In a rare instance of pedagogical insight, my A-level music teacher once declared, “You can’t put composers into boxes; they have a tendency to get out”. It’s true, yet to some extent we all tend to do it, in our efforts to try and make sense of the musical landscape in front of us. In the case of composers Arvo Pärt and John Tavener, they tend to get that treatment from both directions, those who have striven to market every last pound out of them as well as those who think every last note they write is nothing but the most sanctimonious drivel. Two concerts at the Cheltenham Music Festival this week featured large doses of both composers’ music. The first, at Tewkesbury Abbey, was given by the Hilliard Ensemble with the BBC Singers, the Carducci String Quartet and a collection of instrumentalists; it was followed two days later with a late evening concert at Gloucester Cathedral, featuring four string quartets: Cavaleri, Celan, Gildas and Hermes. Together, they provided a fresh opportunity for consideration and appraisal of both composers’ work.
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