Tavener THE VEIL OF THE TEMPLE (Cycles 1-3)

i

Cycles 1– 3

John Tavener

THE VEIL OF THE TEMPLE

SIR JOHN TAVENER THE VEIL OF THE TEMPLE Patron: H.R.H. The Prince of Wales This work was commissioned by the Temple Music Trust for Premiere in The Temple Church, London. World Premiere on 27th June 2003 performed by the Choir of The Temple Church and the Holst Singers with Patricia Rozario (soprano), conducted by Stephen Layton, as part of The City of London Festival, 2003

Urtext Score © Copyright 2002 Chester Music Ltd

CHESTER MUSIC (part of the Music Sales Group) 14/15 Berners Street, London, W1T 3LJ tel: 020 7612 7400 fax: 020 7612 7549 Exclusive distributor: Music Sales Ltd, Newmarket Road, Bury St Edmunds, Suffolk, IP33 3YB tel: 01284 702600 fax: 01284 702592 web: www.chesternovello.com e-mail: music@musicsales.co.uk

rev. 4.04

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Ac knowledgements Acknowledgements “Ah! What was there in that candle’s light?” by Maulana Jalalu-d-din Muhammad i Rûmi English version by John Tavener “Into beauty”, “Neither care nor confinement”, “Absolved: in the mirror” Translations by Mother Thekla “How I rejoice”, “A communing morn”, “As a second sun” Translations by Dr Vidosava Jankovic English Translations © Copyright Vidosava Jankovic All Rights Reserved Reproduced by permission

”Outside the gates of Paradise” “What God is, we do not know” “You mantle yourself in light” Translations by David Melling English Translations © Copyright David Melling All Rights Reserved Reproduced by permission

“O Mary Theotokos” “Hail O Mother of God” “In thee rejoiceth” “Awed by the Beauty” Translations by Mother Thekla 55 Beatitudes by St Ephrem the Syrian – Voice of the Fathers – Translations by Archimandrite Ephrem Text © Copyright 2003 Archimandrite Ephrem All Rights Reserved Reproduced by permission

“Who will defend the Holy Temple?” from The Temple and Contemplation by Henry Corbin Text © Copyright Kegan Paul Limited All Rights Reserved Reproduced by permission

“Night from my most sweet brother” by St Simeon the New Theologian Translation by Philip Sherrard Text © Copyright Philip Sherrard All Rights Reserved Reproduced by kind permission Denise Sherrard

Other texts from Christian, Islamic and Hindu sources

Score © Copyright 2002 Chester Music Ltd

iv

The Veil of the Temple Composer’s Note Introduction It was with some trepidation that I undertook the commission from The Temple Church to write a work lasting all through the night, until dawn. I have attended nineteen-hour vigils in monasteries in Greece, but these contained a conglomeration of Byzantine Chants, often anonymous, and never composed by one individual. The unity and structure in the music was achieved by strict adherence to the Byzantine system of eight tones, each representing a different spiritual state. Nevertheless, it was with the memory of such vigils that I began to write The Veil of the Temple. I decided early on to divide it into eight cycles, rather like a gigantic prayer wheel, each one ascending in pitch, and in Cycles 1-7 with verses from St John’s Gospel at the centre. The Veil of the Temple is an attempt to restore the sacred imagination. (The ancient Greek subtitle, To telos, means both ‘the end’ and ‘the beginning’.) It takes place at night, as we wait for the withdrawal of night and the coming of dawn; and, by its gradual cosmic Rising, it attempts to bring about a transformation from the Old Temple to the New. The Veil is a ‘Vigil’, not quite a liturgical ceremony. Through its eight cycles, gradually rising an octave in pitch, it attempts to reveal the mystery of the death and burial of Christ through His Rising. In creating man, God entrusted him with the task of completing The Temple, and himself becoming the Temple of God. This, anyway, is the aspiration. The beginning (after the sounding of the símantron and bells)

