The disc contains moving choral music written by two of the most significant composers of the 20th century. At its world premiere in 1986, Alfred Schnittke's Concerto for Chorus was said to be revolutionary, whilst Arvo Pärt remains one of the most popular composers of the present day.
Paul Hillier’s Theatre of Voices, like the Hilliard Ensemble with whom he was associated before settling in America, have given the music of Arvo Part a prominent place in their repertoire. Hillier has also written a book on Part – from which his notes accompanying this CD are mostly drawn (The Music of Arvo Part; OUP: 1997) – and in the collective interview run in last September’s issue (page 14) he described his first encounter with several of Part’s scores, “Something leapt out at me: this was the kind of music I had been waiting to perform”.
The brief opening piece for chorus on this new release, "Da Pacem Domine," is based on a 9th century Gregorian work and has the usual, familiar–and very beautiful–Pärt-ian characteristics: a soft, endless stream of easy tritones and harmonies that make this plea for peace immensely moving. The major work, Lamentate, is scored for large orchestra and solo piano–a very unusual combination for Pärt. Even his fans will be surprised. In ten brief sections, it begins with a quiet drum roll, immediately followed by horn calls. There are forte explosions for full orchestra and piano, with heavy percussion. At times the only thing we hear is a hushed piano part with strings supporting very quietly. The effect is dark yet alluring. It ends peacefully. This is another stunning CD of Pärt's music for his fans–old and new.
The title of ECM's release of works by three composers born in the former Soviet Union perfectly captures the mood of the CD – it is truly mysterious. Although more than half a century separates the first of these pieces from the most recent, they share a sense of otherness that defies easy explanation. The pieces are not so much mysterious in the sense of being eerie (although there are several moments that might raise the hairs on the back of your neck if you were listening alone in the dark); they are unsettling because they raise more questions than they answer.
The second ECM New Series album to fully showcase pure-toned Estonian vocal group Vox Clamantis and its artistic director/conductor Jaan-Eik Tulve is devoted to compositions by their great countryman, Arvo Pärt – whose music has been the most performed globally of any living composer over the past five years. This album – titled The Deer’s Cry after its first track, an incantatory work for a cappella mixed choir – is also the latest in an illustrious line of ECM New Series releases to feature Pärt’s compositions, the very music that inspired Manfred Eicher to establish the New Series imprint in 1984.
A collection of musical gems by great contemporary composers of the minimalist and postminimalist trend. Music of Steve Reich (Vermont Counterpoint, New York Counterpoint - first recording of the saxophone version), Arvo Pärt (Pari Intervallo), Hans Otte (Eins), Ludovico Einaudi (Quattro Passi), Henryk Mikołaj Górecki (For you Ann Lill, Op.58), skilfully interpreted by Andrea Ceccomori and Goffredo Degli Esposti on the flutes, Paul Wehage on the saxophones, Cecilia Chailly on harp and Fabrizio Ottaviucci on piano.
For all of those who look for early works of Pärt this is a precious recording. I believe there are a lot of people who don't find much appeal in Pärt's late repetitive, mystic works for the very same reasons others prefer them. So what's up here is that Pärt has a few lesser known works before, say, his third symphony which are the "opposite" of the mentioned above. Those who are found of Schnittke will surely appreciate this. The most remarkable composition in this record is maybe the "Credo" for piano mixed choir and orchestra. It consists of 13 minutes of duel between the forces of the past (represented by Bach's well known motifs) and the eruptive resources of modernist aleatoric clusters of sound. So, pools of beautiful passages are interrupted by (or combined with) destructive (or desconstructive) interventions of the orchestra till the whole, peaking sometimes the frenetic, becomes yet a powerful block of distinctive sound.