This world première
recording of Sir John Tavener’s Schuon
Lieder (first performed in the 2004
Cheltenham Festival) represents an important
addition to the composer’s already extensive
discography. This work, just over an
hour in length, is closely linked to,
and partly born out of, Tavener’s deep
interest in the philosophical and poetic
writings of Frithjof Schuon. As a result
of this, the influences found in this
major composition are wide-ranging,
Tavener now having what he himself calls
‘permission from Heaven’ to discover
and explore other world religions beyond
his profound Russian Orthodox faith.
Scored for soprano
soloist, string quartet, piano and Tibetan
temple bowls, it is here performed by
the musicians for whom it was conceived,
most specifically the soprano Patricia
Rozario. Tavener sets to music 19 of
Schuon’s poems in their original German,
each song separated by a short and sinewy
canon for string quartet, the cycle
ending with an instrumental postlude
that refers back to the first song of
the cycle.
Musically, this work
is extremely diverse and Tavener has
clearly been inspired by a number of
things. The influence of the lieder
tradition is often vivid and there are
scattered among the songs influences
from a variety of composers, with quotations
or suggestions of Schubert, Richard
Strauss, Mozart, J.S. Bach and Messiaen.
Strong hints of the chorale and chant
are also evident at various points.
The presence of the piano is essential
in the scoring, furthering the link
with the lieder tradition, while the
subtle but frequent use of Tibetan temple
bowls adds a distinctly Asian quality
that creates an unusual atmosphere to
the convincing fusion of the various
influences.
Often there is a childish
and innocent quality to the music. Schuon
Lieder also contains some of the
most intensely beautiful, mystical and
spiritual music to have come from Tavener.
An essence of repetition is still present
in the music, but his musical language
contains an extra element of sustained,
reassuring warmth no doubt gained partly
from his discovery and exploration of
Schuon’s work. There is also a measured
and appropriate intensity where required
in the text.
The musical score is
clearly demanding and the performers
present an effortless and powerful interpretation.
There is a certain purity in much of
Rozario’s singing, which is most noticeable
when she is singing softly in a high
register. The Schubert Ensemble and
Gillian McDonagh are intensely musical
and it is a bonus to have this repertoire
played by them. The recorded sound is
commendable, helping to create the required
atmosphere, although the string quartet
is on occasion just a little too distant
in relation to the piano. The disc itself
is beautifully presented, with informed
and interesting notes from Stephen Johnson
and David McCleery.
Overall a must for
fans of Tavener, but equally an important
work that is well worth exploring further.
Adam Binks
Patricia Rozario (soprano) 
