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Hyperion Records

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Track(s) taken from CDA67217
Recording details: June 2000
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Tony Faulkner
Release date: January 2001
Total duration: 10 minutes 5 seconds

'The Vanbrugh Quartet’s intense and committed performance is of the highest calibre. An indispensable and thoroughly recommendable disc' (Gramophone)

‘The music generates an intense, mesmerising background stillness. I can’t imagine [it] performed better. The recording balances clarity and atmosphere to near-perfection’ (BBC Music Magazine)

'The Akhmatova Songs are among Tavener’s most impressive works of recent years. Performances are exemplary, as is the recording' (International Record Review)

'A disc that I can recommend without reservation' (Fanfare, USA)

'A sensational performance' (Music Week)

'In these pieces for singer and string quartet [Patricia Rozario] is at her very best, soaring to strenuous heights in the Akhmatova Songs and spinning a peculiar magic in The World' (

‘A first class release, which Tavener enthusiasts should not be without’ (MusicWeb International)

'If you doubt that Tavener is a composer of substance, this disc should change your mind' (Opera News)

'Rozario sings divinely and the excellent Vanbrugh Quartet play with magical effect' (The Northern Echo)

The World
author of text
Collected poems of Kathleen Raine

The World  [10'05] English

Introduction  EnglishFrançaisDeutsch
The World is a setting of verses by Kathleen Raine, the poet and distinguished scholar of Blake and Yeats. Composed in 1997, the work was first performed by Patricia Rozario and the Vanbrugh Quartet on 2 July 1999, as part of the West Cork Chamber Music Festival. A version for soprano and string orchestra was first heard in Belfast in August 1999. According to the composer’s performance note The World ‘should be performed at maximum intensity throughout. White hot, white cold – intensely loud, intensely soft – almost unbearable – that which is nowhere and everywhere – not human but divine – theanthropic’. Tavener recalls how the mantra-like quality of the poem immediately suggested to him a musical setting, while a Byzantine palindrome which he saw inscribed on a fountain in Istanbul strongly influenced the melodic content. The work was dedicated to Kathleen Raine on the occasion of her ninetieth birthday.

from notes by Phillip Borg-Wheeler © 2001

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