where his father was Cristianas, qu’éramos moras de Jaén. ‘Christians, Sir, we were Moon of Jaen, organist. He won a scholarship to the Royal Academy of Music in 1962, studying Axa, Fatima y Marién. Axa, Fatima and Marien’. composition with Lennox Berkeley and, later, David Lumsdaine, who introduced him Yo vos juro all Alcorán ‘I swear to you on the Koran, to the music of Boulez, Ligeti, Stockhausen and Messiaen. en quien, Señoras, creeis, in which you ladies believe, que la una y todas tres that all three of you have greatly disturbed me On 24 January 1968, the first performance of his dramatic cantata The Whale (a m’aveis puesto en grande afán, so that, whenever I think of you, ‘fantasy’ on the Old Testament story of Jonah and the whale) at the inaugural concert do mis ojos pensaran rues tal verén. Axa, Fatima and Marien, of the London Sinfonietta in the Queen Elizabeth Hall brought Tavener’s name to Axa, Fatima y Marién. I cannot help but see you.’ public attention; The Whale, which features collage, pre-recorded tape, amplified Anonymous percussion, Hammond organ and a chorus using loudhailers, was later recorded on The Beatles’ Apple label. Other notable commissions quickly followed the QEH première, XI including In Alium, requested by Sir William Glock for the 1968 Proms season, and Háceme vivir penada He makes me live in pain Celtic Requiem (1969), another London Sinfonietta commission, which incorporates y muestráse me enemigo. and has become my enemy, the rituals of a mass for the dead with children’s playground games. Ultimos ritos ¿Cómo no venis, cómo no venis, amigo ? O, my beloved, why do you not come? (1972), a large-scale choral piece setting quotations from the ‘Crucifixus’ from Bach’s Mass in B Minor against the poetry of St. John of the Cross was a summation of his Translations by Rosemary Moss creative output thus far and won the prize for religious composition in the international contest of the Italian Society for Contemporary Music at Perugia. www.lyrita.co.uk Acting upon his growing belief that Eastern traditions retained a primordial essence Notes © 2009 Lyrita Recorded Edition, England Recording location and date: that the West had forgotten, John Tavener was received into Greek Orthodox worship Church of St. John the Evangelist, Islington, London. 16/17 September 1975 in 1976. His music went through a transitional period in the early 1980s from his early Originally released in 1976 on LP RCA LRL1 5104 modernist approach to a more meditative style. Significant works in the composer’s Digital Remastering Engineer: Simon Gibson progress towards greater simplicity include The Lamb, a setting of William Blake’s poem (1982); To a Child Dancing in the Wind, a continuous setting of nine poems by WARNING Copyright subsists in all Lyrita Recordings. Any unauthorised broadcasting. public performance, W. B. Yeats (1983); The Tyger, another choral setting of Blake’s poetry (1987) and The copying, rental or re-recording thereof in any manner whatsoever will constitute an infringement of such copyright. In the United Kingdom licences for the use of recordings for public performance may be Protecting Veil, for cello solo and string orchestra (1987), written for Steven Isserlis: the obtained from Phonographic Performance Ltd., 1 Upper James Street, London, W1F 9DE Proms première of the latter work on 4 September 1989 once again caught the public 2 11 imagination, quickly generating a cult following similar to that created by The Whale VIII Cantiga de Santa Maria 20 years earlier. Maravillosos et piadosos et mui Marvellous, holy and very beautiful are the fremosos miragres faz, miracles of faith, Mary of Egypt, a large-scale opera scored for soprano, bass and alto soloists, chorus, Santa Maria a que nos guía ben Holy Mary, who guides us, comes children’s chorus, orchestra and tape loop, premièred at the Aldeburgh Festival in noi’ te día et nos da paz. night and day and gives us peace. 1992, beginning a close and lasting creative collaboration with the soprano Patricia E d’est un miragre vos cantar quero And of a certain miracle I want to sing to you Rozario. Two years later, his 50th birthday year was marked by a major Proms que en Frandes aquesta Virgen fez that in Flanders the Virgin brought about, commission, a three-hour oratorio The Apocalypse. The short choral piece Song for Madre de Deus, maravillos’ e fero Mother of God, O! marvellous, Athene (1993) is an elegiac tribute to a young family friend tragically killed in a road per hua dona que foi hua vez. and it happened to a woman who once lived. accident; when it was performed at the close of Princess Diana’s funeral in 1997, it E sa egreia d’est que seia And her happiness at this which was to come had a tremendous impact, raising Tavener’s public profile once again and resulting per nos et veia mola sa faz shows us her true faith: in further commissions, including a major documentary on the composer for ITV’s no paray sou Deus dar quiso she never ceased praising God, South Bank Show. goyo et riso a quen llé praz. with joy and laughter she gave him praise. Aquesta dona leou un menynno This woman gave birth to a child, Tavener received a knighthood in 2000. At the start of the new millennium, he began seu filli, sigo, que en offreçón her son, that is, who in offering to seek inspiration from a variety of different sources, led by an interest in the Swiss deu a Virgen, mui pequeynno she gave to the Virgin while still an infant metaphysician Fritjhof Schuon’s universalist philosophy, which embraces all great que de mal ll’o guardasse d’o that he should be kept from harm wherever religious traditions. This change in direction resulted in an increasing richness and quei son. he went. diversity in his music, exemplified by three recent large-scale pieces: the epic, seven- Et ella fezese per que dissesse And she, as she had been asked, hour all-night vigil The Veil of the Temple (2002), characterised by the composer as ‘an sempr’e soubesse de ben assaz. showered him with kisses and affection, attempt to restore the scared imagination’, includes Sufi poetry as well as Christian, Que, com’a prendo sue pan comendo that, as he learnt to eat his bread Islamic and Hindu texts; Hymn of Dawn (2002) uses Hindu, American Indian, Sufi, seu pan comendo paro’ss’ enaz. the bread he ate kept him from harm. Christian, Jewish and Taoist texts, and Requiem (2007) sets words from the Qu’ran Alfonso X el Sabio and the Upanishads alongside those of the Roman Catholic requiem mass. Other recent works of note include the choral Schuon Hymen (2003) and Schuon Lieder, for soprano, string quartet and four Tibetan temple bowls (2003), and a series of concertante pieces: Kaleidoscopes (A tribute to Mozart), for oboe and orchestra (2005), Pratrirùpa, for piano and strings (2005) and Lalishri, for violin and strings (2006).
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