Listening Log – [Pt. I- Proj. 2]-Sir John Tavener’s ‘The Protecting Veil’ (from 1988)
Listening Log – Sir John Tavener’s ‘The Protecting Veil’ (from 1988)
Sir John Kenneth Tavener (1944-2013) – ‘The Protecting Veil (from 1988)
The Protecting Veil is a 45 min sacred work for solo cello and strings in 8 movements. The piece (in a shorter form) was originally commissioned by the cellist Steve Isserlis and later a longer version was commissioned for the 1989 PROMS. The premier at the PROMS was hugely successful and a subsequent recording went on to be shortlisted for the 1992 Mercury prize and sell a huge amount of records.
Tavener’s librettist, the Orthodox abbess Mother Thekla, suggested writing a piece commemorating the Orthodox ’The Feast of the Protecting Veil of the Mother of God’. Mother Thekla provided both the explanation and the spiritual symbolism for the work and its movements written for the Orthodox ’The Feast of the Protecting Veil of the Mother of God’. Every October 1st the Orthodox church celebrates the appearance of the Mother of God in 902 in Constantinople. She showed herself in a vision to Andrew, The Holy Fool, in answer to his prayers during an attempted Saracen army incursion. She cast her protecting veil over Constantinople and the Greek Christians, thus successfully repelling the invasion. The Byzantine church have celebrated this feast in her honour ever since.
In the biography ‘Lifting the Veil: The Biography of Sir John Tavener.’ John Tavener and Mother Thekla talk to Piers Dudgeon about the process;
‘It was much more than telling me what the feasts were,’ he said. ‘She was telling me what the symbolism was,’ what the feast days meant, the symbolic nature of the Mother of God, its relevance, even how it might be expressed in musical terms: ‘I couldn’t have got anywhere near a symbolic language if it hadn’t been for what Mother told me.’ (Dudgeon, P. 2003:2326-2336)
‘John began to see Tradition, its texts and chant, first as steppingstones, then as symbolic footholds for his music to discover. Mother Thekla revealed to him subtle patterns and interconnections, the web of ideas that her texts embody. The Akathist of Thanksgiving was the first piece they worked on in this way. Then came The Protecting Veil and Resurrection (1988), ‘quite wonderful…,’ recalled John. ‘She gave me so many symbolic ideas…pointed me to so many connections. This-connects-to-this-connects-to-this-connects-to-this… The green ink and the red ink and the yellow ink came in again. We would talk about four times a day when I was writing Resurrection because I would need to know absolutely every connection. “Am I right in making it sound like this? If it is like this, is that all right?” That is the kind of thing that I would ask her a lot. “It is coming out like this, is that right?” You [Mother Thekla] could always find a theological justification for what I was doing…’ ‘He won’t do anything unless there is a reason,’ she agreed. ‘We didn’t start with that. That’s come over the years. He has to have a pure reason. Nothing we do in church hasn’t not got a meaning.’ (Dudgeon, P. 2003:2389)
‘…because I needed in the early stages of working with her to go through every single bar with her to check that I had got the metaphysics right… It sounds as if I have got some sort of iron clamp behind me, but Tradition is not like that. I see Tradition as being the centre, and Mother describes it in the same way. And when you are off centre, then you are in your own fantasy or you are in a blind alley that leads nowhere. I think she also sees sin like that.’ ‘What very often I would do,’ she said, ‘is give John the reason why he was doing something… I’ll give you a silly example, John knows he’s got to do something, he then says: “Why do I want to go quietly?” … I would then say, “Well I think you want to go quiet because…” He won’t go quiet until he knows that there is a reason for it. John will not write anything that doesn’t make spiritual or philosophical sense as well as musical sense. So, I give him the spiritual or philosophical reason why he wants to go quiet at that point.’ Eventually he began to develop his own symbolic musical notation to accommodate her ideas, his goal ‘a metaphysical meaning behind every rhythm, every harmony and every note… In a long, in-depth piece like Veil of the Temple I have a sacred geometry.’ Then he laughed: ‘I mention my use of sacred geometry as if I am an architect for Chartres Cathedral.’ (Dudgeon, P. 2003:2400)
The Protecting Veil (1988)
Geometrical 45 minute composition for solo cello (which plays throughout) and strings, subdivided into 8 sections (for different Mother of God feasts), envisaged as musical ikons, each using one of the eight Byzantine tones or ‘Octoechos’. Each Octoechos descends one tone in pitch to finally come back down full circle to a scale on F. Every section is earmarked by a mantra in the form of a falling interval of a minor 9th leading down to the next scale, for example f4 down to e3. The eight sections use ‘sliding up and down’ the minor 9th, according to Tavener, as a sonic way of illustrating tears of ‘the mother of God sighing,’ ending in a hushed apocalyptic atmosphere in the final bars.
