United Kingdom Tavener: Guy Johnston (cello), Britten Sinfonia / Thomas Gould (violin/director). Greek Orthodox Church, London, 29.10.2025. (JR)
Tavener – The Protecting Veil
The Britten Sinfonia prides itself with creating impactful and inspirational musical experiences through adventurous programming and innovative formats and appropriate venues – and this concert was no exception.
The orchestra had managed to persuade the clergy and administration of the Greek Orthodox Church (Hagia Sophia) in Moscow Road, Bayswater, to open its otherwise closed-to-the-public doors for this concert (on two evenings), so viewing the splendour of the Grade One listed Byzantine Revival building was an added bonus. We entered the church into a sea of haze and dimmed lighting, which served perfectly to set the scene.
After some introductory words from the Priest (mentioning that members of Tavener’s family were in the audience) we heard a selection of Orthodox liturgical music including the sixth-century Kontakion (Homage) to Theotokos, delivered by the church choir (directed by George Zacharias) from behind the audience, and on high. Given the small number of singers, their volume was impressive as was the sonority of the bass. There then followed a prayer to the memory of John Tavener, in Greek and in English.
The lights were dimmed so we were almost in total darkness to begin The Protecting Veil. In 1977 Tavener converted to the Eastern Orthodox Church and much of his music after that explored its spiritual teachings and mystical themes. The Protecting Veil is a case in point. Premiered by Steven Isserlis at the BBC Proms in 1989, it became an instant success, and it has been performed around the world. The work commemorates a vision of the Virgin Mary at a church in Constantinople in the early tenth century. Mary is said to have spread her veil as a protective shelter to protect the Greek Christians and drive away the Saracens.
The cello soloist. Guy Johnston, a former BBC Young Musician of the Year, has played the work often and clearly knew the work like the back of his hand. Often playing with eyes closed, Johnston surmounted the technical challenges of the work with ease. Much of the work is up high on his instrument’s fingerboard and stamina is required, as the soloist gets hardly a break. Johnston was absolutely magnificent throughout, contrasting the passages of drama and contemplative stillness. Performing without a conductor added to the challenge. Leader Thomas Gould conducted the strings from the front desk, whenever possible, to ensure the tempos did not flag. Entries were signalled by a prominent nod.
The strings of the Britten Sinfonia blended perfectly and harmoniously in the background and were particularly impressive in the attacca sections, where they suddenly became the centre of attention. Atmospheric lighting added to the meditative experience. At the end, the lights dimmed again, leaving the audience utterly spellbound. Nobody dared to break the spell as Johnston lowered his bow as slowly as he possibly could. After what seemed like an eternity, rapturous applause broke out. Johnston rose and hugged Tavener’s widow.
It had truly been a beautiful concert which will long linger in the memory and anyone new to the work would have been enthralled. The two performances were recorded and filmed for future release. This will be well worth waiting for.
John Rhodes