The Veil of the Temple begins in the world of Islam, with the sound of a female voice and a duduk outside the building, singing “When my heart drank water from your spring, it drowned in you, and was borne away in its current”, by Maulana Jalalu-d-din Muhammad i Rûmi. The soprano represents both the Self (Atma), and Mary Magdalen as Apostola Apostolorum. (Indeed, in the Gnostic Gospel of St Philip, she is portrayed as Christ’s most intimate companion, and symbol of the divine Wisdom.) She journeys through the eight cycles, reaching a total realisation of Self at the end of the last cycle, when she recognises Christ’s divinity. Next, a Tibetan temple-horn sounds, as we hear for the first time the Prayer of the Heart (the Hesychast Prayer – “Lord Jesus Christ, Son of God, have mercy on me”). Then the primordial Hebrew words “Tohu – Vohu – Tahum” (without form - void – chaos) sound from the West End. Already, in these words, the Orthodox Church recognises The Uncreated Trinity. A single voice sounds the word “Logos” (The Word of God) from the East End, since before the world was, Christ was hypostatically and cosmically present. The Logos is that mysterious entity inside the Godhead, which has revealed itself to all religious traditions at different times in history. Then we hear the first two words of St John’s Gospel in Greek: “En archi” (In the beginning). The concept of The Veil is such that it unfolds over seven cycles, the eighth belonging to the day of eternity, which is finally ‘paradisial’ - a musical image of the celestial Temple within. The di vine ascent through the cycles divine Each cycle is an entity in itself, yet as crucial to the whole as the elements of any structure in sacred art. One could say that each cycle has a particular character, like the Byzantine Tones, or the Hindu Râgas. The character radiates from the pivotal central Gospels, growing in intensity with each one, and through number symbolism growing in length. For instance, Cycle V lasts one and a half hours, whereas Cycle I lasts little more than twenty minutes. Also, the Hesychast Prayer starts in Cycle I as a single voice, and by the time it reaches Cycle VII it is in 12 separate parts. Each part corresponds to a Gospel melody, so each Gospel has a different spiritual character. The first gospel is solemn, quiet, serene and gentle for example, whereas the seventh is highly melismatic, magisterial, and ecstatic. The singer of the first six gospels must be trained by an Orthodox psaltist, but for the seventh Gospel, the singer must be guided by a Hindu priest who knows how to chant the Samaveda. The music moves forward through the Cycles with the relentlessness of Byzantine ritual, rising in glory throughout the Cosmic Ascent. It reaches a peak of intensity at the end of Cycle VII, which I hope will bring about some form of ‘transmutation’, turning the lead of the ‘old temple’ into the ‘gold’ of the new. The musical procedures are close to the expansion of Indian râgas, leading as they do to a state of divine ecstasy. The Veil itself stands somewhere between the austere magisterial Byzantine ethos and that of the divine ecstasy of the Sufi or Hindu East.