The structure, as described in Tavener’s own words; ‘‘I have tried to capture some of the almost cosmic power of the Mother of God. The cello represents The Mother of God and never stops singing throughout. One can think of the strings as a gigantic extension of her unending song. The music falls into eight continuous sections and use is made of the eight Byzantine tones. Various Feasts were in my mind as I composed; for instance the second is related to her birth, the third section to the Annunciation, the fourth to the Incarnation, the fifth (which is totally unaccompanied) to her lament at the foot of the cross, the sixth to the Resurrection, the seventh to her Dormition, and the first and last sections to her cosmic beauty and power over a shattered world. The PROTECTING VEIL ends with a musical evocation of the tears of the Mother of God. Having said all this, it is perfectly possible to listen to The Protecting Veil as ‘pure’ music, but I think that it may be helpful if I recount what was in my mind during the composition. It is an attempt to make a lyrical ikon in sound, rather than in wood, and using the music of the cellist to paint rather than a brush.
This idea of an invocation in the shape of a repeated melodic mantra (repeated 10 times) is used instead of the typical linear harmonic development of Western Art music. It creates a very meditative and trancelike Eastern feel and structure. Other Eastern features is the use of microtonal melodies, common both in Indian music, Orthodox chants and Eastern European folk traditions. Many of Sir John Tavener’s contemporaries failed to appreciate his compositional style as it was seemingly at odds with the modernist movement in Western Art Music. The general public however was very receptive to what is now referred to as ‘Holy Minimalism’. I am with the general public on this- I find it an utterly beautiful and elevating piece of music. Sir John Tavener is one of my favourite composers. I find his style very ‘musical’ and his Orthodox influences touch me on a personal level. Although his music lacks the complexity of someone like Stravinsky for instance, I find it just as deeply affecting, perhaps even more so. The long phrases, slow pace and the use of bass drones makes it particularly suitable for meditative practice and for a musical expression of mysticism. It could be argued that some of the almost ‘improvised’ cello passages meander a bit and that there is too much repetition, but I think all this serves his ‘mantra’ purpose. I think this compositional style is just as valid as the bog standard ‘harmonic resolution’ driven styles of Western Art Music.
I. The Protecting Veil This miracle is illustrated by the first and last of the eight continuous sections of The Protecting Veil, in which the cello represents Mary and her ‘song’ or unending prayer for Christians. The opening represents her cosmic beauty and the veil that protects in an ecstatic rising figure for the solo cello. The end descends a minor 9th leading into the next section from F to E.
II. The Nativity of the Mother of God. The second section is related to her Birth. The melody is based on an old Russian Orthodox Znameny chant which has been ornamented in a Hindu way. The minor 9th is used in this section also, forming a central phrase to pivot around in a geometrically palindromic way.
III. The Annunciation the angel Gabriel’s announcement to Mary that she would be the mother of God’s son and earthly incarnation Jesus Christ. This section is characterised by rhythmical development in the form of shortened note lengths and altered bar lengths giving a sense of speeding up.
IV. The Incarnation The birth of Jesus. A sense of The Mother of God’s feelings of elation and fear are expressed by a near improvised, fluid and highly emotional cello passage.
V. The Lament of the Mother of God at the Cross This is the Cadenza (solo section) for the cello to her Lament at the foot of the Cross. Again, based on another ornamented, microtonal and low Znameny chant, spanning only 12 pitches.
VI. The Resurrection. Christ is Risen moves to an ecstatic and canonical A Major.
VII . The Dormition The ‘sleep’ or death of the Mother of God. The melody here copies the hymn to ‘Mother of God’.
VIII. The Protecting Veil The last section refers again to her cosmic beauty and protection. The Protecting Veil ends with a musical evocation of the tears of the mother of God over a shattered world. The final section ends with very high cello parts.
LIST OF ILLUSTRATIONS
Figure 1. Tavener, J. (1989) The Protecting Veil. I. First Section. (from John Tavener, The Protecting Veil, Full Score. London: Chester Music, 1948). [Photo of Sheet Music] In: possession of: The author: London.
Figure 2. Tavener, J. (1989) The Protecting Veil. II. The Nativity of the Mother of God.(from John Tavener, The Protecting Veil, Full Score. London: Chester Music, 1948).[Photo of Sheet Music] In: possession of: The author: London.
Figure 3. Tavener, J. (1989) The Protecting Veil. III. The Annunciation. Rhythmical Development. (from John Tavener, The Protecting Veil, Full Score. London: Chester Music, 1948).[Photo of Sheet Music] In: possession of: The author: London.
