2CD THE VEIL OF The temple Cycle IV john tavener (1944-2013) t Primordial Call [1.55] y Mystery of the Nothingness of God [2.15]

Cycle V CD1 u Primordial Call [1.51] Cycle I i You Mantle Yourself in Light [3.42] 1 Mystical Love Song of the Sufis [5.06] o Jesus Prayer [1.14] 2 Primordial Call [2.42] p The Lord’s Prayer [6.58]

Cycle II Cycle VI 3 Primordial Call [0.31] a Primordial Call [2.08] 4 God’s Creation [5.40] s What God is, we do not know [2.34] 5 Outside the Gates of Paradise [2.51] d God of Strength [2.45] 6 Our Father [2.58] f Kyrie Eleison - Chant [2.18] 7 Holy Mary [3.00] g Te Re Rem – Ecstatic Chant [3.31] 8 Alleluia, Theos Erastos [1.44] h Jesus Having Risen from the Tomb [2.22] 9 Gospel of St John [4.23] 0 Thrice-Holy Hymn - Resurrection [2.59] CD2 q Beatitudes of St Isaac the Syrian [4.37] Cycle VII 1 Apocalyptic Primordial Call [1.26] Cycle III 2 Absolved in the Mirror [2.05] w Primordial Call [1.18] 3 Jesus Prayer [1.37] e Psalm of Creation [1.49] 4 Hesychast Meditation [4.17] r O Blessed Paradise, Pray for Me [3.13] 5 Mary Theotokos [2.57] The Veil of the Temple: Journey to the Centre We know, then, only too well the enmities of the 6 Hail, Veil of the Temple [1.21] past. All the more precious, therefore, will be 7 Mother of God [5.06] ‘Oh what was there in that candle’s light? ‘ – ‘What any bridge that we can throw from the Temple 8 Alleluia [4.58] God is we do not know’ – ‘Lord Jesus Christ, have across the chasms that divide the great faiths of 9 The Gospel of St John [13.47] mercy on me’ – ‘Our Father which art in heaven’ the world. Tavener has his own distinctive vision – ‘Mother of God, here I stand now praying’: so of the links between them. This vision shapes start just a few of the heart-melting elements The Veil from the first bars to the last. Cycle VIII in John Tavener’s The Veil of the Temple. 0 Maranatha [2.51] As The Veil begins, a soprano sings in the q Awake Thou That Sleepest [2.12] In the music of The Veil and its setting, East darkening Church the love-song that the great w Into Beauty [1.11] meets West and they become one. Tavener Sufi mystic Maulana Jalaluddin Muhammad i e Rending of the Veil of the Temple: Maya Atma [5.40] combines western music with the insights and Rumi sang to his God: r Knights Templar in the Temple Church [4.18] intensity of the Orthodox East; and the Temple t Light of Christ [4.31] Church, almost alone of all the churches in Oh what was there in that candle’s light? y Cosmic Rising [4.13] the English-speaking world, brings together Oh, you struck fire in my heart and I have u New Jerusalem - Upanishad Hymn [5.55] the clean lines of a gothic masterpiece and been consumed. i Shántih [3.24] the splendour of Jerusalem. Oh friend, come quickly. From the face of the heart, the Divine Tavener, however, has looked across chasms has appeared. Total timings: [147.46] wider and deeper than those which divide Nothing can help me but that beauty. the Christendom of East and West. Between Once, at dawn, my heart was shattered Christendom and the realm of Islam there is a by your sweet odour! My soul heard something broadening gulf of suspicion, fear and hostility. from your soul. The Temple Church was itself built at a time When my heart drank water from your spring The Choir of the Temple Church The Holst Singers of such division. The Church was built it drowned in you, Members of the English Chamber Orchestra on one side of the divide and was and was borne away in its current. Patricia Rozario soprano designed to deepen and defend it. In Stephen Layton conductor the London Temple we are the heirs of that history. www.signumrecords.com - 5 - Tavener was a composer whose music speaks ‘The Veil of the Temple’, wrote Tavener, ‘is a For these knights were, to the medieval mind, a whole. It may be only through the world of the to the spiritual side of all his listeners. He work of divine imagination and sacred history. buried in Jerusalem. The Church is famous for divine imagination that any kind of unity can wrote The Veil for those of any faith or of none. It takes place at night – waiting for the their effigies. Several among them show the come about. But it is uncharted territory, and I can He said of The Veil: withdrawal of night and the coming of dawn – knight with legs crossed, eyes open and sword know nothing about its future, save that I in the very place in fact where the night half-drawn. have tried to reinstate the sacred, the natural ‘It is a journey towards God; and if you see God sentries keep watch on the walls of the Temple in the divine world, which is the source and as the centre, as you must, then it is a journey and the Holy Sepulchre of Christ.’ These ‘soldiers of Christ’ are waiting for the consummation of all sacred art. from the periphery to God ... As the Koran writes last act of human history: when Christ summons God is beautiful and he loves beauty, or as his soldiers to battle, Satan’s army is destroyed ‘In a sense, The Veil is without beginning and Augustine has written Beauty so ancient and The Temple Church, built 1185-1240, is one of outside Jerusalem and the New Jerusalem without end, and it is a prayer, or perhaps it so new, or as Dostoyevsky says It is only London’s most historic and beautiful churches. comes down from heaven. The final Easter becomes a prayer, the sole meeting place of through beauty that the world can be saved – The Veil of the Temple brings to life the history will have come at last. heaven and earth.’ so I tried to create as much beauty of sound, and meaning of the Temple’s famous Round beauty of form, beauty of text, beauty of Church, a gothic reading of the most sacred The Veil’s listeners are taken from darkness © Robin Griffith-Jones, Master of the Temple rhythm, beauty of melodic line as I possibly place in the medieval world: the round Church to light, from death to rebirth. Cycle VIII could, using Hindu rhythms, Sufi rhythms, of the Holy Sepulchre in Jerusalem, site of represents the eighth day of the week, and so Sir John Tavener aspects of chant from various traditions. Christ’s death, burial and resurrection. Tavener the first day of the new week and new creation. So I hope that the work will be Christian but himself has spoken of the ethos of the Temple In the rising light of dawn, the tomb of Christ John Tavener was born in Wembley Park in universalist. I tried to make it as universalist in Jerusalem, which ‘opposes the violations has become the Easter Garden. Middlesex on 28 January 1944. He was educated as possible – I didn’t try to make it, it came and profanities of history.’ His music draws at Arnold House and Highgate, where he was from inside me.’ out the most poignant of contrasts: between Mary Magdalen has come to the tomb of Jesus a music scholar. During childhood he showed the bitterness that still ravages Jerusalem, and has found it empty. She turns; and sees a deep affinity for elemental sounds and Tavener recalls being visited by an Apache and the promise that this Holy City holds out Jesus. The vast sound of The Veil’s music stops. for music, though less for its formal study, Indian medicine man: ‘He talked about the to all humanity. Everything is still. And Mary sings her single preferring to improvise on the piano. As a choirboy Great Spirit, that’s how they refer to God. And word of recognition, ‘Ravouni’, ‘Master’. at Arnold House he wrote several carols and he sat down on the ground and drew a When the Templars built their Round Church hymns, influenced by his Presbyterian upbringing, circle with radii all leading to the centre. This, in London, they were recreating the sanctity of Tavener has written: ‘I offer The Veil as a but his first significant piece was a Duo I think, must be the purpose of all that I the Holy Sepulchre itself. No wonder, then, that poor man’s mite to the Temple Church, and Concertante for trombone and piano in 1958. call sacred art.’ great knights were buried in the Round Church. perhaps ultimately to the Western Church as Other works written prior to his scholarship

- 6 - - 7 - to the Royal Academy of Music in 1962 was seeking a measure of immutability In 1984, Tavener read William Blake’s poem early 1990s and another in the mid-2000s. In include Credo (1961), a setting of Genesis in both subject matter and manner of The Lamb and instantly wrote the three-minute between he continued to write pieces strongly (1962) and Three Holy Sonnets of John Donne, expression. Although all of these works choral work of the same name that was to influenced by Orthodoxy and by literature. completed in 1962 but not premiered until were inspired by the mystical aspects of return him to the kind of popularity he had Increasingly, he became fascinated by the 1964. These early works show the incipient Roman Catholicism, his interest in tradition renounced following The Whale. This was one of writings of metaphysicians such as Ananda – and enduring – influence of Stravinsky. By had led Tavener to believe that the Western many works that Tavener wrote ‘spontaneously’, Coomaraswamy, René Guénon and Frithjof this time Tavener was under the tutelage of Christian Church was a corrupted and corrupting feeling that the music was given to him by a Schuon, as well as the Sufi poets Rumi and Lennox Berkeley and David Lumsdaine at the force, having been beguiled by the same separate agency. By this point he felt closer to Ibn Arabi. The Universalist teachings of these Academy, and only two years away from writing notions that had precipitated what he saw finding a ‘voice’ that, paradoxically, was not his writers, and a growing interest in Hinduism, the work that would bring him the attention as the erosion of Western art and culture. own but which allowed some greater force to shaped Tavener’s compositions of the early of a much wider audience: this was The Tavener’s last work written under the influence be expressed through him. Major works composed 2000s. Though he remained an Orthodox Whale (1966), premiered in 1968 by the London of Roman Catholicism was Thérèse, composed during the remainder of the 1980s and into Christian, the Universalist belief that all Sinfonietta at their inaugural concert and in 1973 but not premiered until 1979, by which the 1990s include Sixteen Haiku of Seferis organised religions are simply different released on The Beatles’ Apple Records label. time Tavener had become an Orthodox Christian. (1984), Orthodox Vigil Service (1984), Panikhida interpretations of the same underlying forces (1986), The Protecting Veil (1988), Eonia (1989), informed most of Tavener’s work of this Tavener’s musical education took place in the Following his conversion in 1977, Tavener Resurrection (1989), The Repentant Thief period and beyond. Significant postmillennial midst of Modernist fervour. It was a movement produced a slew of works heavily influenced by (1990), The Last Sleep of the Virgin (1991), Mary works include Ikon of Eros (2000), Hymn of of which he felt an instinctive and increasing Orthodox liturgical texts, Russian and Greek of Egypt (1991), Akhmatova Songs (1993), Dawn (2002), Lament for Jerusalem (2002), mistrust, and although The Whale was inevitably writers and themes, and the Orthodox tone Song for Athene (1993), The Myrrh-Bearer (1993), Mahashakti (2003), Supernatural Songs (2003), influenced by the direction in which its young systems, including A Gentle Spirit (1977), Kyklike Agraphon (1994), Diòdia (1995), Eternity’s Sunrise Schuon Lieder (2003), Atma Mass (2003), composer had been encouraged, it also Kinesis (1977), Liturgy of St John Chrysostom (1997), and Mystagogia (1998). In the closing The Beautiful Names (2004), Lalishri (2006), contained a certain degree of satire and left (1977), Palintropos (1978), Akhmatova Requiem minutes of the 20th century, Tavener premiered Sollemnitas in Conceptione Immaculata Beatae Tavener further convinced of his need to find a (1980), Funeral Ikos (1981), Prayer for the his work A New Beginning before thousands Mariae Virginis (2006), and Requiem (2007). musical language founded in something deeper World (1981) and Ikon of Light (1984). During gathered in London’s Millennium Dome. He than fashionable idiom. Through the composition this period, Tavener had largely cut himself off received a knighthood in the Millennium Honours. Emergency heart surgery in Switzerland, followed of In Alium (1968), Introit for March 27, the from the contemporary music scene, withdrawing by many months in intensive care subsequent Feast of St John Damascene (1968), Celtic into himself and his faith in the hope Throughout his life Tavener had suffered to the completion of Towards Silence in 2007 Requiem (1969), Coplas (1970), Nomine Jesu of achieving a clarity worthy of his periodically from extreme ill health, one serious halted his progress for a time, as well as (1970) and Ultimos Ritos (1972), Tavener preferred subjects. instance occurring in the 1970s, another in the causing him to withdraw somewhat from