v Cycle 8 – the esc hatology eschatology As I have said, I hope that the very long journey through the first seven cycles leads us to a peak of spiritual intensity. The Epistle from Romans at the end of Cycle 7 speaks of the eschatology; of the burial and resurrection into Christ. The awesome sound of the tamtam, temple bowls, Tibetan horn, bells, símantron and organ announce both the end and the beginning: “Ton eelion kreepsanda tas idias akteenas, kai to katapetasma tou naou dhiaragen” (the sun hid its rays, and the veil of the Temple was rent from the top unto the bottom). It was necessary that Christ should break the husk represented by the Mosaic Law. He had every right to do so, for “He was more ‘TRUE’ than it”. By breaking the husk, we are introduced into the Hindu world, as Mary Magdalen, representing the Self, sings in Sanskrit the words MAYA ATMA – a musical seesaw of reality and illusion. My references to the Knights Templars that follow are symbolic. There is a rather wonderful legend concerning them, recalled by the eminent French Islamisist Henry Corbin. He tells that on March 18th, a knight of the Temple is seen to appear uttering the cry “Who will defend the Holy Temple? Who will defend the Tomb of Christ?”. At this call, the enthroned Templars come alive and stand up to answer “No one! No one!TheTemple is destroyed forever”.At which point the music quotes Tristan (symbolic of both death and love, for death in love is divine love). Then the seeringly beautiful words of St Symeon the New Theologian: “from my sweet brother I am estranged, for he is cut from the uncut light…”. The silence of the Tomb – the destruction of the Old Temple – all prayers, all doxologies, all Gospels, all Hesychasm, all Epistles seem to stop. The giant prayer-wheel appears to halt. The whole building gradually becomes suffused with light – “As many of you who were baptised into Christ and have put on Christ. Alleluia”. More Paschal texts are added, and the standing Templars now sing a different response “No! No! The temple is not destroyed forever”.Then “Dhefte lavete fos” (Come and receive the Light of Christ) and “Fos Christou feni pasi” (The Light of Christ shines everywhere) are proclaimed, and the choirs all around the building answer with further Paschal texts as children sing “It was early in the morning…” The preceding cycles have led us, sometimes gently, sometimes fiercely, sometimes austerely with a Byzantine relentlessness – but where we have been led is not to the temple of this world, but to the celestial Temple, of which the earthly Jerusalem is the image. Then the cosmic sounds cease, and Mary Magdalen, recognising the divinity of Christ, cries “Ravouní” (Master). She has realised the Self, or Atma, within her, which activates an explosion into the Hindu world, as the basses begin changing in Sanskrit “Tat tvam así” (That I am). The Upanishad Hymn which follows introduces brass instruments and timpani as all the forces sing the opening of the Isa Upanishad – “Sink this universe in God”. This is the culmination of The Veil of theTemple, because by writing The Veil I understood that no single religion can be exclusive any more. “The Veil has become Light – there is no longer any veil”. This tearing away of the Veil shows that all religions are, in a transcendent way, inwardly united beneath their exoteric forms. Debts of Gratitude I am deeply indebted to Mother Thekla, Father Ephrem, David Melling and Liadain Sherrard for allowing me to use their translations of so many of the texts that appear in The Veil of The Temple. I thank Brian Keeble, for his encouragement and friendship; also I am grateful to Robin Griffith-Jones and Stephen Layton at the Temple Church for their daring commission. To Frithjof Schuon, whose writings have so deeply inspired me, and in whose mystical presence, and under whose guidance, I live. Doctor Nasr has said so eloquently of him, “Schuon seems like the cosmic intellect itself impregnated by the energy of the divine grace surveying the whole of reality surrounding man and elucidating all the concerns of human existence in light of sacred knowledge”. Last and certainly not least, I thank my dear wife, Maryanna, who has supported me and nurtured me through over a year of this monumental task. It cannot have been easy, for I cannot have been easy, and I owe her a debt of gratitude, not easily measured.

The Veil of the Temple is dedicated to Frithjof Schuon, and to my guiding angel. J.T.

