A Mini Song Cycle for Gina (1984)

Abstract

Tavener’s highly individual cycle may appear simple at first sight, but a polished performance will require considerable artistry and concentration from the interpreter. The rapt atmosphere must be sustained through the almost continuous vocal line of this extended scena. The simple word-setting and natural rhythmic flow have a folk-like quality; the basically straightforward idiom is devoid of vocal gimmickry, but full of surprises. The piano part is extremely spare: chords only occasionally support the melody in the voice and the piano sometimes doubles the voice rather eerily at the octave. A shatteringly effective series of trills with a sudden violent crescendo occurs in the most overtly passionate section when the singer berates the curlew for evoking memories of the beloved. The work is in ABCA form and the close similarity of the opening and closing sections gives the piece a simple and satisfying symmetry. Apart from one impassioned outburst, the mood is contemplative and ripe with hidden overtones despite the generally steady pacing and unadorned lines.