- 8 - - 9 - spiritual themes. Weighed by extreme weakness Note from Sir John Tavener The Veil is a ‘Vigil’, not quite a liturgical The Beginning and disillusionment, Tavener drew much ceremony. Through its eight cycles, gradually comfort and inspiration from the poetry of It was with some trepidation that I undertook rising an octave in pitch, it attempts to reveal The Veil of the Temple begins in the world of the English metaphysical poets, from the commission from The Temple Church to the mystery of the death and burial of Christ Islam, with the distant sound of a duduk Shakespeare, from the love of his family, write a work lasting all through the night, until through his Rising. In creating man, God and a female voice singing: ‘When my heart from the landscape of Scotland – which he dawn. I have attended nineteen-hour vigils in entrusted him with the task of completing the drank water from your spring, it drowned in you, began to visit regularly – and from a certain monasteries in Greece, but these contained Temple, and himself becoming the Temple of and was borne away in its current,’ by the Sufi liking for the latter works of Elliott Carter. a conglomeration of Byzantine Chants, often God. This, anyway, is the aspiration. mystic Jalaluddin Rumi. The soprano represents He also returned to his love of Tolstoy anonymous, and never composed by one both the Self (Atma), and Mary Magdalen as and of the almost cosmic prowess and play individual. The unity and structure in the In 2004 I made a version of The Veil of the Apostola Apostolorum. (Indeed, in the Gnostic of Mozart, as well as to the poetry of the music was achieved by strict adherence to Temple that would not be an all-night vigil, but Gospel of St Philip, she is portrayed as Christ’s Carmelite St John of the Cross, and he the Byzantine system of eight tones, each rather a work that could exist as a concert, or most intimate companion, and symbol of the continued to be deeply influenced by representing a different spiritual state. indeed be performed in a church as a major divine Wisdom.) She reaches a total realisation Hindu metaphysical thought. Some of the Nevertheless, it was with the memory of part of Easter celebrations. So there are two of ‘self’ at the end of the last cycle, when resulting works were Three Shakespeare such vigils that I began to write The Veil versions now: the all-night vigil, which lasts she recognises Christ’s divinity. Sonnets (2010), La Noche Oscura (2012), of the Temple. I decided early on to divide seven hours, and the version on this CD that Three Hymns of George Herbert (2012), The it into eight cycles, rather like a gigantic prayer lasts some two and a half hours. Only Cycle The concept of The Veil is such that it unfolds Death of Ivan Ilyich (2012), and The Play wheel, each one ascending in pitch, and in II remains complete, but something of all the over seven cycles, the eighth belonging to the of Krishna. In his final months Tavener Cycles I-VII with verses from St John’s Gospel at eight cycles remains, so it is possible for the day of eternity, which is finally ‘paradisial’ – a was preparing Flood of Beauty, a setting the centre. listener to follow the progress from the extreme musical image of the celestial Temple within. of the Saundarya Lahari, a Sanskrit poem sparseness of Cycles I and II to the awesome concerning Tavener’s perennial theme of the The Veil of the Temple is an attempt to restore grandeur of Cycles VI, VII and VIII. A Tibetan The Divine Ascent through the Cycles Eternal Feminine; and Requiem Fragments, the sacred imagination. (The ancient Greek temple horn is used to mark the divisions of concerning another: beauty in death. He was subtitle, To telos, means both ‘the end’ and the first seven cycles, sounding from one to The music moves forward through the cycles also developing music based on Scottish folk ‘the beginning’.) It takes place at night, as seven times in all. Two gospels are sung, one with the relentlessness of Byzantine ritual, songs. John Tavener died on 12 November 2013. we wait for the withdrawal of night and the at the end of Cycle II, and the other at the end rising in glory throughout the Cosmic Ascent. coming of dawn; and, by its gradual of Cycle VII. They are taken from the It reaches a peak of intensity at the end of © Elizabeth Seymour, 2013 Cosmic Rising, it attempts to bring about a extraordinary last dialogue of Christ to his Cycle VII, which I hope will bring about some transformation from the Old Temple to the New. disciples recounted in St John’s Gospel. form of ‘transmutation’, turning the lead of

- 10 - - 11 - the ‘old temple’ into the gold of the new. The My references to the Knights Templar that Light of Christ shines on all) are proclaimed, religions are, in a transcendent way, inwardly musical procedures are close to the expansion follow are symbolic. There is a rather wonderful and the choirs all around the building answer united beneath their exoteric forms. of Indian ragas, leading as they do to a state legend concerning them, recalled by the with further Paschal texts as children sing, ‘It of divine ecstasy. The Veil itself stands eminent French Islamicist Henry Corbin. He was early in the morning …’ Debts of Gratitude somewhere between the austere magisterial tells that on 18 March, a knight of the Temple is Byzantine ethos and that of the divine ecstasy seen to appear uttering the cry, ‘Who will The preceding cycles have led us, sometimes I am deeply indebted to Mother Thekla, of the Sufi or Hindu East. defend the Holy Temple? Who will defend the gently, sometimes fiercely, sometimes Father Ephrem, the late David Melling and Tomb of Christ?’ At this call, the entombed austerely with a Byzantine relentlessness – but Liadain Sherrard, for allowing me to use their Cycle VIII – The Eschatology Templars come alive and stand up to answer, ‘No where we have been led is not to the temple translations of so many of the texts that one! No one! The Temple is destroyed forever.’ of this world, but to the celestial Temple, appear in The Veil of The Temple. I thank As I have said, I hope that the journey through At this point the music quotes Tristan, symbolic of which the earthly Jerusalem is the image. Brian Keeble, for his encouragement and the first seven cycles leads us to a peak of of both death and love, for death in love is friendship; also I am grateful to Robin Griffith- spiritual intensity. The Epistle from Romans at divine love. Then the searingly beautiful Then the cosmic sounds cease, and Mary Jones and Stephen Layton at the Temple the end of Cycle VII speaks of eschatology: of words of St Symeon the New Theologian: Magdalen, recognising the divinity of Christ, Church for their daring commission. And to the burial and resurrection into Christ. The ‘Night from my most sweet brother has cries ‘Ravouni’ (Master). She has realised Frithjof Schuon, whose writings have so deeply awesome sound of the tam-tam, temple bowls, estranged me, cutting Love’s uncut light.’ the Self, or Atma, within her, which activates inspired me, and in whose mystical presence, Tibetan horn, bells, and organ announce both the an explosion into the Hindu world, as the and under whose guidance, I live. Doctor Nasr end and the beginning: ‘Ton eelion kreepsanda The silence of the Tomb – the destruction of basses begin changing in Sanskrit ‘Tat has said so eloquently of him, ‘Schuon seems tas idias akteenas, kai to katapetasma tou the Old Temple – all prayers, all doxologies, tvam asi’ (That I am). The Upanishad like the cosmic intellect itself impregnated naou dhiaragen’ (The sun hid its rays, and all Gospels, all Hesychasm, all Epistles seem Hymn which follows introduces brass by the energy of the divine grace surveying the veil of the Temple was rent from the top to stop. The giant prayer-wheel appears to halt. instruments and timpani as all the forces the whole of reality surrounding man and unto the bottom). It was necessary that The whole building gradually becomes suffused sing the opening of the Isa Upanishad: elucidating all the concerns of human existence Christ should open the shell that was the old with light: ‘As many of you who were baptised ‘Sink this universe in God.’ This is the in the light of sacred knowledge.’ temple. He had every right to do so, for ‘He into Christ and have put on Christ. Alleluia.’ culmination of The Veil of the Temple, was more ‘TRUE’ than it’. By this opening we More Paschal texts are added, and the standing because by writing The Veil I understood Last and certainly not least, I thank my dear wife, are introduced into the Hindu world, as Mary Templars now sing a different response: ‘No! that no single religion can be exclusive any Maryanna, who has supported me and nurtured Magdalen, representing the Self, sings in No! The temple is not destroyed forever.’ Then more. ‘The Veil has become Light,’ writes me over the years. It cannot have been easy, Sanskrit the words MAYA ATMA – a musical ‘Dhefte lavete fos’ (Come and receive the Light Frithjof Schuon; ‘there is no longer any veil.’ for I cannot have been easy, and I owe her a seesaw of reality and illusion. of Christ) and ‘Fos Christou fenee pasi’ (The This tearing away of the Veil shows that all debt of gratitude, not easily measured.

- 12 - - 13 - The Veil of the Temple is dedicated to Frithjof In Cycle VIII we hear wave after wave of new Schuon, and to my guiding angel. musical material. The listener will want to refer straight to the libretto to grasp its form. © John Tavener, 2004 We have come full circle, and are once more in C-major: for the first ‘day’ – beyond all time – of Weaving the Veil the new creation.

The Daily Telegraph wrote about the version This recording was made live, at the premiere of The Veil of the Temple heard on the present performances of the All-Night Vigil in summer CDs, after its premiere at the Albert Hall: 2003 at the Temple Church. It was clear that ‘The iron grip of the form, and the telling no studio recording, however polished, could economy of the music – and its amazing beauty – compare with these performances, sung through made it a profound experience.’ the night in the space for which The Veil was composed. Stephen Layton, the Director of The table on the following pages makes clear Music at the Temple Church, conducted the the structure of Cycles I-VII of the All-Night premieres and has worked closely with the Vigil and of the present recording. The passages composer on the present version. He has written: that are heard on this recording are listed in bold. Cycles I–VII all open with a soprano solo, ‘As I walked out of the first production of The followed by the words of chaos and the dawn Veil of the Temple: The All-Night Vigil, to the of creation: ‘Tohu, Vohu, Tahum... Logos’ sound of a Christian and a Hindu chant, I sensed (Without form, void, chaos... Word). Each of that everyone around me, both those who sang Cycles II-VII builds on the material of the the vigil and those who listened and watched all preceding cycle: the texts become fuller, the through the night, had experienced something modes more elaborate, the harmonies richer, the not only uplifting but transforming.’ choral forces larger. In the All-Night Vigil Cycle I lasts about twenty minutes, Cycle VII about ninety. Cycle I is in C-major; Cycles II-VII © Nina Large rise through the major scale: D, E, F and so on. Stephen Layton rehearsing with the Choir of the Temple Church

- 14 - - 15 - Cycle I Cycle II Cycle III Cycle IV

Solo soprano Ah! What was there in that candle’s Into beauty you have transformed Solo soprano Neither care nor confinement… How I rejoice in sacred bliss… light?... your life…

Choir Lord Jesus Christ, Son of God, have Kýrie Ieesoú, eléisón me. Choir Lord Jesus Christ, Son of God, have Kýrie Ieesoú, eléisón me. mercy on me. mercy on me.

Choir, with soloists Tóhu, Vóhu, Tahúm. Lógos. Tóhu, Vóhu, Tahúm. Lógos. Choir, with soloists Tóhu, Vóhu, Tahúm. Lógos. Tóhu, Vóhu, Tahúm. Lógos. (Without form, void, chaos. Word.)

Solo bass En archée. En archée een o Lógos. Solo bass En archée een o Lógos… En archée een o Lógos… (In the beginning) (In the beginning was the Word.)

Choir Kýrie Ieesoú, eléisón me. Lord Jesus Christ, Son of God, have Choir Kýrie Ieesoú, eléisón me. Lord Jesus Christ, Son of God, have mercy on me. mercy on me.

Choir You mantle yourself in light. You mantle yourself in light… Choir You mantle yourself in light… You mantle yourself in light.

Choir Lord Jesus Christ, Son of God, have Kýrie Ieesoú, eléisón me. Choir Lord Jesus Christ, Son of God, have Kýrie Ieesoú, eléisón me. mercy… mercy on me.

Choir, with soloists O Blessed Paradise, pray for me… Outside the gates of Paradise. O Choir, with soloists Outside the gates of Paradise, I sat Outside the gates of Paradise, I sat Blessed Paradise, pray for me… and wept. O Blessed Paradise, pray and wept. O Blessed Paradise, pray for me… for me…

Choir Kýrie Ieesoú, eléisón me. Lord Jesus Christ, Son of God, have Choir Kýrie Ieesoú, eléisón me. Lord Jesus Christ, Son of God, have mercy on me. mercy on me.

- 16 - - 17 - Cycle I Cycle II Cycle III Cycle IV

Choir What God is, we do not know. What God is, we do not know. Choir What God is, we do not know. What God is, we do not know.

Choir Lord Jesus Christ, Son of God, have Kýrie Ieesoú, eléisón me. Choir Lord Jesus Christ, Son of God, have Kýrie Ieesoú, eléisón me. mercy on me. mercy on me.

Choir Our Father, which art in heaven. Our Father, which art in heaven... Choir Our Father, which art in heaven... Our Father, which art in heaven...

Choir Kýrie Ieesoú, eléisón me. Lord Jesus Christ, Son of God, have Choir Kýrie Ieesoú, eléisón me. Lord Jesus Christ, Son of God, have mercy on me. mercy on me.

Choir O Mary Theotokos, thou art the O Mary Theotokos, thou art the Choir O Mary Theotokos, thou art the O Mary Theotokos, thou art the mystic tongs… mystic tongs… mystic tongs… mystic tongs…

Choir Hail, O Mother of God! Hail, O Mother of God! Choir Hail, O Mother of God! Hail, O Mother of God!

Choir Mother of God, here I stand now Mother of God, here I stand now Choir Mother of God, here I stand now Mother of God, here I stand now praying. praying… praying… praying…

Choir Lord Jesus Christ, Son of God, have Kýrie Ieesoú, eléisón me. Choir Lord Jesus Christ, Son of God, have Kýrie Ieesoú, eléisón me. mercy on me. mercy on me.

Choir Alleeloúia. Alleeloúia. Theós erastós, Theós Choir Alleeloúia. Theós erastós, Theós Alleeloúia. Theós erastós, Theós agapeetós, Dóxa see. agapeetós, Dóxa see. agapeetós, Dóxa see. (Beloved God, Glory to thee.)

Basses Kýrie eléisón. Kýrie eléisón. Basses Kýrie eléisón. Kýrie eléisón.

- 18 - - 19 - Cycle I Cycle II Cycle III Cycle IV

Choir Kýrie Ieesoú, eléisón me. Lord Jesus Christ, Son of God, have Choir Kýrie Ieesoú, eléisón me. Lord Jesus Christ, Son of God, have mercy on me. mercy on me.

Solo bass The Holy Gospel I: John 13.31-38 The Holy Gospel II: John 14.1-9 Solo bass The Holy Gospel III: John 14.10-20 The Holy Gospel IV: John 14-21-15-12

Choir Alleeloúia. Ágios o Theós. Alleeloúia. Ágios o Theós. Choir Alleeloúia. Ágios o Theós. Alleeloúia. Ágios o Theós.

Choir Te re rem. Te re rem. Choir Te re rem. Te re rem.

Choir Ágios ischyros. (Holy, strong.) Ágios ischyros. Choir Ágios ischyros. Ágios ischyros.

Choir Have mercy on me, O God, in your Have mercy on me, O God, in your Choir Have mercy on me, O God, in your Have mercy on me, O God, in your great mercy… great mercy… great mercy… great mercy…

Choir Ágios Athánatos, eléisón imás. Ágios Athánatos, eléisón imás. Choir Ágios Athánatos, eléisón imás. Ágios Athánatos, eléisón imás. (Holy, immortal, have mercy upon us.)

