2 vibrant CDs cast a spell on listener

JORJA FLEEZANIS, VIOLIN; PATRICIA ROZARIO, SOPRANO; TIM KROL, BARITONE; PAUL GOODWIN, CONDUCTOR; THE MINNESOTA ORCHESTRA AND THE MINNESOTA CHORALE; John Tavener, "Ikon of Eros" (Reference Recordings) ****

CASSATT STRING QUARTET; Daniel S. Godfrey: String Quartets Nos. 2 and 3; "Romanza" (Koch International Classics) *** 1/2

John Tavener's music defies categorization in that he draws on countless sources for his inspiration. Transcendentalism, Eastern mysticism, spiritualism and medieval hymnology combine in his music to create works that are perhaps bizarre but most definitely eerie. His music casts a hypnotic spell on the listener. It is fascinating, profound, irresistible and indescribable. It is compelling in the extreme.

"Ikon of Eros" shows Tavener at his most mystical. Symbolism and metaphysics are at the core of the work, which musically depicts the Trinity. In the composer's world, as revealed in "Ikon of Eros," the brass represent God the Father; the strings, God the Son; and the woodwinds, God the Holy Spirit. The solo violin represents divine love, while the chorus acts like an ancient Greek chorus, commenting on the story with a few, well-chosen words. This is cerebral music, but utterly spellbinding.

Reference Recordings has captured this work in a stunning performance by the Minnesota Orchestra and the Minnesota Chorale, under the baton of Paul Goodwin. The orchestra, which premiered the work in November 2002, plays wondrously, as does the chorale. Both give a luminous and captivating reading of this monumental work.

Goodwin's dynamic interpretation gives vibrancy to the static sounds that run throughout the hourlong piece, and through which the solo voices and solo violin weave their magical melodic threads.

Jorja Fleezanis, concertmaster of the Minnesota Orchestra and for whom Tavener wrote "Ikon of Eros," gives a stellar performance. She plays her demanding part with conviction and self-assuredness.

• Daniel S. Godfrey writes tradition-bound music. He doesn't eschew tonality, and, in fact, manages to write works that are expressive, intense, vibrant and, above all, sincere.

Koch's release earlier this year of three of Godfrey's string quartets gives a wonderful panorama of his musical style. Of the three works on this CD, the Third Quartet, originally written in 2000 and revised a year later, is the most striking and eloquent. Written for the Cassatt String Quartet, it is fairly conventional in structure and thematic development, yet it makes a forceful impression on the listener, thanks principally to the Cassatt's powerful performance.

The Second Quartet is notable for the emotionally charged Adagietto movement, which the Cassatt plays with impassioned intensity and feeling.

The final work on the album, the "Romanza," is a piece that Godfrey adapted a few years ago from his Quartet No. 1 from 1974. It is unassuming and innocuous, and the ensemble plays it with good-natured grace, infusing the performance with simplicity and quiet charm.

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