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The Veil of the Temple Note by Brian Keeble The Veil of the Temple, commissioned for the Round Church of the Temple in London, and conceived and executed on an unprecedented scale, will last for some eight hours. It is not liturgy, although it has a liturgical dimension, neither is it concert music. That is in the sense of being a work of art designed as an end in itself and meant to express and flatter merely human qualities. The reasons for art do not lie within art itself, which must always strive to connect with what transcends the human as such. The purpose of The Veil is to awaken, through music, some realisation of what is meant by man’s being created in the Divine Image. The performance of The Veil is a musical journey using voices and instruments, moving through eight cycles. The performance takes place at night in a sacred space, and the object of the journey is to make effective an heightened state of being of the listener through a symbolic unveiling from darkness towards light. At the beginning there is soundless darkness; a silent breath that contains the seed-form of all the cycles to come. Just as at the heart of the primordial darkness that is the world, void and without form, God resides in His profoundest interiority, so there is in the human heart a recollection of the light – the mystery that is the Divine Spark, the logos in the human soul. At the first sound it is awakened and energised to make the journey towards the Divine Itself through the Christian logos – the Trinity unmanifest. Hence, paradoxically, the soul’s vocation is to become that which it always is – its life is to journey towards that which is its life. The soul’s journey is to move from the existential darkness of temporal duration – time – towards the Glory of the Divine instantaneity, the ever-abiding light of the Eternal. It is also, for the symbolic themes are threaded and interwoven throughout the music’s unfolding, at the beginning in the absence of light, a waiting at the tomb of Christ for the Light of the Resurrection. The listener should be aware at the outset of two features of the conception of The Veil which act as important non-auditory aspects of the music’s performance. The first feature might be said to form the seminal idea (archetype) of the whole work. It is the idea that any claim to an exclusive possession of Truth by any sacred tradition is equivalent to placing a limitation of the infinitude of the Divine which must, by definition, encompass everything. Whatever symbols, words, characterisation used to define or express the nature of God and His relationship to man must, in the final analysis, be seen inevitably as an accommodation to man’s earthly state. In order to embrace the infinitude of God, all forms have to be shattered – even that of The Veil. In the religious context of the music this means all models of a manifest Temple of Jerusalem must finally be discarded in the Face of the Divine Presence. The second non-auditory aspect of The Veil ’s conception is closely related to the first, and underscores the whole work. God is nothing, in the sense that God is no thing. The unfolding of the eight cycles is in a sense a musical reiteration of the need to dissociate the notion of God from any finite representation. This reiteration is, in the music, like a cumulative denial of the possibility of the Divine as being in any way exclusive in its infinity. The reiteration grows less emphatic as the cycles progress, as approach to the Divine makes it increasingly evident that God, in his plenitude, in being no thing, far from being diminished or impoverished is, on the contrary, the very womb and cause of all things. The eighth cycle represents this idea impelled to its fullest and final implication. The discourse-cummeditation that is The Veil’s trajectory is completed by the seventh cycle, having fully articulated the Divine from the Christian perspective. In the eighth cycle the veil that is the exclusivity of the Christian perspective is lifted – “the veil has become light – and indeed there is no longer any veil”, in the words of Frithjof Schuon – in a musical gnosis that embraces all religions as being Christian in so far as they are manifestations of the logos. Thus it can be seen that the first seven cycles all contain, at their still centre, the last Dialogue of Christ with his disciples until, at the end of the seventh cycle, the music assumes a cosmic and universal significance. The movement of the first seven cycles can be likened to the turning of a prayer wheel – started by the solo soprano – representing the journey of the Self. This is the movement of the Divine Eros through a series of spasms ever expanding and ever rising towards extinction in the Divine Infinity, until, in the seventh cycle, unannounced, there is a sudden transformation that removes all traces of darkness. By the eighth cycle the awakened soul has moved from darkness to light until a point is reached, with the intensification of the light, that there is a sudden explosion of light. This is the rending of the Veil. Light can no longer be denied. In metaphysical terms the Divine nature of the Real becomes blindingly obvious. Light is known by light, as the spark of the logos in the soul gradually transforms the soul into the light of the Divine that is its eternal nature. There is no longer any division between transcendent and immanent, inner and outer worlds. There is the realisation that the soul is light from the beginning.

vii The rending of the Veil indicates, therefore, the destruction of any division of Atma (light) and Maya (dark), reality and illusion. What is revealed by the rending of the Veil is the eternal effulgence of the Divine Glory. There is nothing but the eternally Real. Now is the rebuilding of the heavenly Jerusalem to which there can be no end, as the music, rather than ending, fades away. Some indication of the depth and complexity of the symbolic resonances at the climax of The Veil can be gauged by recalling the following themes, which, in varying degrees of intensity, are underwritten by the music of the eighth cycle: The Goal of the Journey; Totality of Light; The Light of the Resurrection; The Rending of the Veil of the Temple; Destruction of the old order – the exclusivity of the various differing religions; Destruction of any manifest structure of the Holy Temple of Jerusalem through the realisation of the greater spiritual and metaphysical model of the Temple within; Realisation of Self.

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S coring Voices Solo soprano S.A.T.B. choir (with soloists taken from the choir)

Instr uments Instruments Duduk Tibetan temple horn 3 horns in F*† 2 trumpets in C† Tenor trombone† Bass trombone † Timpani† Percussion (minimum 5 players): 3 Tibetan temple bowls (small, medium and large) Very large tamtam Tubular bells Handbells

Organ Drone (played by the organ) Indian harmonium Strings (optional)†

* Notated in C in the score † In the Upanishad Hymn only

Duration: c. 7 hours

Notation “Oh.” as in the “o” of log. Breathe when necessary, but not simultaneously

