Flood of Beauty

Barbican Centre, London EC1

5/5

ANY notion of a composer loosening his grip on experimentation is ripped apart by Flood of Beauty, Sir John Tavener’s last major concert work premiered here.

A piece of complexity, dramatic progression and beautifully poised moments of melancholy, it is based on a Sanskrit poem by the 9th-century philosopher and poet Sankara which, along with its Hindu religiosity is a praise song to the feminine.

Composed of cycles, its sole intent is to awaken a subsconscious response through intense points of compositional turmoil and silence, particuarly remarkable in cycles 3 and 4.

The ferocity of Tavener’s musical score is tempered by the cello work of Natalie Cein (pictured), without whose expressiveness and control Flood of Beauty might drown in Tavener’s tendency towards crushing transcendental sound.

The performers, placed in three areas around the auditorium, are perfectly complemented by the Britten Sinfonia and choir who are supplemented in turn by the New London Chamber Choir, soprano Allison Bell, baritone Marcus Farnsworth, Sheema Mukherjee’s sitar and Kuljit Bhamra’s tabla playing.

The audience are transfixed by the sonic virtuosity and more is promised on October 5 when this same venue hosts the all-day event Sir John Tavener: Total Immersion.

Peter Lindley