Tavener: Ikon of Eros

Chronique

Springing from Greek Orthodox chant, east Asian dances, and late-Romantic orchestral textures, Ikon of Eros is a kind of reconciliation between the sacred and secular musical worlds, both of which have nurtured John Tavener's art. At the heart of this ambitious work is the ecstatic solo violin, which soars above the chorus and orchestra. Commissioned for violinist Jorja Fleezanis, Ikon of Eros is not a concerto, though its demands on the performer are nothing short of virtuosic, especially in terms of control and endurance. Fleezanis plays almost continuously, and her part is like a never-ending song that is most often situated in the upper octaves. Perhaps pointedly, the violin moves in tandem with soprano Patricia Rozario's rapturous vocal line in the almost operatic second movement, making the song connection explicit. Baritone Tim Krol is assigned the incantory role of a psaltist, intoning his ornamented melodies with the choral declamations and drones on the words Metemorphóthes, Éros, Ékstasis, and Allilúia. The Minnesota Orchestra and Chorale, directed by Paul Goodwin, are mostly static throughout, and their slow harmonic rhythm is clearly intended to suggest the stillness of icons. Following the piece is an interview Tavener gave to Minnesota Public Radio, outlining his intentions and the sources of his inspiration.
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