Choir In Thy kingdom remember us, In Thy kingdom remember us, Choir In Thy kingdom remember us, In Thy kingdom remember us, O Lord. O Lord. O Lord… O Lord…

The Beatitudes: 1-8 (Baritone) The Beatitudes: 9-16 (Treble) The Beatitudes: 17-24 (Tenor) The Beatitudes: 25-32 (Soprano)

Choir Ágios Athánatos, eléisón imás. Ágios Athánatos, eléisón imás. Choir Ágios Athánatos, eléisón imás. Ágios Athánatos, eléisón imás.

- 20 - - 21 - Cycle I Cycle II Cycle III Cycle IV

Choir Christós anéstee ek nekrón. Christós anéstee ek nekrón. Choir Christós anéstee ek nekrón. Christós anéstee ek nekrón. (Christ has risedn from the dead.)

Solo bass The Psalm. Psalm 3 The Psalm. Psalm 38 Solo bass The Psalm. Psalm 63 The Psalm. Psalm 88

Cycle V Cycle VI Cycle VII

Solo soprano A comuning morn… As a second sun… Solo soprano Absolved; in the mirror…

Choir Lord Jesus Christ, Son of God, Kýrie Ieesoú, eléisón me. Choir Lord Jesus Christ, Son of God, have have mercy on me. mercy on me.

Choir, with soloists Tóhu, Vóhu, Tahúm. Lógos. Tóhu, Vóhu, Tahúm. Lógos. Choir, with soloists Tóhu, Vóhu, Tahúm. Lógos. MARANÁTHA. (Our Lord, come!) MARANÁTHA.

Solo bass En archée een o Lógos… En archée een o Lógos… Solo bass En archée een o Lógos…

Choir Kýrie Ieesoú, eléisón me. Lord Jesus Christ, Son of God, have Choir Kýrie Ieesoú, eléisón me. mercy on me.

Choir You mantle yourself in light… You mantle yourself in light. Choir You mantle yourself in light.

Choir Lord Jesus Christ, Son of God, Kýrie Ieesoú, eléisón me. Choir Lord Jesus Christ, Son of God, have mercy on me. have mercy on me.

- 22 - - 23 - Cycle V Cycle Vi Cycle VII

Choir, with soloists Outside the gates of Paradise, I sat Outside the gates of Paradise, I sat Choir, with soloists Outside the gates of Paradise, I sat and wept. O Blessed Paradise, pray and wept. O Blessed Paradise, pray and wept. O Blessed Paradise, pray for me… for me… for me…

Choir Kýrie Ieesoú, eléisón me. Lord Jesus Christ, Son of God, Choir Kýrie Ieesoú, eléisón me. have mercy on me.

Choir What God is, we do not know. What God is, we do not know. Choir What God is, we do not know.

Choir Lord Jesus Christ, Son of God, Kýrie Ieesoú, eléisón me. Choir Lord Jesus Christ, Son of God, have mercy on me. have mercy on me.

Choir Our Father, which art in heaven... Our Father, which art in heaven... Choir Our Father, which art in heaven...

Choir Kýrie Ieesoú, eléisón me. Lord Jesus Christ, Son of God, Choir Kýrie Ieesoú, eléisón me. have mercy on me.

Choir O Mary Theotokos, thou art O Mary Theotokos, thou art Choir O Mary Theotokos, thou art the mystic tongs… the mystic tongs… the mystic tongs…

Choir Hail, O Mother of God!.. Hail, O Mother of God!.. Choir Hail, O Mother of God!..

Choir Mother of God, here I stand Mother of God, here I stand Choir Mother of God, here I stand now praying… now praying… now praying…

Choir In thee rejoiceth. In thee rejoiceth… Choir In thee rejoiceth…

- 24 - - 25 - Cycle V Cycle VI Cycle VII

Choir Awed by the beauty of thy virginity. Awed by the beauty of thy virginity... Choir Awed by the beauty of thy virginity...

Basses Alleeloúia. Alleeloúia. Basses Alleeloúia.

Choir Lord Jesus Christ, Son of God, have Kýrie Ieesoú, eléisón me. Choir Lord Jesus Christ, Son of God, mercy on me. have mercy on me.

Choir Alleeloúia. Theós erastós… Alleeloúia. Theós erastós… Choir Alleeloúia. Theós erastós…

Basses Kýrie eléisón. Kýrie eléisón. Basses Kýrie eléisón.

Choir Kýrie Ieesoú, eléisón me. Lord Jesus Christ, Son of God, Choir Kýrie Ieesoú, eléisón me. have mercy on me.

Solo bass The Holy Gospel V: John 15.13-16.4 The Holy Gospel VI: John 16.5-33 Solo bass The Holy Gospel VII: John 17.1-18

Choir Alleeloúia. Ágios o Theós. Alleeloúia. Ágios o Theós. Choir Alleeloúia.

Choir Te re rem. Te re rem.

Choir Ágios ischyros. Ágios ischyros.

Choir Have mercy on me, O God, in Have mercy on me, O God, in your great mercy… your great mercy…

Choir Ágios Athánatos, eléisón imás. Ágios Athánatos, eléisón imás.

- 26 - - 27 - Cycle V Cycle VI From Illusion to Truth ‘There are ten degrees of holiness,’ we hear in The Veil of the Temple was torn in two the Mishnah, the collection of Temple laws Choir In Thy kingdom remember us, In Thy kingdom remember us, and lore compiled 150 years or more after O Lord… O Lord… ‘Before the doors of the Anteroom in the Temple the Temple’s destruction. Holiness was at its there was hung a veil, of Babylonian tapestry, greatest in the Temple, the centre of concentric The Beatitudes: 33-42 (Tenor) The Beatitudes: 43-49 (Soprano) with embroidery of blue and fine linen, of circles of increasing intensity and power. scarlet also and purple, wrought with marvellous Holiest of all was the Holy of Holies, ‘for none Choir Ágios Athánatos, eléisón imás. Ágios Athánatos, eléisón imás. skill. This mixture of materials had a significance may enter therein except only the High Priest of its own. The veil contained them as an on the Day of Atonement at the time of the Choir Christós anéstee ek nekrón. Christós anéstee ek nekrón. image of all things. For in the scarlet, it Temple service.’ seemed, was an allusion to fire, in the linen to Solo bass The Psalm: Psalm 103 The Psalm: Psalm 143 earth, in the blue to the air and in the purple The façade of the sanctuary, 150 feet high to the sea. In two cases the comparison lay in and wide, was sheathed with gold. It faced east, the colour. In the linen and purple it lay in the and was dazzling in the morning sun. We have material’s origin; for one is produced by the heard Josephus’ account of the veil that stood earth and the other by the sea. On this tapestry at the entrance to the Anteroom to the Holy was portrayed a panorama of the heavens.’ – of Holies. Here the altar of incense was kept. Josephus, Jewish historian, writing c AD 75. The Anteroom was entered by the officiating priests twice daily for the rites of the Morning ‘Whoever swears by the Temple,’ said Jesus, and Evening Sacrifice. ‘swears by him who lives in it.’ (Matthew 23.21) The Temple was the house of God. In Jesus’ day A second veil protected the Holy of Holies itself. the Temple’s buildings covered 35 acres on a The room was a pure cube. It was entered just vast plateau, largely man-made, at the eastern once a year, on the Day of Atonement, by the edge of Jerusalem. To approach closer to high-priest alone: first with incense, then with God’s presence than was proper or permitted the blood of a bull, then with the blood of a goat. was to risk death. The Day’s rituals atoned for the priests and the people, for the holy place and the altar itself. By the time of Jesus the ‘mercy-seat’ of God in the © Chris Christodoulou

- 28 - - 29 - Holy of Holies, on which the blood had once been heaven itself, are invisible; they are accessible to And Jesus gave a great cry and breathed out sprinkled, had long since been lost. The Holy of the mind alone.’ his spirit. Holies was empty. The Gospel of Mark: The Tearing of the Veil And the veil of the Temple was torn in two, from top The Temple as a whole represented the created to bottom. (Mark 15.33-4, 37-8) order. The materials of the veil united all Jesus was baptised in the Jordan by John. And the elements; its decoration represented the immediately, coming out of the water, he saw © Robin Griffith-Jones vault of heaven. To pass beyond the veil was to the heavens torn and the spirit like a dove pass from earth to heaven. descending on him. Right at the start of the gospel Jesus sees into the mysteries of heaven. It was to enter the court of God himself. And They include his own commission: And there there the seer would see the truths of heaven: was a voice from heaven, ‘You are my beloved the plan, the faithfulness and the glory of God. son, in you have I taken delight.’ (Mark 1.10-11)

The Jewish philosopher Philo knew this well. At the story’s end the ‘heavens’ are parted again. He draws on it for his Platonised theology. Their mysteries are unveiled. All that divided the ‘The highest, and in the truest sense the holy court of heaven from the mortal world is torn Temple of God is, as we must believe, the whole away; all the grades of holiness are undermined. universe. Its sanctuary is the most sacred part For God’s plan, faithfulness and glory are now of all existence: heaven itself. Its votive accessible to all: in the sight of Jesus’ death. ornaments are the stars, its priests the angels.’ Philo dwells on the inner veil, dividing Here is an unveiling, an ‘apocalypse’ that the Anteroom from the Holy of Holies. ‘In the confounds all categories and all expectation. universe, heaven is a palace of the highest sanctity, and earth is the outer region... And at the sixth hour there was darkness over The furnishings of the Anteroom represent the whole earth until the ninth hour. And at the realities of heaven as far as they can the ninth hour Jesus cried with a loud voice. be apprehended by the senses. Things in the ‘Eli, eli, lama sabachthani’, which means, ‘My © Nina Large Holy of Holies beyond the second veil, in God, my God, why have you abandoned me?’... Sir John Tavener and Stephen Layton

- 30 - - 31 - PERFORMERS

Stephen Layton The Choir of the Temple Alto The Holst Singers Anna Ramell Tenor Roger Gifford Tibetan Horn Conductor Church Iestyn Davies Soprano Clare Reeder Harry Bagnall Stephen Haylett John Thurgood Treble William Missin Jenny Ball Tami Tal Ian Balfour Christopher Head James Vivian Sean Campbell-Hyne Keith Roberts Clare Beard Clare Taylor Paul Casey David Henderson Tibetan Temple Bowls Assistant Music Director Geoffrey Chang William Towers Abi Boreham Nicola Wenman Tom Cragg William Lane Tubular Bells, Tam Tam Louis Chartres Tom Williams Emily Bradshaw Lucie Wickham Murray Goulstone John Marsh Hugh Benson Patricia Rozario Tim Crawford Philippa Casey Georgeanna Williams Simon Jones Paul McLaughlin Christopher Kassam Soprano Jonathan Ekwonna Tenor Sarah Christie-Brown Georgina Wilson David Knight James Mews Robert Millett principal Josiah Gladwell David Brown Fiona Clampin Al Long Dominic Parker Alex Mitchell Simon Wall Nicholas Hartley Leo Hussain Sarah Cooney Alto Iain Rhodes Kevin Raftery Yates Norton Nathan Vale Benjamin Hedley Nathan Vale Katy Cooper Christina Astin Samir Savant Peter Roberts Luca del Panta Tenor Matthew Howitt Toby Watkin Eleanor Cutforth Jessica Axe Peter Thresh Jon Saunders Brass Joseph Jones Simon Wall Elizabeth Dobbin Sarah Billiald Scott Wellstead Richard Shillito Thomas Guthrie Luke Jones Thalia Eley Hilary Brown Dan Wise Andrew Sparke Members of The English Andrew Rupp Luke Lampard Bass Elisa Harris Anne Carter Julian Woodward Matthew Swann Chamber Orchestra Baritone Christopher Loyn David Barnard Hidemi Hatada Fiona Challacombe Simon Wookey Jonathan Tyack John Thurgood Horn, Andrew Malone Jeremy Birchall Janet Head Lucy Elwell Daniel Yates Matthew Walker Tibetan Horn Adrian Peacock Deputy Head Chorister Chris Gabbitas Rebecca Hickey Esther Jones Ben Warren Tony Chidell Horn Jeremy Birchall Peter Malone Thomas Guthrie Kathleen Holman Sian Jones Bass Graham Williams Carsten Williams Horn Bass Joe Nelson Adrian Peacock Kate Hopkins Judith Kerr Gary Ansdell Andy Crowley Trumpet Nicolas Opfermann Andrew Rupp Niki Ihnatowicz Claire Kidwell Edward Bhesania Instrumentalists Neil Brough Trumpet Michael Schmidt Robert Temmink Leah Jackson Nina Large Bill Blanchard Organ, Indian Harmonium Colin Sheen Trombone Head Chorister Richard Savage Joanne Kilpatrick Zannis Mavrogordato Philip Bugaiski Ian le Grice Peter Harvey Bass Trombone Robert Schmidt Jessica Loeb Caroline McLaren Richard Corner James Vivian Carolyn Maddox Geraldine Rossetti Jonathan Davies Leonie Mason Alice Shelton Damian Eley Duduk Wendy Moor Iliana Taliotis Nico Ferrinho Dirk Campbell Anna Moses Helen Thompson Alex Fleetwood Ruth Parker Jane Walker Greg Fullelove