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         7       ¬ 2XU )D WKHU ZKLFK DUW  0 PDUF          % s   2XU )D

WKHU

  ¡¡ ¢¢

3i

   % s 

ZKLFK DUW



0RQXPHQWDO

r   7   ¬ 3

  





             

0 PDUF

'URQH

 

 

UL

  ¡¡ ¢¢

0

H

TL H

 s  

0

H N J V P

HH VR~

0 PDUF

'URQH

J VR

 

7 %RZOV

,

   ¬ -

/

,

H





.ê

00

'URQH





-

.ê

%

UL



 



TL H

    00

7



 

 

LQ

 

KHD YHQ

      LQ

 

     LQ

 





+DO ORZHG EH

7K\ 1DPH

+DO ORZHG EH

7K\ 1DPH

            

KHD YHQ

        

+DO ORZHG EH

7K\ .LQJ GRP FRPH

       7K\ .LQJ GRP FRPH

7K\ 1DPH

7K\ .LQJ GRP FRPH



 

 

 

 

 

WHT

J O P

R

HP

WRLU

RX TD

PR U

HH PyQ

R

HQ

WHHV

RX

QpHV

WHU

 

 

 

  

 

 

 

UD

 

 

3 WHT

J O P

R

HP

WRLU

RX TD

PR U

3i

HH PyQ

R

HQ

WHHV

RX

QpHV

  ¡¡ ¢¢

WHU



UD



           



  



        

          

KHD YHQ



 











 

r       7    ¬ $ FL DV KJ

             

$ JHH DV

WKt

           % s

W\ WR

R PR O VRX

(N K W\ J ED VL NH D VRX

WR

R QR Pi VRX

(O WKp WR HH YD VHH OpH

      

KJ

W\ WR

R PR O VRX

WR

R QR Pi VRX



WR



6HUHQH OHJDWR 0

6

r    

2XU

0





)D









WKHU

ZKLFK

DUW

LQ

                

2XU

0

)D

WKHU

ZKLFK

DUW

LQ

(O WKp WR HH YD VHH OpH



     KHD YHQ



+DO ORZHG

KHD YHQ

+DO

ORZHG

0

s

 

0

  

      

      

2XU

LQ

  ¡¡ ¢¢

)D

WKHU

ZKLFK

r  6    7K\





.LQJ GRP

 FRPH

         

$

7K\

.LQJ

GRP



DUW

  0              ¬ 7K\ .LQJ GRP FRPH От - че

7

KHD YHQ

 6WLOO DQG TXLHW     

FRPH

s

   7K\

   ¡¡ ¢¢

.LQJ

0        GRP

FRPH









EH

WK\

D VRX



 



QDPH

EH

 

WK\

QDPH









ORZHG



EH

WK\

QDPH



 



+DO ORZHG

EH

WK\

   

QDPH

 



















       

нашъ,



 



 



И - же

2W FK\HD QDVK

  



(N K W\ J ED VL NH D VRX

                      ¬ 2XU )D WKHU ZKLFK DUW LQ KHD YHQ +DO

'URQH

'URQH



    

                             ¬ 2XU )D WKHU ZKLFK DUW LQ KHD YHQ +DO ORZHG EH WK\ QDPH

7

%

D VRX

                            

$

%

      

$ JHH DV

  ¡¡ ¢¢

'URQH

WR



    

$ FL DV

WKt

                

е

-

 



си на не - бе - сњхъ!

(H ]K\HD \HD VHH QD Q\HD E\HD V\HDNK

        -

 

От - че нашъ,

И - же

2W FK\HD QDVK

(H ]K\HD \HD VHH QD Q\HD E\HD V\HDNK



е





си на не - бе - сњхъ!



r        7    ¬ Да свя - тй - тся и 'D VY\D WHH WV\D

   - мя Тво - е,

    

  

и - мя Тво - е,

да прі - и - детъ

'D VY\D WHH WV\D

HH P\D 7YR \HD

GD SUHH HH G\HDW





2XU

0

)D

    

WKHU

    7    ¬ 2XU )D WKHU 0         % s  2XU

  ¡¡ ¢¢

)D

  

