The article is devoted to “Apocalypse” (1993) by the English composer John Tavener, a work little known in Russia. On the basis of this large-scale oeuvre, the concept of a sound icon, which emerged in the most orthodox period of the author’s work, is studied, and its genesis is traced. The possibility of understanding a musical work as an icon is conceptualized in the
light of the teachings of the Orthodox Church. At the same time, through the prism of religious
dogmatics, the correlation between freedom of creativity and religious canon is considered, as
well as the permissible measure of the author’s presence in the text of a composition on such
a significant religious subject. The system of expressive means developed by Tavener, rooted
in the apostolic tradition, and the connection between iconography, true faith, and ascetic
practice are analyzed. The conclusion attempts to substantiate the fundamental otherness of
Tavener’s sound icons in relation to the works of Russian and foreign composers contemporary
to him, written on the theme of the Apocalypse and other biblical subjects. The intense religious search helps Tavener go beyond the limits of musical imagery and bring the listener to the space of divine communication. The composer succeeds in this largely due to his special treatment of musical time.
Abstract