Figure 4. Tavener, J. (1989) The Protecting Veil. III. The Annunciation. Rhythmical Development. (from John Tavener, The Protecting Veil, Full Score. London: Chester Music, 1948).[Photo of Sheet Music] In: possession of: The author: London.
Figure 5. Tavener, J. (1989) The Protecting Veil. IV. The Incarnation. Emotional cello passages. (from John Tavener, The Protecting Veil, Full Score. London: Chester Music, 1948).[Photo of Sheet Music] In: possession of: The author: London.
Figure 6. Tavener, J. (1989) The Protecting Veil. V. The Lament of the Mother of God at the Cross. Low cello Znameny melody written in bass clef. (from John Tavener, The Protecting Veil, Full Score. London: Chester Music, 1948).[Photo of Sheet Music] In: possession of: The author: London.
Figure 7. Tavener, J. (1989) The Protecting Veil.VI. The Resurrection. Canonical sections. (from John Tavener, The Protecting Veil, Full Score. London: Chester Music, 1948).[Photo of Sheet Music] In: possession of: The author: London.
Figure 8. Tavener, J. (1989) The Protecting Veil. VII . The Dormition. (from John Tavener, The Protecting Veil, Full Score. London: Chester Music, 1948).[Photo of Sheet Music] In: possession of: The author: London.
Figure 9. Tavener, J. (1989) The Protecting Veil. VIII. The Protecting Veil. The tears of the mother of God. High Cello part. (from John Tavener, The Protecting Veil, Full Score. London: Chester Music, 1948).[Photo of Sheet Music] In: possession of: The author: London.
Figure 10. Tavener, J. (1989) The Protecting Veil. VIII. The Protecting Veil. Final Bars. (from John Tavener, The Protecting Veil, Full Score. London: Chester Music, 1948).[Photo of Sheet Music] In: possession of: The author: London.
BIBLIOGRAPHY
Classic FM. (2013) John Tavener (1944-2013) Biography At: http://www.classicfm.com/composers/tavener/ (Accessed on 21 Jan 2017)
Cummings, R (2013) John Tavener Biography At:http://www.allmusic.com/artist/john-tavener-mn0000379347/biography (Accessed on 21 Jan 2017)
Dudgeon, P. (2013) Lifting the Veil: The Biography of Sir John Tavener [Kindle edition] From: Amazon.co.uk (Accessed on 14 Jan 2017).
Encyclopaedia Britannica (2013) Sir John Tavener British Composer At: https://www.britannica.com/biography/John-Tavener (Accessed on 21 Jan 2017)
John Tavener (with Peter Levy) (2013) [user-generated content online] Creat. dimbarsak 07Jan 2013 At: https://www.youtube.com/watch?v=Lozteqwh6EU (Accessed on 21 Jan 2017)
Tavener, J (2013) Compositions At: http://johntavener.com/composition/ (Accessed on 21 Jan 2017)
Tavener, J. (1999) The Music of Silence A composer’s Testament. London: Faber and Faber Limited.
Classic FM. (2013) John Tavener (1944-2013) Biography At: http://www.classicfm.com/composers/tavener/ (Accessed on 21 Jan 2017)
Cummings, R (2013) John Tavener Biography At:http://www.allmusic.com/artist/john-tavener-mn0000379347/biography (Accessed on 21 Jan 2017)
Dudgeon, P. (2013) Lifting the Veil: The Biography of Sir John Tavener [Kindle edition] From: Amazon.co.uk (Accessed on 14 Jan 2017).
Encyclopaedia Britannica (2013) Sir John Tavener British Composer At: https://www.britannica.com/biography/John-Tavener (Accessed on 21 Jan 2017)
John Tavener (with Peter Levy) (2013) [user-generated content online] Creat. dimbarsak 07Jan 2013 At: https://www.youtube.com/watch?v=Lozteqwh6EU (Accessed on 21 Jan 2017)
Grammophone. (2005) The premiere of Sir John Tavener’s The Protecting Veil. At:https://www.gramophone.co.uk/features/focus/the-premiere-of-sir-john-taveners-the-protecting-veil (Accessed on 21 Jan 2017)
Tavener, J. (1993) The Protecting Veil for cello and string orchestra – study score.[Music Score] London: Chester Music.
Tavener, J (2013) Compositions At: http://johntavener.com/composition/ (Accessed on 21 Jan 2017)
Tavener, J. (1999) The Music of Silence A composer’s Testament. London: Faber and Faber Limited.
Tavener, J. (2014) The Essential John Tavener Box, Various. [Audio CD box set 5CDS] Salford: Naxos Music UK Ltd.
Tavener, J. (2018) The Protecting Veil. [Video]. At: https://www.youtube.com/watch?v=DziyY5O_gnI&t=1s (Accessed on 21 August 2019)