As I write, I am listening to Tavener’s music, some of which I have found relatively impenetrable, but much of which is sublime.

Tavener died earlier this week. He had Marfan’s syndrome, which explains his ‘ethereal thinness’, and had a long history of illness, including a heart attack six years ago from which he almost died.

Tavener recently commented that he had lived longer than anyone, including himself, had imagined possible.

He was 69.

Today, I listened to what came to be his final radio interview, which took place last month from his home in Dorset with Radio 3’s Tom Service (
In the interview Tavener, who sounded frail, spoke of his physical suffering, and also of his spirituality within the context of such suffering, which constantly informed his writing and his perception of life.
For Tavener, in the context of not knowing what comes after death, faith and doubt co-existed. Such non-knowing necessitated a humbling of the mind, and Tavener, who was deeply religious, believed that life and death, doubt and darkness, all existed alongside each other.
Illness, and particularly the almost fatal heart attack six years ago, facilitated a renewed seeing of the world and 0f Tavener’s place within it, with an enhanced clarity.
Rather than escaping from suffering through his writing, Tavener, throughout his life and career, chose to deal with issues such as death head-on. Thus, his music was informed by suffering, but, perhaps perversely, the creativity thus produced served to energise.
Of late, his music, as stated by the artist himself, became more terse and austere. He expressed a wish to be remembered as an austere composer.
God returned to Tavener in a distinctly different way following his heart attack. This was no longer an external deity, but an internal one. Since then, every piece he wrote was informed by this, and by via negativa – ‘where there is nothing, there is God’.
In recent years, as illness escalated, Tavener felt much closer to the non-knowing, and faith became more complex for him, and much influenced by pain and suffering.
Pain significantly affected his capacity to work, struggling of late to work for more than two hours at a time. Tavener believed that his last pieces were particularly important, not least because of the physical effort they involved. When unable to work due to illness, he described such times as days of darkness. When he could work, a divine darkness was alive within.
Tavener quoted Tolstoy, who believed that one had to suffer to be heard as an artist. The composer clearly subscribed to a similar view.
I was impressed and moved by the clarity of Tavener’s vision himself, and of his life and work. Tom Service commented at the end of the interview that, despite the seriousness and darkness of the topics that Tavener spoke of, the composer smiled as he spoke. Tavener concurred, and laughed at this observation…