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Track(s) taken from GIMSE404

Funeral Ikos

First line:
Why these bitter words of the dying?
composer
1981; first performed by The Tallis Scholars in Keble College Chapel, Oxford
author of text
translated from the Orthodox service for the burial of priests

The Tallis Scholars, Peter Phillips (conductor)
Recording details: January 1984
Merton College Chapel, Oxford, United Kingdom
Produced by Steve C Smith & Peter Phillips
Engineered by Mike Clements
Release date: April 2014
Total duration: 9 minutes 41 seconds

Cover artwork: Photograph of Sir John Tavener on the Greek island of Aegina in January 1981 by Peter Phillips.
 
1
Funeral Ikos  Why these bitter words of the dying?  [9'41]

Other recordings available for download

Armonico Consort, Christopher Monks (conductor)
Tenebrae, Nigel Short (conductor)

Reviews

'Perhaps the time is right for the musical establishment (and the record industry) to begin to recognize Tavener as one of our most gifted and important composers of choral music. I hope so, for a talent so prodigious and special as his appears all too infrequently in today’s climate of intellectually orientated creativity … Ikon of Light dates from 1984, and is arguably one of his most sublime creations … The Tallis Scholars have a very special affinity and affection for Tavener’s music (he has written a number of works with them in mind) and this is evident from their committed performance of this penetrating and visionary work … superbly recorded in the Gimell tradition … a moving and richly rewarding programme that deserves to win many friends' (Gramophone)

Ikon of Light comes steeped in the traditional soundscape of Orthodox worship and is timeless in its musical response to the idea of an icon opening a window on eternity. It was commissioned by The Tallis Scholars whose atmospheric early recording is hard to beat’ (BBC Music Magazine)
Funeral Ikos was written in 1981, and the first performance by The Tallis Scholars took place in Keble College, Oxford, as part of a programme that also included Russian medieval chant and which would shortly lead to a remarkable recording (‘Russian Orthodox Music’, Gimell CDGIM 002). It is a setting, both beautiful and austere, of words from the Orthodox service for the burial of priests, in the magnificent translation by Isabel Hapgood. The words are consolatory in tone, though they do not minimize the reality of death, the gateway to Paradise. Tavener’s music has its origins in Russian chant, though the harmonic progression for the ‘Alleluia’ refrain is distinctively his, particularly the penultimate chord.

from notes by Ivan Moody © 2014

Écrit en 1981, Funeral Ikos fut créé par The Tallis Scholars à Keble College (Oxford), dans le cadre d’un programme où figuraient également des chants médiévaux russes et qui déboucha bientôt sur un remarquable enregistrement («Russian Orthodox Music», Gimell CDGIM 002). Funeral Ikos est une splendide et austère mise en musique de textes empruntés au service orthodoxe pour l’inhumation des prêtres, dans la magnifique traduction d’Isabel Hapgood. Consolatoires, ces paroles ne minimisent pourtant en rien la réalité de la mort, porte du paradis. Tavener puise ici dans le chant russe, encore que la progression harmonique du refrain «Alléluia» soit bien de lui – l’avant-dernier accord, surtout.

extrait des notes rédigées par Ivan Moody © 2014
Français: Gimell

Funeral Ikos (1981) wurde von den Tallis Scholars im Keble College in Oxford zusammen mit mittelalterlichen russischen Gesängen uraufgeführt, worauf bald eine bemerkenswerte Aufnahme („Russian Orthodox Music“, Gimell CDGIM 002) folgte. Funeral Ikos ist eine wunderschöne und gleichzeitig nüchterne Vertonung von Texten aus dem orthodoxen Begräbnisgottesdienst für Priester in der hervorragenden Übersetzung von Isabel Hapgood. Die Texte sind tröstlich gehalten, doch wird die Realität des Todes, des Tors zum Paradies, nicht gemindert. Taveners Musik hat ihre Ursprünge im russischen Cantus planus, obwohl die harmonische Fortschreitung im „Halleluja“-Refrain, und besonders der vorletzte Akkord, eindeutig seiner eigenen Tonsprache entstammt.

aus dem Begleittext von Ivan Moody © 2014
Deutsch: Viola Scheffel

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