“The World for string quartet and soprano solo should be performed at maximum intensity throughout. White hot, white cold – intensely loud, intensely soft – almost unbearable – that which is nowhere and everywhere – not human but divine – theanthropic.” These, the words of the piece’s composer, John Tavener. His ten-minute setting of the poet Kathleen Raine for soprano and quartet certainly lends itself to such extremities of thinking. 

Despite the serene timbres, The World works in a currency of simple gestures taken to their limits, but the extremes Tavener finds comes through austerity rather than exuberance. The piece is built around a few key ideas: beginning with striking plucked chords, the soprano introduces a coupletted stepping motion which is passed around the ensemble. The fiendish soprano part finishes this theme with a flourish—a long, quiet, sustained note, suspended above the ensemble. A squiggly chorale-like passage brings the strings back together in rhythmic unison around an anchoring mid-range drone, and the whole sequence repeats again. Through these kinds of creative austerity, Tavener achieves a steely focus. 

Hugh Morris 2024