John Tavener: The Myrrh-Bearer (Score)

This work for viola, chorus and percussion was commissioned by the London Symphony Chorus, and was first performed in October 1994 at the Barbican Hall, London by Yuri Bashmet and the London Symphony Chorus conducted by Stephen Westrop. The remarkable text of the Troparion, written by the great Byzantine poetess-nun Cassiana, was the inspiration of The Myrrh-Bearer . The text informed the architecture of the music. The viola solo represents Mary Magdalen, as the cello solo represented the Mother of God on The Protecting Veil. This is where the resemblance between the two pieces ends. In The Myrrh-Bearer the Chorus symbolises 闂備胶鍋ㄩ崕鑼剁亾s闂, the 闂備胶鍋ㄩ崕鑼剁亼ins of the world闂, from 闂備胶鍋ㄩ崕鑼剁亼tylized dictatorships闂 to 闂備胶鍋ㄩ崕鑼剁亽he frivolous inane escapist vanities of the world,闂 the to cries of 闂備胶鍋ㄩ崕鐬杔p闂 after the cosmic catastrophe, and finally reaching an apocalyptic climax in the words, 闂備胶鍋ㄩ崕鐬 have no king by Caesar;闂 a downright condemnation of God in the Earthly power. In a surreal way the Magdalen闂備胶鍋ㄩ崕鏌ユ偘 闂備胶鍋ㄩ崕鑼剁亼in闂 shines through in the viola music, because she recognises the Godhead, and the endless 闂備胶鍋ㄩ崕鏌ュΧ閻ㄦ敂ie eleison闂 chanted by the semi-chorus represents her repentance and whatever is left of a 闂備胶鍋ㄩ崕鑼剁亷epentant闂 world. The Myrrh-Bearer explores the whole range of the viola, climbing from the depths up to the highest notes, and then falling again at the end, after the Magdalen闂備胶鍋ㄩ崕鏌ユ偘 recognition of the Risen Christ 闂 闂備胶鍋ㄩ崕鏌ュΧ缁玝oni.闂 The last stroke of the gong in the viola闂備胶鍋ㄩ崕鏌ユ偘 final bottom C, gives a deliberately ominous end to the piece. This is a special item which is made to order. Please e-mail our Mail Order Department for further information.