+DO ORZHG EH 7K\ QDPH

7K\ .LQJ GRP FRPH

ZKLFK DUW

LQ

KHD YHQ

+DO ORZHG EH 7K\ QDPH

7K\ .LQJ GRP FRPH

       LQ

KHD YHQ

      

И - же

 s  

  

  ¡¡ ¢ ¢

r   6   

И - же



 

прі - и - детъ SUHH HH G\HDW



 

да

прі - и - детъ

GD

SUHH HH G\HDW





 

 



'D VY\D WHH WV\D HH P\D 7YR \HD



Да свя - тй - тся и - мя Тво - е,

'D VY\D WHH WV\D HH P\D 7YR \HD



GD

  ¡¡ ¢¢

е - си на не - бе - сњхъ!



Да свя - тй - тся и - мя Тво - е,

       

(H ]K\HD \HD VHH QD Q\HD E\HD V\HDNK

да

 s  

е - си на не - бе - сњхъ!

        

2W FK\HD QDVK

7K\ .LQJ GRP FRPH

       

(H ]K\HD \HD VHH QD Q\HD E\HD V\HDNK



            

+DO ORZHG EH 7K\ QDPH



WYR \HD

   

     



Тво - е.

W]DU VWYHH \HD

KHD YHQ

        

От - че нашъ,

'URQH

   

Цар - стві - е



WYR \HD

LQ

ZKLFK DUW

2W FK\HD QDVK

$

 



Тво - е.

W]DU VWYHH \HD

ZKLFK DUW

    

WKHU

От - че нашъ,

'URQH

   

Цар - стві - е

    

6WLOO DQG TXLHW VRQRURXV

r  6   

$

 

6HUHQH OHJDWR 0

r  $      

'URQH

GD SUHH HH G\HDW

Да свя - тй - тся

  ¡¡ ¢¢

да прі - и - детъ

HH P\D 7YR \HD

       % s        'URQH

        



 





Цар - стві - е W]DU

 

VWYHH \HD





Цар - стві - е



W]DU

VWYHH \HD



 

Тво WYR

 

 Тво WYR

е. \HD



 





 







е.



\HD

7 %RZOV

0

*HQWO\ 1 F

r  ¡ s  < ¢ PHG





0

r  00   /RUG

%

  

0

/RUG

-H

        6RQ

RI

*RG KDYH

VXV

&KULVW

6RQ

RI





 

  

PHU

*RG KDYH



-H

PHU



 

VXV

-H

F\ XS RQ

PH

F\ XS RQ

PH





       

&KULVW

6RQ

RI

*RG KDYH

VXV

/RUG

00

  

/RUG

00

 

 s  

/RUG

  ¡¡ ¢¢



-H VXV &KULVW



 

-H VXV &KULVW

    ¬ /RUG -H 00

&KULVW

6RQ

RI

PHU

*RG KDYH



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00

r  6   

'URQH



 ¡¡ ¢¢

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  

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





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

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



 



6RQ

RI

 

 

6RQ

RI





6RQ

RI







6RQ

RI

*RG

F\ XS RQ



 

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



RQ

PH



 

 

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RQ

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

 

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KDYH PHU F\

RQ

PH







KDYH PHU F\

RQ

PH





   

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  

  



PH



KDYH PHU F\

*RG



PHU



PH

SRFR

                             

 s 

%

VXV

  

/RUG

%

7

&KULVW



SRFR

0

r 

$

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  ¡¡ ¢¢

'URQH

 

/RUG 'URQH

  



                             

00

s



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

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



1 1 F r  ODUJH 7 %RZOV s   < ¡¢

0 00

r      2

%

00

s

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





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7KH R WR

   

NRV

 





    

          





7KRX

  

  





DUW

    

WKH

P\V WLF

WRQJV

 

2K

  ¡¡ ¢¢

'URQH

r   



ZKR FRQ FHLYHG

%

s

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  

            WK\ SXUH ZRPE

&KULVW ZKR LV WKH

 

2K

 ¡¡ ¢¢

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00 SRFR D SRFR FUHVF

r      2

%

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

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s

   

7KH R WR

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r    %

ZKR FRQ FHLYHG

 s  

 LQ

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  



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

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