Butterfly Dreams

Tavener's Butterfly Dreams and Frank Martin's Mass for double choir

Part of the Hesperos 2026 Cycle

Add to my Calendar 27-06-2026 07:00 27-06-2026 09:00 36 Butterfly Dreams This concert is built around two twentieth-century choral works, John Tavener’s Butterfly Dreams and Frank Martin’s Mass for double choir. Tavener sets short poems and texts drawn from dispersed places and times to create a strange, hallucinatory, fluttering piece that suggests the many different implications of the butterfly. Martin’s Mass for Double Choir, while becoming one of the most popular mass settings, was written in 1922 but left in the bottom of a drawer for forty years, as if cocooned and entirely hidden from view; he later said, “Through a sort of instinctive modesty I have done nothing to have these pieces performed. It sufficed me entirely to have written them”.   Around these are interspersed pieces that deal with time, nature, and ephemerality, much like a still life. From Tallis and Gibbons’ delicate musings on the impermanence of creatures, and Holst’s setting of mystic and metaphysical Henry Vaughan’s dialogue between the soul and the body, to Leighton’s setting of Gerald Manley Hopkins’ ‘God’s Grandeur’, Vaughan-Williams’ setting of Prospero’s final speech from TheTempest, and Reena Esmail’s gloriously meslismatic Tuttarana. St John the Baptist Church, London DD/MM/YYYY

Details

St John the Baptist Church
Holland Road
Shepherd's Bush
London
W14 8AH
England

Tickets

Prices: General admission £16, Under 25 / Student / Unwaged £11
Book Tickets

Programme

Kenneth LeightonGod's Grandeur
Thomas TallisThou wast, O God, and thou wast blest
Gustav HolstThe Evening-Watch, Op.43 no.1
Robert WhiteChriste qui lux es et dies (I)
John TavenerButterfly Dreams
Ralph Vaughan WilliamsThree Shakespeare Songs: 'The Cloud Capp'd Towers'
Reena EsmailTuttarana
Martin FrankMass for double choir

Performers

Hesperos Choir

Other concerts in this Series (+)

Programme Note

This concert is built around two twentieth-century choral works, John Tavener’s Butterfly Dreams and Frank Martin’s Mass for double choir. Tavener sets short poems and texts drawn from dispersed places and times to create a strange, hallucinatory, fluttering piece that suggests the many different implications of the butterfly. Martin’s Mass for Double Choir, while becoming one of the most popular mass settings, was written in 1922 but left in the bottom of a drawer for forty years, as if cocooned and entirely hidden from view; he later said, “Through a sort of instinctive modesty I have done nothing to have these pieces performed. It sufficed me entirely to have written them”.

 

Around these are interspersed pieces that deal with time, nature, and ephemerality, much like a still life. From Tallis and Gibbons’ delicate musings on the impermanence of creatures, and Holst’s setting of mystic and metaphysical Henry Vaughan’s dialogue between the soul and the body, to Leighton’s setting of Gerald Manley Hopkins’ ‘God’s Grandeur’, Vaughan-Williams’ setting of Prospero’s final speech from TheTempest, and Reena Esmail’s gloriously meslismatic Tuttarana.

Butterfly Dreams

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