- 32 - - 33 - The Veil of the Temple From Cycle I Instrumental: 3 Primordial Call realisation of what is meant Note by Brian Keeble by man’s being created in the Solo soprano: 1 Ah! What was there in that candle’s light? Choir: 4 Kýrie Ieesoú, eléisón me. Divine Image. The Veil of the Temple: The All- Jalaluddin Rumi Oh, you struck fire in my heart, (1207-73), Night Vigil was commissioned Sufi mystic and I have been consumed! Soloists: Tóhu, Vóhu, Tahúm. Lógos. The performance of The Veil is for the Temple Church in London, Oh, friend, come quickly! Adrian Peacock, a musical journey using voices David Barnard and conceived and executed on From the face of the heart, Basses and instruments. Performance an unprecedented scale; its the Divine has appeared. Simon Wall Tenor takes place at night in a sacred performance lasts some hours. Nothing can help me but that beauty. space, and the object of the journey The present version was prepared Once, at dawn, my heart was shattered Basso Profundo: En archée een o Lógos. is to make effective a heightened by the composer and lasts about by your sweet odour! Jeremy Birchall In the beginning was the Word. state of being of the listener three hours. In this version the My soul heard something from your soul. through a symbolic unveiling from original eight cycles are ‘mirrored’ When my heart drank water from Choir: Lord Jesus Christ, Son of God, darkness towards light. rather than performed as entities. your spring, it drowned in you, have mercy on me. The gradual ascent throughout And was borne away in its current. The soul’s journey is to move the cycles is also ‘mirrored’. It Choir: You mantle yourself in light, stretch out from the existential darkness is not liturgy, although it has a Choir: 2 Lord Jesus Christ, Son of God Psalm 104 the skies as a curtain; of temporal duration – time – liturgical dimension; neither is have mercy on me the clouds your chariot, towards the Glory of the divine it concert music. (That is, in the you tread the ways of the wind. instantaneity, the ever-abiding sense of being a work of art Soloists: Tóhu, Vóhu, Tahúm. Lógos light of the Eternal. It is also, for designed as an end in itself and Adrian Peacock, Without form, void, chaos. Word. Choir: Kýrie Ieesoú, eléisón me. the symbolic themes are threaded David Barnard meant to express and flatter Basses and interwoven throughout the merely human qualities.) The Simon Wall Tenor Choir, with soloists: 5 Outside the gates of Paradise. music’s unfolding, at the beginning reasons for art do not lie Simon Wall Nathan O Blessed Paradise, in the absence of light, a waiting Vale Tenors within art itself, which must always Basso Profundo: En archée. pray for me, pray for me. at the tomb of Christ for the Light strive to connect with what Jeremy Birchall In the beginning. of the Resurrection. John 1.1 transcends the human as such. Choir: Lord Jesus Christ, Son of God, have mercy The purpose of The Veil is to Choir: Kýrie Ieesoú, eléisón me. on me. The listener should be aware at awaken, through music, some the outset of two features of the

- 34 - - 35 - conception of The Veil which act Choir: What God is, we do not know. Choir: 8 Alleeloúia. Theós erastós, The second non-auditory aspect as important non-auditory aspects Attr. Dionysius the He is not light nor spirit, nor one. Theós agapeetós, Dóxa see. of The Veil’s conception is closely Areopagite of the music’s performance. The (see Acts 17.34) Beloved God, Glory to thee. related to the first, and underscores first feature might be said to form the whole work. God is nothing, the seminal idea (archetype) of Basses: Kýrie eléisón. in the sense that God is no thing. the whole work. It is the idea that From Cycle II In the last twenty minutes of any claim to an exclusive Choir: Lord Jesus Christ, Son of God, have the work the awakened soul has possession of Truth by any Choir: Kýrie Ieesoú, eléisón me. mercy on me. moved from darkness to light sacred tradition is equivalent until a point is reached, with the to placing a limitation of the Choir: 6 Our Father, which art in heaven, Solo Baritone: 9 Let not your heart be troubled: ye believe intensification of the light, that infinitude of the Divine which Hallowed be thy name. John 14.1.9 in God, believe also in me. In my Father’s there is a sudden explosion of light. must, by definition, encompass Thy kingdom come. house are many mansions: if it were not This is the rending of the Veil. everything. Whatever symbols, (The Lord’s Prayer in English, Greek, so, I would have told you. I go to prepare words or characterisation used and Church Slavonic) a place for you. And if I go and prepare a Some indication of the depth to define or express the nature of place for you, I will come again, and and complexity of the symbolic God and His relationship to man Choir: Lord Jesus Christ, Son of God, have receive you unto myself; that where I am, resonances at the climax of The must, in the final analysis, be seen mercy on me. there ye may be also. And whither I go ye Veil can be gauged by recalling inevitably as an accommodation know, and the way ye know. Thomas saith the following themes, which, to man’s earthly state. In order Choir: 7 O Mary Theotokos, thou art the mystic unto him, Lord, we know not whither in varying degrees of intensity, to embrace the infinitude of God, tongs, who conceived in thy pure womb thou goest; and how can we know the are underwritten by the music all forms have to be shattered Christ, who is the living coal. way? Jesus saith unto him, I am the way, of the eighth cycle: The Goal of – even that of The Veil. In the the truth and the life: no man cometh the Journey; Totality of Light; The religious context of the music this Choir: Hail, O Mother of God! Hail, fiery throne! unto the Father, but by me. If ye had Light of the Resurrection; The means all models of a manifest known me, ye should have known my Rending of the Veil of the Temple; Temple of Jerusalem must finally Choir: Mother of God, here I stand now praying, Father also; and from henceforth ye Destruction of the old order – the be discarded in the Face of the Mikhail Lermentov Before this ikon of your radiant brightness. know him, and have seen him. Philip exclusivity of the various differing (1814-41) Divine Presence. saith unto him, Lord, show us the Father, religions; Destruction of any Choir: Kýrie Ieesoú, eléisón me. and it sufficeth us. Jesus saith unto him, manifest structure of the Holy Have I been so long time with you, and Temple of Jerusalem through the

- 36 - - 37 - realisation of the greater spiritual yet thou hast not known me, Philip? He like an angel from heaven upon the earth, Mary Magdalen is surely the and metaphysical model of the that hath seen me hath seen the ministering to the Lord with fear and love. mirror opposite of Mary Theotokos, Temple within; Realisation of Self. Father; and how sayest thou then, show the Blessed Virgin, the mother us the Father? Blessed the one who loves repentance, of Jesus and so mother of God? © Brian Keeble that saves sinners, and has not thought The Blessed Virgin is the mystic Choir: 0 Alleeloúia. Ágios o Theós. of doing ill, like someone ungrateful tongs that carried the mystic Brian Keeble is the founder of before God our Saviour. Blessed the one coal. She is the bridge between Golgonooza Press, and editor of Choir: Te re rem. who, seated in his cell, like a noble heaven and earth, humanity the works of, amongst others, warrior guards the treasures of the and God. Cecil Collins, Philip Sherrard, and Choir: Ágios ischyrós. kingdom, that is his body with his soul, Kathleen Raine. His Art: For Whom blameless in the Lord. The soprano is heavily veiled in and For What? was published Choir: Have mercy on me, O God, in your great illusion at The Veil’s start; unveiled in 1988. He enjoyed many years mercy: according to the fullness of your Blessed the one who, seated in his cell, before total beauty at the end, and of close friendship with John compassion, wipe my sins away. Jesus, like the angels in heaven keeps his aware of her passage from Illusion Tavener, and much of their lives having risen from the tomb as he thoughts pure, and with his mouth sings to Supreme Reality. She has and cultural interests have run foretold, has given us eternal life and praise to the one who has authority over attained the unsurpassed Wisdom on a parallel course. his great mercy. every thing that breathes. which she represented, in her own person, for the Gnostic Christians Mary Magdalen Choir: Ágios Athánatos, eléisón imás. Blessed the one who has become like the of the 2nd and 3rd centuries. Seraphim or the Cherubim and never The soprano represents Mary Choir: In thy kingdom remember us, O Lord, wearies in his spiritual ministry, According to The Gospel of Philip Magdalen, the prostitute, an when thou comest in thy kingdom. unceasingly giving glory to the Lord. (late 2nd century), ‘The Wisdom outcast, the painfully distorted Blessed the one who is always full of that is called barren is the mother figure of ‘love’ that is utterly Trebles: Beatitudes q Blessed the one who always hated spiritual joy, and has not grown slack in of the angels and the companion unlovely. But this is the first of St Isaac the evil-doing, that is full of shame, and bearing the Lord’s good yoke, for he will of the Saviour. The Saviour loved Syrian person to see Jesus on Easter presented himself as a living sacrifice, be crowned with glory. Mary Magdalen more than all the Day, for she loved him utterly. well-pleasing to the Lord. Blessed the disciples... The other disciples one who always keeps the memory of Blessed the one who has cleansed said to him, “Why do you love her God in himself, and he will be wholly himself of every stain of sin, so that with more than all of us?” The Saviour

- 38 - - 39 - answered and said to them, “Why boldness he may receive into his own Choir, with soloists: Outside the gates of Paradise, I sat and that she embraces sacred nudity do I not love you like her? If a blind house the King of Glory, our Lord Simon Wall Nathen wept. O Blessed Paradise, pray for me, after his death and resurrection, Vale Tenors man and one who sees are both Jesus Christ. pray for me. With the rustling of as did St Mary of Egypt and the together in the darkness, they are your leaves. Hindu saint Lalla Yogishwari no different from one another. Choir: Ágiós Athánatos, eléisón imás. Holy and after her. When the light comes, then he immortal, have mercy upon us. Choir: Kýrie Ieesoú, eléisón me. who sees will see the light, and ‘Human personifications of the the blind will remain in darkness.”’ Choir: Christós anéstee ek nekrón. Choir: Ágiós Athánatos, eléisón imás. Divine Friend occur in every Christ has risen from the dead. religion and Mary Magdalen The soprano appears and Choir: Christós anéstee ek nekrón. combines the principles of Eve disappears in different guises; and Mary i.e cosmic mystery she is lovely but elusive. For the From Cycle III solitude – nudity and levitation power that draws us out of illusion From Cycle IV by the angels.’ towards reality is love. Tavener Instrumental: w Primordial Call uses beauty – the beauty of his Instrumental: t Primordial Call The Jesus Prayer music itself – to draw us out Choir: e Lord Jesus Christ, Son of God, have of the illusions that infect us mercy on me. Choir: Kýrie Ieesoú, eléisón me. The Jesus Prayer, ‘Lord Jesus into the light of love. Christ, Son of God; have mercy on Choir: You mantle yourself in light, stretch out Choir: y What God is, we do not know. He is not me, a sinner’ recurs throughout Tavener wrote to Layton in 2002:- the skies as a curtain; the clouds your Attr. Dionysius light nor spirit, nor one; nor what we The Veil. It is an ancient Orthodox The soprano ‘is in one sense chariot, you tread the ways of the wind, (Acts 17.34) name as God-head; not wisdom, not prayer, to be said over and over always Mary Magdalen, on a making winds your messengers, flaming reason, not love, not will nor grace. again. Bishop Kallistos Ware journey towards the beloved. fire your servant, on a firm base writes:- ‘To begin with, the Jesus She is the bridge between earth establishing the earth, which forever Choir: Kýrie Ieesoú, eléisón me. Prayer is an oral prayer like any and Heaven. Certain esoteric will not be moved. other. The attentive repetition of Coptic scriptures speak of Mary the Prayer often proves a hard and Magdalen as the Divine Friend Choir: r Lord Jesus Christ, Son of God, have From Cycle V exhausting task. In course of of Christ. They speak of her mercy on me. time the Prayer becomes more following him everywhere, and say Instrumental: u Primordial Call inward. The Prayer gradually

- 40 - - 41 - acquires a rhythm of its own, Choir: Lord Jesus Christ, Son of God, have mercy Choir: Kýrie Ieesoú, eléisón me. Note for Cycle VIII at time singing within us upon me. almost spontaneously, “a small Maranatha. – 1 Corinthians 16.22 murmuring stream”. Finally the Choir: i You mantle yourself in light, stretch out From Cycle VI (‘Our Lord, come’ or ‘Our Lord has Prayer enters into the heart, the skies as a curtain; the clouds your come’ in Aramaic, the language dominating the entire personality. chariot, you tread the ways of the wind, Instrumental: a Primordial Call of Jesus’ first followers) Its rhythm is identified more and making winds your messengers, flaming more closely with the movement fire your servant, on a firm base Choir: Kýrie Ieesoú, eléisón me. Awake, thou, that sleepest, of the heart.’ The Jesus Prayer establishing the earth, which forever and arise from the dead, and provides the heart-beat of The Veil. will not be moved: the deeps enrobed it; Choir: s What God is, we do not know. He is not Christ shall give thee light. – the waters stood above the mountains. light nor spirit, nor one; nor what we Ephesians 5.14 Te re rem At your rebuke they flee, at the voice of name as God-head; not wisdom, not your thunder they rush away. Mountains reason, not love, not will nor grace; no These are acclamations from In Orthodox psalmody, each ode rose, valleys sank down to the place you thing, no unthing, nothing. What He is – I the earliest years of the Church. (or sequence of verses) is sung established for them. You filled the and you and no created thing ere we ‘Awake, thou that sleepest’ to a melody that stands at its bounds they may not pass, nor return to came to be. was probably used at Baptism, head in the liturgical psalter. This cover the earth. ‘Maranatha’ at the Eucharist. melody may be sung in syllables Choir: d Kýrie Ieesoú, eléisón me. The Book of Revelation ends with such as ‘tererem’, ‘nananu’ and Choir: o Lord Jesus Christ, Son of God, have a translation of ‘Maranatha’ in suchlike that form no known mercy on me. Choir: Alleeloúia. Theós erastós, Theós agapeetós, the dialogue between Christ and words, in a passage known as a Dóxa see o Theós. his church: krateema. Some say a krateema Choir: p Our Father, which art in heaven, Hallowed is an expression of divine be thy name. Thy kingdom come, Thy will Basses: f Kýrie eléisón. ‘Surely I come quickly.’ ‘Even so: ecstasy, and that is how Tavener be done on earth, as it is in heaven. come, Lord Jesus.’ – Revelation 22.20 has understood it. Give us this day our daily bread; Choir: Lord Jesus Christ, Son of God, have And forgive us our trespasses, As we mercy on me. forgive those who trespass against us. (The Lord’s Prayer, in English, Greek, and Choir: g Agios o Theos. Church Slavonic)

