Latest editorial
Back from a mini tour of Yorkshire and Stockport and cheering for supporting act Indignation Meeting
Tavener triumph
Excellent interpretations capture profound spirituality of late composer's work
ALISTAR FINDLAY is mesmerised by this multiple ‘Visions of Scotland’ assault on the audience’s eyes and senses
The Star's critics ANGUS REID, ANDY HEDGECOCK and MICHAL BONCZA reviews I Am Love, The Penguin Lessons, Freaky Tales, The Thicket
MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
JOHN GREEN relishes photography that unfolds a longstanding and poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
Tavener: No Longer Mourn For Me
Steven Isserlis
(Hyperion)
CONTEMPORARY classical composers aiming for spiritual depth and new dimensions in their music have long been seen as in the artistic vanguard, never more so than if they find a unique voice.
John Tavener, with his exploration of the Anglican faith in the 1960s, then his conversion to the Russian Orthodox Church in 1977, is one who found that unique voice.
Renowned cello player Steven Isserlis, a devotee of Tavener and a personal friend through much of his career, is noted for the lyricism, tenderness, power and beauty in his playing and he helped shape and realise the composer’s sound, most notably on his seminal work The Protecting Veil, nominated for the 1992 Mercury Prize.
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