Out of the Night - Part: Magnificat; Tavener: Threnos, etc

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Description of Out of the Night - Part: Magnificat; Tavener: Threnos, etc

Meanwhile, those who associate Tavener's style with the sweet, gentle Song for Athene (performed at Princess Diana's funeral) may be shocked by the Canticle of the Mother of God. Over vibrant but often dissonant chords sustained by a choir, a soprano sings a fearsomely difficult solo part with techniques borrowed from Eastern Orthodox liturgical chant. At the other extreme, Threnos is a solemn lament for unaccompanied solo cello--as close to Pärt's ascetic style as Tavener gets. Ikon of the Nativity seems to bridge the gap, with a melody that could come straight out of Old Russian chant over a drone that mutates into a dissonant chord and back again. And then there's the recurring leitmotif, Out of the Night, a gentle, exquisitely simple setting for tenor and viola of the single word Alleluia--Tavener at his best. --Matthew Westphal

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