- 42 - - 43 - ‘Who will defend the Holy Temple?’ Choir: Ágios ischyrós. we came to be, never encountered by sound. The Holst Singers what He is. sang inwards, standing against On 18 March 1228 the Holy Roman Choir: h Have mercy on me, O God, in your great the north, east and south walls Emperor Frederick II crowned mercy: according to the fullness of your Choir: Kýrie Ieesoú, eléisón me. of the Church. The choirmen of himself King of Jerusalem in the compassion, wipe my sins away. Jesus, the Temple Church sang in the Church of the Holy Sepulchre. having risen from the tomb as he Choir: 5 O Mary Theotokos, thou art the mystic Round, at the Church’s west Frederick valued and studied foretold, has given us eternal life and tongs, who conceived in thy pure womb end, among the knights’ tombs. Islam; he launched a dialogue his great mercy. Christ, who is the living coal. The instrumentalists played with Islamic leaders. For the on a platform in the centre of established forces in the Holy Choir: Ágios Athánatos, eléisón imás. Choir: 6 Hail, O Mother of God! Hail, fiery throne! the Chancel. Land, not least the Knights Hail, candlestick that bears the Light! Templar, this was almost apostasy. Hail, mountain of sanctification! Hail, ark Upanishad Hymn Their horror is represented CD2 of life! Hail, temple never to be in the story of the Knight’s From Cycle VII destroyed! Hail, veil of the temple! Tavener wrote to Layton in 2002:- appearance on 18 March and his ‘Upanishad Hymn – it is (will be, I sad question, ‘Who will defend the Instrumental: 1 Apocalyptic Primordial Call Choir: 7 Mother of God, here I stand now praying, think) a “magnificent” primordial Holy Temple?’ Before this ikon of your radiant thing. It is a massive chorale-like Solo soprano: 2 Absolved; in the mirror, you see the brightness, Not praying to be saved from outburst with Hindu chanting in In The Veil, the reply of the Knights Trinity, its eternity and glory, and exult in it. a battlefield: Not giving thanks, nor the centre which “represents” God. changes: from ignorance and fear seeking forgiveness For the sins of my into a recognition that the Holy Choir: 3 Lord Jesus Christ, Son of God, have soul, nor for all the souls, Numb, joyless ‘It is monolithic, massive and my Temple embraces more than just mercy on me. and desolate on earth; – answer to Parry’s Jerusalem! The themselves. But for her alone, whom I wholly give you. Hindu text from the Upanishads Choir: 4 What God is, we do not know. He is not translates into magnificent rolling The Choirs in Cycle VIII light nor spirit, nor one; nor what we Choir: In thee rejoiceth, O thou who art full of English, the central chanting is name as God-head; not wisdom, not grace. O thou Mary, full of glory, glory in Sanskrit ... A celebration of In the performance of Cycle VIII reason, not love, not will nor grace; to thee. God and of the Round church the audience, in the Chancel of the no thing, no unthing, nothing. What He is but it is most certainly not fast! Temple Church, was surrounded – I and you and no created thing ere Choir: Awed by the beauty of thy virginity, and Overwhelming as the Horns

- 44 - - 45 - “whoop” up to top F’s and G’s the exceeding radiance of thy purity, thine own self with the glory which I ‘Understand that this is the representing Indian “Elephants”! Gabriel called out unto thee, O Mary had with thee before the world was. I have same, my dear. Separated from Primordial as well.’ full of grace. manifested thy name unto the men life, it dies, but life does not die. which thou gavest me out of the world: That subtle stuff, it is the self of Tat tvam asi Choir: Alleeloúia. thine they were, and thou gavest them everything. It is truth. It is the self. me; and they have kept thy word. Now That You Are, Shvetaketu.’ (VI.11) In the Chhandogya Upanishad, Choir: 8 Lord Jesus Christ, Son of God, have they have known that all things Book VI, the sage Uddālaka mercy on me. whatsoever thou hast given me are of The Peace Chant: Shántih teaches his son Shvetaketu. In thee. For I have given unto them three successive dialogues the Choir: Alleeloúia. Theós erastós, Theós agapeetós, the words which thou gavest me; and Púrnam, translated here ‘full’, could teacher concludes, ‘Tat tvam asi’, Dóxa see o Theós. they have received them, and have as well be translated ‘abundant’ ‘That You Are’. This is the first:- known surely that I came out from or (in this context) ‘infinite’. Basses: Kýrie eléisón. thee, and they have believed that thou ‘If someone hacked at the root of didst send me. This is a peace chant, a Shántih: this mighty tree, my dear, it would Choir: Kýrie Ieesoú, eléisón me. verses chanted before the opening live, but bleed; if someone hacked I pray for them: I pray not for the world, of an Upanishad. at it in the middle, it would live, Solo Tenor: Simon 9 These words spake Jesus, and lifted up but for them which thou hast given me; but bleed; if someone hacked at Wall John 17.1-18 his eyes to heaven, and said, Father, the for they are thine. And all mine are This particular Shántih is used the top, it would live, but bleed. hour is come; glorify thy Son, that thine, and thine are mine; and I am with all the upanishads associated Being pervaded by life, by thy Son may also glorify thee: as thou glorified in them. And now I am no more with the White Yajur-Veda. self it stands, drinking in hast given him power over all flesh, that in the world, but these are in the world, moisture, flourishing. he should give eternal life to as many and I come to thee. Holy Father, keep We are grateful to the late David as thou hast given him. And this is through thine own name those whom Melling for his help with the notes ‘If life leaves one of its branches, life eternal, that they might know thou hast given me, that they may be for Tat tvam así and Shántih. that branch withers; if it leaves a thee, the only true God, and Jesus one, as we are. While I was with them second, that withers; if it leaves a Christ, whom thou hast sent. I have in the world, I kept them in thy name; third, that withers; if it leaves the glorified thee on earth: I have finished those that thou gavest me I have kept, entire tree, the entire tree withers. the work which thou gavest me to do. and none of them is lost, but the son of And now, O Father, glorify thou me with perdition: that the scripture might be

- 46 - - 47 - fulfilled. And now come I to thee; and these things I speak in the world that they From Cycle VIII might have my joy fulfilled in themselves. I have given them thy word, and the world hath hated them because they are not of the world, even as I am not Solo Baritone: MARANATHA. Our Lord, come! of the world. I pray not that thou shouldest take them out of the world, but Andrew Rupp 1 Cor 16.22 that thou shouldest keep them from the evil. They are not of the world, even as I am not of the world. Sanctify them through thy truth: thy word is truth. As thou hast sent me into the world, even so have I also sent them into the world. Solo Bass: Adrian What shall we say then? Shall we continue in sin that grace may abound? God Peacock Romans And for their sakes I sanctify myself, that they also might be sanctified 6.1-10 forbid. How shall we, that are dead to sin, live any longer therein? Know ye not, through the truth. Neither pray I for these alone, but for them also which shall that so many of us as were baptized into Jesus Christ were baptized into his believe on me through their word: That they all may be one; as thou, Father, art death? Therefore we are buried with him by baptism into his death: That like as in me, and I in thee, that they also may be in us: that the world may Christ was raised up from the dead by the glory of the Father, even so we should believe that thou hast sent me. walk in newness of life. For if we have been planted together in the likeness of his death, we shall also be in the likeness of his resurrection: knowing this, that And the glory which thou gavest me I have given them; that they may be one, our old self is crucified with him, that the body of sin might be destroyed, even as we are one: I in them, and thou in me, that they may be made perfect that henceforth we should not serve sin. For he that is dead is freed from sin. in one; and that the world may know that thou hast sent me, and hast loved them, Now if we be dead with Christ, we believe that we shall also live with him: as thou hast loved me. Father, I will that they also, whom thou hast given me, be knowing that Christ being raised from the dead, dieth no more; death hath with me where I am; that they may behold my glory, which thou hast given me; no more dominion over him. For in that he died, he died unto sin once: but for thou lovedst me before the foundation of the world. O righteous Father, the in that he liveth, he liveth unto God. world hath not known thee, but I have known thee, and these have known that thou hast sent me. And I have declared unto them thy name, and will Solo Baritone: q Awake, thou that sleepest. declare it: that the love wherewith thou hast loved me, may be in them, and I in Thomas Guthrie them. When Jesus had spoken these words, he went forth with his disciples over the brook Cedron, where was a garden, into the which he entered, and his disciples. Temple Church Awake thou that sleepest, and arise from the dead, and Christ shall give thee light. Choir: Choir: 0 Alleeloúia. Solo soprano: w Into beauty.

- 48 - - 49 - Solo soprano and e Rending of the Veil of the Temple Children’s voices: It was early in the morning, on the first day of the week... choir: MAYA ATMA. Supreme reality... illusion. Choir: As many of you who were baptised into Christ, and have put on Christ, Alleeloúia. O God of God, make the litany of light arise, make the people of the light arise, Choir: Ton éelion kréepsanda tas idhéeas aktéenas, ke to katapétasma tou naoú guide the light towards the light. Amen. dhiaragén. The sun hid its rays and the Veil of the Temple was rent. Choir: Who will defend the Holy Temple? Who will deliver the Tomb of Christ? Choir: r Who will defend the Holy Temple? Who will deliver the Tomb of Christ? Temple Church No, no, no, the Temple is not destroyed forever. Choir: Temple Church No one, no one, no one, the Temple is destroyed. Choir: (Answer of the Knights Templar, standing by their tombs) Basso Profundo: Dhéfte, lávete fos. Choir (a few voices, Night. Night from my most sweet brother has estranged me, cutting Love’s Jeremy Birchall Come receive the light. distant): Symeon uncut Light. (949-1022) Choir: Come, receive the Light of Christ.

Children’s voices: It was early in the morning, on the first day of the week... Children’s voices: It was early in the morning, on the first day of the week... John 20.1 Choir: As many of you who were baptised into Christ, and have put on Christ, Alleeloúia. Choir: Who will defend the Holy Temple? Who will deliver the Tomb of Christ? O God of God, make the litany of light arise, make the people of the light arise, guide the light towards the light. Amen. Temple Church No, no, no, the Temple is not destroyed forever. Choir: (Answer of the Knights Templar, standing by their tombs) Basso Profundo: Fos Christoú fénee pási. Jeremy Birchall Basso Profundo: Fos Christoú fénee pásee. Jeremy Birchall The light of Christ shines on all. Choir: The Light of Christ shines everywhere.

Choir: t The Light of Christ shines everywhere. Choir: Who will defend the Holy Temple? Who will deliver the Tomb of Christ?

- 50 - - 51 - Temple Church No, no, no, the Temple is not destroyed forever. Choir: The Light of Christ shines everywhere. Choir: Solo soprano: u New Jerusalem– Upanishad Hymn Solo baritone: y Maranátha. Ravouní. Master. Sopranos and altos: And I saw no Temple therein, for the Lord God Almighty and the Lamb are the Revelation 21.22, Temple of it. Surely I come quickly. Amen. Even so, come Lord Jesus. Basses: Tat tvam así. 22.20 That You Are.

Basso Profundo: Dhéfte, lávete fos. Solo soprano and AUM. Jeremy Birchall choir:

Choir: Come, receive the Light of Christ. Choir: Sink this universe in God. And everything that lives on earth! THAT ONE is resting, and yet restless, And far yet near! THAT ONE is inside all, and still Children’s voices: It was early in the morning, on the first day of the week... outside all. Sink this universe in God.

Solo baritone: Awake thou that sleepest. Trebles, choir, solo AUM. Thomas Guthrie soprano Andrew Rupp

Basses: i Púrnam adah, púrnam idam, púrnat púrnam udacyate, purnasya púrnam Choir: Awake thou that sleepest, and arise from the dead, and Christ shall give thee light. ádáya púrnam evavashishiate. Aum. Shántih, shántih, shántih. That is full, this is full. The full proceeds from the full. Taking the full from Choir: As many of you who were baptised into Christ, and have put on Christ, Alleeloúia. the full, the full remains. Aum. Peace, peace, peace. O God of God, make the litany of light arise, make the people of the light arise, guide the light towards the light. Sopranos, altos and Shine, shine, O new Jerusalem, for the glory of the Lord hath arisen upon thee. Amen. tenors: Isaiah 60.1

Basso Profundo: Fos Christoú fénee pási. Jeremy Birchall

- 52 - - 53 - From Old Creation to the New lain. And they say to her, ‘Woman, why are you Mary too will long to have Jesus as the human here; Satan’s power is undone. We are watching ‘It was early in the morning …’ weeping?’ ‘Because they have taken my lord, presence that she loves and misses. She too will the first day of a new creation. and I do not know where they have put him.’ reach out for Jesus, to touch him. The scene is In the beginning was the Word, and the Word extraordinarily sensuous. Then God said in Genesis, ‘It is not good that was with God, and the Word was God. The same The light is rising. In Genesis God said, ‘Let the man should be alone. I will make him a helper was in the beginning with God. John starts there be light.’ - And the light, John told us in his But such is not the love that Mary must have for suitable for him.’ So out of the ground God formed the story of his gospel at the dawn of all creation. opening hymn, shines in the darkness, and the Jesus now. He will refuse her touch: ‘Do not hold every beast of the field and every bird of the air, We take up the story, in a garden, as another darkness has never put it out. on to me.’ and brought them to the man to see what he would dawn approaches: once more on the first day call them. And whatever the man called every of the week, while it is still dark. Mary turns round and sees Jesus standing there, Gardens: the garden of The Song of Solomon; the living creature, that was its name. and does not know that it is Jesus. ‘Woman, garden of Jesus’ betrayal; the garden of Easter. In the beginning, we read in Genesis, ‘says Jesus, ‘why are you weeping? Who are you And underlying them all: the very first garden of At the story’s end Jesus’ dearest disciples see the God created the heavens and the earth. looking for? ‘She thinks he is the gardener and which the Jewish Bible knows: empty tomb, believe and go home. Left behind and And the earth was wildness and waste; says, ‘Sir, if you have taken him away, tell me disregarded is a woman. She has misunderstood and darkness was over the deep. where you have put him and I will take him away.’ And God planted a garden in Eden, we read the empty tomb, she looks still for Jesus’ body, in Genesis. she fails to know him when he stands before her, On Easter Day, before dawn, Mary Magdalen Searching, searching. Another garden is recalled And out of the ground God made to grow she longs for an earthly love and a human touch. comes to the tomb; she finds it empty. She runs throughout these pages: the garden of love, every tree that is pleasant to the sight to tell Peter and the disciple whom Jesus loves. rich as well with myrrh and aloes, where and good for food. Those knowing pupils have checked the evidence, They come to the tomb in turn and enter it. ‘Solomon’ and his bride had sung. The bride God took the man and put him in ‘believed’, and left. But it is not to them that They see the grave-clothes, heavy with the loses her beloved. the garden of Eden to till it and keep it. Jesus first appears. It is to Mary. For in that scent of myrrh and aloes. They believe: that inconsolable weeping is the voice of love. the tomb is empty. And from this, nothing Upon my bed by night I looked for him, What, then, is this garden, in which Mary meets follows. The disciples simply go home. sang the bride in The Song of Solomon. the gardener at first light on the first day, the day Let me as a seal upon your heart, I will get up and will walk round the city when all creation had begun? In Eden the serpent sings The Song of Solomon, One figure remains outside the tomb. Mary and will look for him that I love with all my soul. had lurked and deceived humankind. A ‘serpent’ as a seal upon your arm. Magdalen stood at the tomb. As she wept, she I had scarcely left the watchmen, had entered the garden of betrayal, to guide the For love is strong as death. stooped down facing the tomb. And she sees when I found him that I love with all my soul; posse that took Jesus to his death. And in this Many waters cannot quench love, two angels, sitting where the body of Jesus had I took hold of him and will not let him go. garden on Easter morning? There is no serpent neither can the floods drown it.

- 54 - - 55 - Adam and Eve are once more in Eden. Let The writer of these words had travelled many The resounding success of this military wealth and merchandise to great distances, Adam name God’s creatures once more, and hundreds of miles from his home in Bordeaux adventure, with the recapture of Jerusalem, did raised its head on high. It is blessed by a the work is done. All creation is made new. Jesus to visit, in Palestine, the places associated much for the image of Christian knighthood wholesome climate, blessed too in Christ’s says to her, ‘Mary.’ with the life and death of Christ. He made in the west. In this context the Templars were religion, in the strength of its fortifications, in his journey in AD 333, and his is the earliest founded, early in the twelfth century: a fraternity the nature of its site, the repute of its citizens, © Robin Griffith-Jones personal account of such a pilgrimage to have of soldiers dedicated to the assistance of the honour of its matrons... The bishop’s see is in survived. He records the perennial sense of Christian pilgrims and to the defence of the the cathedral of St Paul... and there are, for ‘Amid the noble cities excitement felt by the Christian traveller who new Latin Kingdom of Jerusalem. The idea of Christian worship, both in London and in the of the World’ comes to tread in the very footsteps of Jesus; killing for religious ends was not uncontroversial suburb, thirteen greater conventual churches, The Temple Church in Medieval London like the many who came after, he saw and at the time. But the authoritative figure of St apart from lesser, parish, churches in number one described not the Jerusalem of his own day, Bernard gave his approval to the Templars, hundred and twenty-six.’ ‘Climbing Sion you can see the place where but as he imagined it in biblical times. The pronouncing that they and the other crusaders once the house of Caiaphas used to stand, and founder of Christianity had not enjoined were not homicides but ‘malicides’, who hated the FitzStephen’s celebration of the religious the column at which they fell on Christ and pilgrimage on his followers, but no amount of evil in the Muslims, not the men themselves. foundations of his city exemplifies a widespread scourged him still remains there. Inside Sion, insistence by theologians that it was irrelevant medieval habit of drawing analogies, implicit or within the wall, you can see where David had to salvation could deter the increasing number The Templars were given their formal rule explicit, between one’s home town and the holy his palace... As you leave and pass through the of intrepid travellers who took the long and in 1128. At about the same time a recruiting city of Jerusalem. The difficulties of reaching the wall of Sion, towards the gate of Neapolis, down hazardous way to Jerusalem. mission in the west came to London, occasioning Holy Land contributed to a developing practice in the valley on your right you have some the foundation of the first preceptory, or of constructing locally more or less elaborate walls where Pontius Pilate had his house, the The Arab conquest of the city in AD 638 made house, of the new order in England. The city of ‘copies’of particular Christian monuments, above Praetorium where the Lord’s case was heard little difference to Christian pilgrimage to London at this period was a rapidly expanding, all the Sepulchre of Christ, at Jerusalem. The before he suffered. On your left is the hillock Jerusalem, even as indigenous Christian cosmopolitan metropolis. Its scale, and the most extensive was a complex of buildings Golgotha where the Lord was crucified, and about communities were tolerated within the new pride of its citizens, are conveyed by the around the church of San Stefano at Bologna, a stone’s throw from it the vault where they laid his Muslim states. At the end of the eleventh description written later in the same century by developed during the twelfth century as the body, and he rose again on the third day. By century, however, a reinvigorated Roman William FitzStephen: dramatic setting for the annual dramatisation of order of the Emperor Constantine there has papacy launched the first Christian crusade, the Passion story. During these events, the city now been built there a ‘basilica’– I mean a with the declared aim of ‘liberating’ the ‘Amid the noble cities of the world, the city of itself was re-cast as Jerusalem. ‘place for the Lord’.’ ‘oppressed’Christians of the East, and of London, throne of the English kingdom, is one protecting western pilgrims to the holy places. which has spread its fame far and wide, its

- 56 - - 57 - The same spirit informed the round plan of the the piety of their enterprise and for their bravery of the London Temple, William de la More, refused Here, with convenient access both to the king’s Templars’ churches. The Templars’ first London in battle. (This was borne out by the enemy: a to admit the allegations, and died in the Tower. court on the one hand and to the merchant church, on Holborn, had been circular in plan. contemporary Arab writer, Ibn al- Athir, asserted All of the Templars’ property was seized by the suppliers of the city on the other, great lords When they moved to the New Temple – the of Saladin that ‘it was his custom to massacre crown, the chief beneficiary of the suppression. began at this period to build their London present site – in 1161 the sophisticated design of the Templars and Hospitallers, because of residences: the bishops of Ely and Salisbury, the new Church they soon built there the violent hatred which they bore against the The church, however, passed in 1324 to the when in town, were close neighbours of the advertised and reinforced the international Muslims and because of their bravery’.) The other leading military order, the Knights of the Temple. To the north, away from the river, fields standing of the order. The recollection of the choice of the London Temple as a place of Hospital of St John of Jerusalem; and so it would still dominated the view, but along Fleet Street Holy Sepulchre was emphasised by the display burial by William the Marshal in 1219 and survive as a landmark within the developing and the Strand, the western suburb was already of major relics of the Cross and the Blood of by King Henry III himself in 1231 is testimony to cityscape of London. It would continue to becoming crowded with the service trades Christ. Pilgrims to The Temple Church were its high standing. (The king later transferred evoke the religious analogies between London fostered by the magnetic powers of the new rewarded with indulgences. They were invited the bequest of his body to Westminster Abbey.) and Jerusalem by then so firmly established capital. Inns, alehouses, wine shops and at all times of the year and, given the scale of The order continued to play a key role in the by the location and popular reputation suppliers of all kinds of entertainment pressed spiritual rewards on offer, they are likely to have Latin East, up to and beyond the end of the Latin of the Temple. At the time of the Templars’ their attractions upon the visitor. FitzStephen come from throughout the country. In return, Kingdom of Jerusalem, with the fall of Acre to arrival in the twelfth century, the city was first mentions, among the merits of the twelfth- successive monarchs and their subjects endowed the Muslims, in 1291. acquiring the status of capital of the kingdom century city, the fact that unexpected guests could the new order with extensive gifts of rents and which it would retain until modern times. The easily be fed thanks to take-away restaurants lands. The administrative challenge of turning Base greed alone explains the action of King King’s removal of the centre of government selling cooked meats and pies. So the pilgrim these miscellaneous resources into cash which Philip the Fair of France who, on 13 October 1307, from Winchester recognised the already to the Temple Church, having completed his or could be despatched to fund military ventures had all the Templars in his kingdom arrested established commercial importance of London, her spiritual devotions in the replica of Christ’s in the Holy Land impelled the Templars to on trumped-up charges, their property being and led to the development of Westminster as sepulchre, could emerge to find no shortage of invent modern banking. By 1200, the London forfeited to the royal treasury. The English both the spiritual and the bureaucratic centre means for the restoration of the mortal body. Temple was functioning regularly as a treasury Templars were dissolved, on the same pretext, in of the realm. The choice of location for the and a source of loans, both for the crown and for the following January. The charges of heresy and New Temple, alongside the street which linked © Gervase Rosser other secular lords and merchants. idolatry – the Templars were accused of trampling the two poles of the new capital, was therefore on the crucifix, and venerating the image of a highly significant. Despite the occasional dry observation about cat – were transparently absurd. But they their enormous material wealth, the Templars sufficed to bring the history of the order to enjoyed a consistently high reputation both for an end. Despite the use of torture, the last master

- 58 - - 59 - ‘FOSTER-CHILD OF SILENCE establishing the most ascetic of all houses, La The New Knighthood: Jerusalem And so to Jerusalem itself: To descend from AND SLOW TIME’ Grande Chartreuse; Bruno had already been the Order’s headquarters on the Temple Mount The Knights Templar and The Round Church. master to Odo, who later became Pope Urban II The first half of The New Knighthood is well-known: across the Valley of Josaphat and up the Mount of and preached the First Crusade. When Robert in a text advising and praising and warning the Olives opposite – this was itself an allegory The Knights Templar: Burgundy moved again, in search of a yet more rigorous knights, Bernard speaks as well to their critics. for the dread of God’s judgement and our joy life, he took with him Stephen Harding, later He is under no illusions. Europe was as glad at receiving his mercy. The House of Martha, The Order of Knights Templar was founded in Archbishop of Canterbury. They set up their to be rid of these warring knights as the Holy Land Mary and Lazarus offers a moral: the virtue of 1118-9 by a knight of Champagne, Hugh of house at Cîteaux. Harding would in time become (in Bernard’s eyes) was glad to see them; their obedience and the fruits of penance. Payns, who led a group of his fellow-knights abbot. The rigour of the house made it few army could be a force for lawless violence – or in vows of poverty, chastity and obedience. At friends among the local nobility. Its future was for great good. In the tract’s second half Bernard And above all: in the Holy Sepulchre itself the their foundation they were deeply suspect: it uncertain. And then arrived as remarkable a turns to the Holy Land and to Jerusalem itself. knight should be raised up to thoughts of Christ’s was unnatural for one man to be soldier and monk as any of that remarkable age: Bernard. death and of the freedom from death that it had monk together. A handful of such ambivalent He spent three years at Cîteaux before a local Bernard reads Jerusalem itself like a book. won for his people: ‘The death of Christ is the knights had little chance, it might seem, of lord, Hugh Count of Champagne, gave him in He discovers in the city the fourfold sense which death of my death.’ Bernard draws on Paul’s attracting support. 1116 an area of inhospitable woodland well to the Middle Ages found in scripture: the literal; famous account of baptism, and finds in the the north, back in the neighbourhood of Payns. the allegorical (applying a passage to Christ pilgrims’ weariness the process of their necessary In Champagne and Burgundy lay the Order’s It was known as the Valley of Gall. Bernard and the Church militant); the moral (applying ‘dying’: ‘For we are buried with him by baptism origin and the seed of its success. Over the course gave it a new name: the Valley of Light – Clairvaux. it to the soul and its virtues); and the spiritual into death: that like as Christ was raised up from of fifty years a star-burst of spiritual energy (applying it to heavenly realities). The whole the dead by the glory of the Father, even so we illumined all of Europe; and its centre lay in Bernard of Clairvaux secured single-handed the country invited such a reading:- Bethlehem, ‘house should walk in newness of life. For if we have been this small area of eastern France. Hugh’s town Templars’ future. The Templars’ constitution, of bread’, was the town where the living bread planted together in the likeness of his death, so of Payns was near Troyes, the local city of one the Rule, shows all the marks of Bernard’s was first manifest. The ox and ass ate their we shall be also in the likeness of his resurrection Robert, who became a Cluniac monk. In 1075 influence. At the Council of Troyes in 1129 food at the manger; we must discern there, (Romans 6.4-5). How sweet it is for pilgrims after this Robert, already an abbot, left his monastery he spoke up for the Order. And, most influential by contrast, our spiritual food, and not chomp the great weariness of a long journey, after so with a group of hermits to found a new house: support of all, at the repeated request of vainly at the Word’s ‘literal’ nourishment. Next, many dangers of land and sea, there to rest at at Molesme. The list of those influenced by Hugh of Payns Bernard wrote In Praise of the Nazareth, meaning ‘flower’: Bernard reminds us of last where they know their Lord has rested!’ Robert and his houses reads as a roll-call of New Knighthood. those who were misled by the odour of flowers into Europe’s spiritual leaders. There was Bruno, who missing the fruit. Jerusalem lies at the centre of medieval maps, lived briefly as a hermit near Molesme before and was the centre of the crusaders’ world. The

- 60 - - 61 - most sacred place in this most sacred city was how they once looked in detail. But we can say Here in the Temple, in this replica of the reputation throughout Europe for his negotiations the supposed site of Jesus’ own burial: the of these, as of such effigies elsewhere:- The Sepulchre itself, the knights are waiting for with the Egyptian Sultan, 1239-41. Church of the Holy Sepulchre. It was the goal knights’eyes are open. They are alive. And they are their call to life, to arms and to the last, climactic of every pilgrim. It was the building, above all standing. Two knights have crossed legs. These battle for the most sacred place on earth. The King had in 1237 endowed three chaplains buildings on earth, that must be defended from follow a convention familiar from illustrations at the Temple to celebrate daily three masses, its enemies. And its central space is round. and stained glass: such figures are walking © Robin Griffith-Jones ‘one for us, one for all Christian people and one towards the viewer. The effigies, then, are not for the faithful departed’; and in 1239 he had The Effigies in the Round memorials of what has long since been and THE TEMPLE CHURCH FROM ordered a silver-gilt ciborium, at a cost of 5 gone; they speak of what is yet to come, of these 1307 TO THE PRESENT DAY marks, for the Temple. The new Chancel was The Holy Sepulchre in Jerusalem: in every round once and future knights who are poised to hear consecrated on Ascension Day, 24 May, 1240, church that the Templars built throughout Christ’s summons and to spring again to war. Henry III relied on the London Temple throughout presente Rege et multis regni magnatibus. Europe they recreated the sanctity of this holy No wonder such figures were shown in their his reign for diplomatic missions and for banking. place. Among the knights who would be buried in early thirties, the age at which Christ died and In 1235 he bequeathed by charter his body for The new Chancel is comparable to the Trinity the London Round was the most powerful baron at which the dead will rise on his return. interment, ‘when he should have gone the way Chapel at the east end of Salisbury Cathedral, of his generation: William the Marshal, Earl of of all flesh, to the Blessed Mary and the House consecrated in 1225. Each is a ‘hall church’: Pembroke (died 1219), adviser to King John By 1145 the Templars themselves wore white of the Chivalry of the Temple, London’; Queen a unified space whose ceiling is of the same and regent to Henry III. His sons’ effigies lie robes with red crosses. White was linked with Eleanor later declared the same choice for height throughout. (The vaults of the chancel around his own. The Marshal himself (who lies more than purity. In the Book of Revelation herself. This decision will have prompted the and of Salisbury’s Trinity Chapel are almost recumbent and still) took the Cross as an old the martyrs of Christ, clad in white robes rebuilding of the Chancel. Foundations of identical. Both are supported on unusually slender man; his sons (drawing their swords) did not. washed in the blood of the Lamb (Revelation the original Chancel, extending from the Round columns of Purbeck marble.) Apart from Their figures lie frozen in stone, forever alert in 7.14), are those who will be called to life at to the present choir-stalls, were discovered the high altar, the Chancel housed side altars defence of their father’s cause. Such burial was the ‘first resurrection’. For a millennium they after the War. to St John and St Nicholas. The height of the devoutly to be desired; for to be buried in the will reign with Christ; at its end Satan will lead piscina on the south wall suggests that the Round was to be buried ‘in’ Jerusalem. all the nations of the earth against ‘the beloved William the Marshal, buried in the Church, floor at the east end was raised; the high city’ (Revelation 20.9). The final battle will be in had been regent in the first years of the young altar itself was probably well forward of Recent centuries have treated these figures Jerusalem. The knights buried in the Round have King’s reign. His eldest son had been married to the east wall (one bay out, under the boss), with cruelly: in the 1840s the effigies were restored good reason to draw their swords. For buried in the King’s sister. His daughter was married a wooden altar-screen behind it. At the centre and partly recut; in 1941 the Round’s burning ‘Jerusalem’, in Jerusalem they shall rise to join to the King’s brother, Richard of Cornwall, of Salisbury’s Trinity Chapel was the tomb roof fell in on them. It is hard to be sure now the Templars in the martyrs’ white and red. who took the Cross in 1236 and won a of Bishop Osmond; it may be that the tomb

- 62 - - 63 - of Henry III was similarly to be set beneath the other things to the same church in any manner choir of men and boys. In 1843 they appointed weak. The air-raid sirens sounded at 11.00pm; Chancel’s central boss. appertaining of and in all respects and in all E.J. Hopkins as Organist, confirmed the the bombing raid lasted all night. An early bomb things at their own proper costs for ever for establishment of the choir and reordered the landed in Middle Temple Gardens and destroyed Henry III was buried in Westminster Abbey, in the celebration of divine service and the stalls to give the music a greater prominence. the water mains. Around midnight fire-watchers the church that the King had built over the sacraments and sacramentals and other the The choir has since then been one of the most saw an incendiary land on the roof of the shrine of Edward the Confessor. On the day ministerial offices and ecclesiastical rites celebrated church choirs in London. E.J. Hopkins, Church, at the south-east angle of the chancel. after the King’s obsequies, in November 1272, a whatsoever henceforth for ever as is befitting the founder of Anglican psalmody, was in post The fire caught hold on the chancel roof; it Council met at the Temple under the leadership and hitherto accustomed.’ for 55 years. He was succeeded by Henry Walford spread to the vestries, to the organ and so to the of the Archbishop Elect of Canterbury and of Davies, who encouraged the Inns to take on as wooden furnishings inside the Church itself. The Gilbert de Clare, Earl of Gloucester (great-grandson For centuries the Temple Church has been a his assistant the young George Thalben-Ball. heat split the Chancel’s columns, but the vault of William the Marshal), to take the oath of centre of London’s music. The clerk to the Sir George was at the Temple from 1919 until held up; the wooden roof of the Round caved in fealty to the absent Edward I and to provide Church in the 1660s, John Playford, was the first 1981. In 1927, under Thalben-Ball, the Temple on the knights’effigies below. for the country’s government until his return publisher of Purcell’s music and had a famous chorister Ernest Lough recorded Mendelssohn’s from the Crusade. It was from the Temple, bookshop in the porch outside the west door. O, for the Wings of a Dove in the Church. It is as The fire spread to Lamb Building (in the centre two days later, that the letter was sent to For five years, 1682-7, the Inns discussed the famous as any recording ever made: it has been of the present Church Court) and burnt it out. Edward informing him of his father’s death and installation of a new organ. Two organ-makers available ever since 1927; more than five million ‘At two o’clock in the morning,’ wrote the Senior his own succession to the throne. were in contention: Father Smith and Renatus copies have been sold. Warden, ‘it was as light as day. Charred papers Harris. The ‘Battle of the Organs’ was finally and embers were flying through the air, bombs The Temple through the Centuries resolved by Judge Jeffreys of Inner Temple, In 1997, Stephen Layton and James Vivian, and shrapnel all around. It was an awe-inspiring who judiciously decided in favour of Smith, the both former organ scholars of King’s College sight.’ On the same night the Hall, Parliament The Templars were suppressed, 1307-11. The candidate favoured by Middle. When the blind Cambridge, were appointed to run the church’s Chamber and Library of the Inner Temple, lawyers of Inner and Middle Temple were well John Stanley was organist of the Inner Temple, music; and in 1999 the New Testament Scholar the Cloisters and large parts of Pump Court established in the Temple in the 15th century, it was not uncommon to see forty or fifty other The Revd Robin Griffith-Jones was appointed were destroyed. and in 1608 their occupancy was secured by organists, including Handel, gathered in the Master of the Temple. They collaborated closely the grant of Letters Patent from King James Church to hear him play. to bring to life The Veil of the Temple. It was seventeen years before the Church itself I. The two Inns of Court were granted the was fully repaired. The Chancel was rededicated land on condition that ‘they will well and In the 1840s the Church itself was restored in 1954, the Round in 1958. As the Inns had sufficiently maintain and keep up the aforesaid and decorated in the grandest gothic style. To The night of 10 May 1941 was fine and moonlit. repaired the Temple’s buildings after the Great Church, Chancel and Belfry of the same and all mark its reopening, the Inns retained a small The river was at low ebb; water pressure was Fire of 1666, so they did again.

- 64 - - 65 - Father Smith’s organ had been completely Anthems BIOGRAPHIES This tradition of high-quality music was destroyed. Lord Glentanar then gave to the maintained by Hopkins’ successors, Henry Church the organ from the ball-room in Glen Following the premieres of The Veil of the THE CHOIR OF Walford Davies, and Dr George Thalben-Ball. Tanar House in Ayrshire. This is a magnificent Temple: The All-Night Vigil, Tavener was at work THE TEMPLE CHURCH Under Thalben-Ball, the choir reached a much Harrison & Harrison made in 1927. Dismantled, once more on the score to identify and re-set a larger audience through the new recording brought by train from Scotland and reassembled series of distinctive extracts into free-standing The Choir of the Temple Church consists of technology, including the famous recording in the Temple Church, the Glen Tanar was anthems. These were published by Chester eighteen boy choristers and twelve choirmen, of Mendelssohn’s O, for the Wings of a Dove first heard here in the presence of HM Music, and are now available worldwide for Its home is the historic and beautiful Temple with the Temple chorister Ernest Lough as The Queen Mother on 23 March 1954. The Inns performance by choirs and choral societies Church in London, 800 years ago the regal the soloist. undertook a complete refurbishment of this in cathedrals, churches and concert halls all chapel to the Knights Templar and now the organ, 2010-3. It was rededicated in the over the world. collegiate chapel of the two legal societies In the last thirty years, the music of the church presence of HM The Queen and HRH The Duke Inner and Middle Temple. The choir’s primary has been under the direction of Dr John Birch, of Edinburgh on 7 May 2013. Four of these anthems were premiered in the role is to enhance the liturgy of the Temple Stephen Layton, James Vivian and the present Temple Church. The anthems were sponsored by Church and the many events of the legal Director of Music, Roger Sayer. The choir has There had been no time or money to re-voice four generous supporters of The Veil; we are glad societies of the two Inns. The choir is often recently released two CD recordings to great the organ at its installation in the 1950s. It to acknowledge their help. heard in concert, along with the church’s fine critical acclaim from both broadsheets and retained the sound suited to a well-upholstered You mantle yourself in Light Harrison & Harrison organ and the professional major music magazines, and the choristers ball-room, not to a Gothic church. In 2010-3 Sponsored by 39 Essex Street Chambers ensemble based at the church, The Temple Players. appear on Hyperion’s new release of Britten’s Inns and Harrisons took the opportunity to re- Mother of God, here I stand St Nicholas. The choir is committed to the voice the whole instrument to match it to the Dedicated to the the Choir of the Temple Church, The choir was founded in its present form on performance of new music, and has premiered Church’s space and acoustics. Stephen Smith the Director of Music and the Master of the Temple completion of the church’s 30-month restoration new works by composers such as Thomas Adès. of Organists’ Review ‘was nothing short of What God is, we do not know in 1842. In 1843, Dr Edward John Hopkins was The Veil of the Temple was commissioned astonished at the transformation, for the Sponsored by Pump Court Tax Chambers appointed Organist of the Temple Church, and and composed for the Temple Church Choir better, that has taken place…What I heard The Lord’s Prayer would serve in this capacity for over 50 years, and premiered in the Church in June 2003. was, frankly, a revolution...This new regulation Sponsored by Littleton Chambers establishing the Temple Church choir as one of In 2004 the choir took The Veil to the Lincoln borders on the exquisite…It is a fabulous the finest in London. Center Festival in New York, and then to the demonstration of how new life can be breathed Proms in this shortened concert version. into an old instrument.’

© Robin Griffith-Jones

- 66 - - 67 - THE HOLST SINGERS that “I don’t think I shall hear singing this THE ENGLISH CHAMBER and Pride and Prejudice, and several James Bond year more thrilling”; Gretchaninov’s Vespers ORCHESTRA soundtracks, and has taken part in a variety of The Holst Singers are based in London and one on Hyperion (1998) and Vaughan Williams’s Patron: HRH The Prince of Wales other film and television projects. of Britain’s foremost choirs, described by the setting of Shakespeare Songs and other English Principal Conductor: Paul Watkins BBC as “a leading chorus on the international folk songs on Hyperion (1995). Principal Guest Conductor: Roy Goodman The ECO is proud of its outreach programme, stage”. With the support of their President, Close Encounters, which is run by the musicians James Bowman, and Musical Director, Stephen Recent concert highlights include the Scott The English Chamber Orchestra is the most in the orchestra and takes music into many Layton, the choir has developed an interest Centenary Concert Tour with City of London recorded chamber orchestra in the world, its settings within communities and schools around in exploring new and neglected works as well Sinfonia; Gabrieli at Temple Church and Trinity discography containing 860 recordings of over the UK and abroad. as core choral repertoire. In concert, the choir College, Cambridge in May 2012; performances 1,500 works by more than 400 composers. is renowned for dramatic and engaging of Poulenc’s Gloria and Fauré’s Requiem with Find out more at: performances, described by The Times as City of London Sinfonia at Temple Church and The ECO has also performed in more countries www.englishchamberorchestra.co.uk “interactive concert-going at its most revelatory”. Gloucester Cathedral in June and July 2013; the than any other orchestra, and played with many world premiere of City Songs, a commission from of the world’s greatest musicians. The American Follow and engage with the ECO on Facebook, Recent CD releases include A Ceremony of Eriks Esenvalds for the Voices Now Festival in radio network CPRN has selected ECO as one Twitter (@ECOrchestra) and Pinterest (ECOrchestra) Carols & St. Nicolas (2012) with Allan Clayton, Camden in June 2013; and Howells’s Requiem of the world’s greatest ‘living’ orchestras. The City of London Sinfonia and the Choir of Trinity for All Souls’ Day 2013. illustrious history of the orchestra features many College, Cambridge; and Ikon II (2010), the major musical figures. Benjamin Britten was long-awaited sequel release to Ikon (1997), a Recent touring has included Estonia in March the orchestra’s first Patron and a significant disc that immediately became a cult classic and 2009; Santiago de Compostela with the Hilliard musical influence. The ECO’s long relationship best-seller. Ikon II was described by BBC Radio Ensemble in Easter 2011; and Northern Ireland in with Daniel Barenboim led to an acclaimed 3 Record Review as “impeccable” and “so, so October 2013. complete cycle of Mozart piano concertos as live well-conceived”, with a “phenomenal sound”. performances and recordings, followed later by Other notable recordings include Veljo Tormis two further recordings of the complete cycle, with (2008) on Hyperion (after which release the Murray Perahia and Mitsuko Uchida. choir was invited to Estonia to perform his music); the Tavener Collection on Decca The Orchestra has been chosen to record many (2003) (which followed critically-acclaimed successful film soundtracks including Dario performances of which The Times commented Marianelli’s prizewinning scores for Atonement

- 68 - - 69 - JAMES VIVIAN James has recorded with labels such as Music), Germany and Italy. He is an examiner and Andrew Gant’s one woman opera Don’t go Decca, Signum Classics, Priory, Sony BMG, EMI for the Royal College of Organists. down the Elephant after midnight. Other pieces Jamies Vivian is Director of Music at St George’s and Hyperion. she has premiered are John Casken’s Farness Chapel, Windsor Castle, a position he took up PATRICIA ROZARIO and Chansons de Verlaine, and Jonathan Dove’s in September 2013. For seventeen years, James was a member of settings of Vikram Seth’s poems, Minterne. the Music Department of the Temple Church in Born in Bombay, Patricia Rozario studied at She has appeared frequently at the BBC Proms James Vivian was educated at King’s College, London; from 2006-13, he was Director of Music London’s Guildhall School of Music, winning and the Wigmore Hall. She created the role Cambridge, where he held the prestigious Dr and Organist. During this seven year period, the Gold Medal, and then at the National of Belisa in Simon Holt’s The Nightingale’s to AH Mann Organ Scholarship. During these he directed the professional choir of men and Opera Studio. Her unique voice and artistry has Blame and performed Errolyn Wallen’s opera four years, he worked closely with its boys of whom the Gramophone commented, ‘The inspired several of the world’s leading composers Another America: Earth at the Linbury Theatre, world-famous choir; his duties included playing Temple Church Choir is among the very best’ to write for her, most notably Arvo Pärt and Royal Opera House. Other operatic appearances for the annual A Festival of Nine Lessons and (2010). In addition to its liturgical commitments Sir John Tavener, the latter having written over include Mozart’s Ilia in Idomeneo, Glyndebourne; Carols broadcast to tens of millions worldwide. serving the Inner Temple and Middle Temple, thirty works for her, making their collaboration Zerlina in Don Giovanni, Aix-en-Provence; Before Cambridge, he was Acting-Assistant the choir recorded and broadcast frequently. unique in the contemporary field. She has sung Servilia in La clemenza di Tito, Lyon; plus Pamina Organist of Lincoln Cathedral. He was a prize- Recently, the choir performed at St John’s with Solti, Ashkenazy, Jurowski, Belohlavek, in The Magic Flute, Kent Opera; also Vivaldi’s winner in the Fellowship examination of the Smith Square, and at Snape Maltings in Gardiner, Pinnock and Andrew Davis, sung opera Catone in Utica with Jean-Claude Malgoire Royal College of Organists, and was awarded Aldeburgh. James was Artistic Adviser to the at Aix-en-Provence, Amsterdam, Lyon, Lille, in France. a scholarship to study the French organ year-long 2008 Temple Festival and was founder Bremen, Antwerp, Wexford, ENO, Glyndebourne repertoire for two years with Marie-Louise of three professional ensembles – The Temple and Opera North, and given concerts in North Her extensive discography includes Blake’s The Langlais in Paris. James has appeared in Players, The Temple Singers and Temple Brass America, Canada, Russia, the Far East, Australia, Passion of Mary, RPO, Songs of the Auvergne, many Festivals (including the BBC – with whom he presented concerts, including throughout Europe, and at all the major UK venues. Pritchard, Haydn’s Stabat Mater, Pinnock, Proms, Aldeburgh, The Three Choirs Festival, oratorio and other large-scale choral works, Britten’s The Rape of Lucretia, Hickox, Casken’s and the Lincoln Festival in New York City), opera, and a popular series of Cantata Concerts. Her repertoire ranges from baroque to Golem (a Gramophone award-winner), recordings and has played recitals and concerts He has also worked with the BBC Singers, Holst contemporary music. She has given the premiere with Graham Johnson for the Hyperion Schubert throughout the world (including Japan, Singers, Polyphony, and the Aurora Orchestra. performances of many pieces written especially Series, and several Tavener recordings including Brazil, South Africa, USA, Bermuda and for her including Pärt’s Como Anhela la Cierva, Mary of Egypt, the Akhmatova Songs with Steven Europe). He has also been an examiner for the As an organist and conductor, James’s recent Roxanna Panufnik’s Beastly Tales, and Tavener’s Isserlis, Eternity’s Sunrise (nominated for the Royal College of Organists and has broadcast engagements have taken him to USA (including Life Eternal, Ikon of Eros, and The Veil of the Classical Brit Awards 2000), Schuon Lieder. on many national radio stations as a soloist. Yale University and The Curtis Institute of Temple, Lament for Jerusalem, and Schuon Lieder, More recently Knaifel’s O Heavenly King and

- 70 - - 71 - Górecki’s Good Night on Louth Sounds A Place Orchestra, Minnesota Orchestra, City of London realisation of Sir John Tavener’s epic seven-hour Credits Between, and Spanish songs for soprano and Sinfonia, London Philharmonic Orchestra, vigil The Veil of the Temple, a new departure guitar with Craig Ogden on Somm Records, Pärt’s BBC Singers, Estonian Philharmonic Choir, in British choral music, met with outstanding Ah! What was there in that candle’s light? Face to Face and Tavener’s Epistle of Love and Latvian Radio Choir, English Chamber Orchestra, acclaim both in London and New York. by Maulana Jalalu-‘d-dín Muhammad I Rumi Samaveda on Louth Sounds. Scottish Chamber Orchestra, Melbourne English version by Sir John Tavener Translation Symphony Orchestra and Queensland Symphony Stephen Layton’s eclectic discography © 2002 Chester Music Limited Patricia Rozario was awarded the OBE in Orchestra. He also collaborates regularly with encompasses a vast range of repertoire, All Rights Reserved. Reprinted by permission. the New Year’s Honours, 2001, the Asian the Orchestra of the Age of Enlightenment, composers and genres. His Hyperion recording Women’s Award for achievement in the Arts, Academy of Ancient Music and Britten Sinfonia, of Britten’s Sacred & Profane received both a You mantle yourself in light, 2002, and the President of India’s award, the with whom he has recorded a wide range of Gramophone Award and the Diapason d’Or for stretch out the skies as a curtain Pravasi Bharatiya Samman Award, 2013. repertoire including Bach, Handel, Bruckner, best choral disc of the year in 2001, and his Psalm 104 translated by David Melling Poulenc and Stravinsky. Hyperion recording of Tormis’s Songs with the Translation © David Melling STEPHEN LAYTON Holst Singers received a Spanish CD Award in All Rights Reserved. Reprinted by permission. Recent highlights in Layton’s diary include a 2009. Recent releases by Stephen Layton include Stephen Layton succeeded the late Richard return to the Hallé Orchestra for a performance a much-anticipated Bach St John Passion Outside the gates of Paradise, I sat and wept. Hickox as Artistic Director and Principal of their annual Messiah; a performance with the recording with the Orchestra of the Age of Translated by David Melling Conductor of the City of London Sinfonia in Copenhagen Philharmonic Orchestra of Bach Enlightenment and Polyphony, and Handel Translation © David Melling All Rights Reserved. September 2010. Founder and Director of Christmas Oratorio; performances with Die Chandos Anthems with the Orchestra of the Reprinted by permission. Polyphony, Layton is also Music Director of Konzertisten and the City Chamber Orchestra Age of Enlightenment and the Choir of Trinity Holst Singers and in 2006 was made a Fellow of Hong Kong; a performance with the Auckland College Cambridge. What God is, we do not know. and Director of Music of Trinity College, Philharmonia and Choir of Bach Mass in B Attributed to Dionysus the Areopagite Cambridge. His former posts include Chief Minor and performances with Opera North of a translated by David Melling Guest Conductor of the Danish National Vocal critically acclaimed production of Handel Joshua. Translation © David Melling Ensemble, Chief Conductor of the Netherlands All Rights Reserved. Reprinted by permission. Kammerkoor and Director of Music at the A champion of new music, Stephen Layton has Temple Church in London. premiered new repertoire by many composers, O Mary Theotokos, including Gabriel Jackson, Veljo Tormis and Thou art the mystic tongs Layton guest-conducts widely and has worked Morten Lauridsen and, more recently, by the young Byzantine translated by Mother Thekla extensively with the Hallé Orchestra, Philadelphia Latvian composer, Eriks Esenvalds. Layton’s bold

- 72 - - 73 - Translation © 2002 Chester Music Limited All Rights Reserved. Reprinted by permission.

Night. Night from most sweet brother has estranged me, cutting Love’s uncut light From St Simeon the New Theologian The Veil of the Temple is published by Chester Music Ltd, © 2003 Original Production: Translated by Philip Sherrard John Cronin Product Management (Sony BMG Music Entertainment UK Ltd) Translation © Philip Sherrard Erin Dawson Programme Production All Rights Reserved. Penny Jonas Fundraiser Reproduced by kind permission of Denise Sherrard Recorded in The Temple Church, London, on 27-28 June, 1 July & 4-5 July 2003. Producers – Adrian Peacock and Chris Hazel Recording Engineer – Mike Hatch Who will defend the Holy Temple? Editor – David Hinitt Who will defend the Tomb of Christ? Cover Image – © Temple Church No one, no one, no one, the Temple is destroyed Design and Artwork – Woven Design From The Temple and Contemplation by Henry Corbin www.wovendesign.co.uk

Translated by Philip Sherrard with the assistance P 2013 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd of Liadain Sherrard © 2013 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd

Translation © Kegan Paul Limited Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will All Rights Reserved Reproduced by permission. render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

55 Beatitudes SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 Ephrem the Syrian, E-mail: [email protected] translated by Archimandrite Ephrem www.signumrecords.com © 2003 Archimandrite Ephrem All Rights Reserved Reproduced by permission.

- 74 - - 75 - ALSO AVAILABLE on signumclassics

John Tavener: Towards Silence Mother & Child: World Premiere Choral Works by Cavaleri Quartet, Fifth Quadrant Tavener, L’Estrange, Filsell and Pott Finzi Quartet, Medici Quartet Tenebrae, Nigel Short SIGCD221 SIGCD501

“… enormously powerful, by turns lush and spare, with a “a very classy piece of singing .... and a remarkable range simultaneous sense of the ritual and the sensual. Tavener of colours thanks to the mixture of voices. There’s that post- has always been a profoundly inspired melodist, and there are collegiate professionalism plus operatic “heft” when required.” joyous moments in this work … A glimpse of eternity.” BBC Radio 3 CD Review International Record Review

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

- 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD367 BLACK Job Title: JOHN TAVENER: THE VEIL OF THE TEMPLE

SIGNUM CD1 CD2

Cycle I Cycle VII CLASSICS SIGCD367

1 Mystical Love Song of the Sufis [5.06] 1 Apocalyptic Primordial Call [1.26] 2 2

Primordial Call [2.42] Absolved in the Mirror [2.05] 3 Jesus Prayer [1.37] Cycle II 4 3 Primordial Call [0.31] Hesychast Meditation [4.17] 5 4 God’s Creation [5.40] Mary Theotokos [2.57] 6 5 Outside the Gates of Paradise [2.51] Hail, Veil of the Temple [1.21] 7 6 Our Father [2.58] Mother of God [5.06] 8 7 Holy Mary [3.00] Alleluia [4.58]

9

8 Alleluia, Theos Erastos [1.44] The Gospel of St John [13.47] TEMPLE THE OF VEIL THE TAVENER: 9 Gospel of St John [4.23] Cycle VIII 0 Thrice-Holy Hymn - Resurrection [2.59] 0 Maranatha [2.51] q Beatitudes of St Isaac the Syrian [4.37] q Awake Thou That Sleepest [2.12] w Into Beauty [1.11] Cycle III e w Primordial Call [1.18] Rending of the Veil of the Temple: Maya Atma [5.40] r e Psalm of Creation [1.49] Knights Templar in the Temple Church [4.18] t r O Blessed Paradise, Pray for Me [3.13] Light of Christ [4.31] y Cosmic Rising [4.13] Cycle IV u New Jerusalem – Upanishad Hymn [5.55] t Primordial Call [1.55] i Shántih [3.24] y Mystery of the Nothingness of God [2.15] Cycle V Total Timings [147.46] u Primordial Call [1.51] i You Mantle Yourself in Light [3.42] o Jesus Prayer [1.14] The Choir of the Temple Church p The Lord’s Prayer [6.58] The Holst Singers Members of the English Chamber Orchestra TAVENER: THE VEIL OF THE TEMPLE

Cycle VI Patricia Rozario soprano a Primordial Call [2.08] Stephen Layton conductor s What God is, we do not know [2.34] d God of Strength [2.45] f Kyrie Eleison - Chant [2.18] g Te Re Rem – Ecstatic Chant [3.31] h Jesus Having Risen from the Tomb [2.22] LC15723

Signum Records Ltd, Suite 14, 21 Wadsworth Road, SIGCD367

CLASSICS Perivale, Middx UB6 7JD, United Kingdom. P 2014 Signum Records DDD SIGCD367 © 2014 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 03672 3 SIGNUM