In this beautiful new recital we see hope for deliverance explicitly placed in the anticipation of Christ’s coming in the ‘Sieben Magnificat-Antiphonen’; Simeon’s joy at the sight of the newborn Jesus and his mission in the ‘Nunc dimittis’; and new beginnings in the prayer sung at the rebuilt Greek Orthodox Church at Ground Zero in ‘O Holy Father Nicholas’. But there’s also Pärt’s implied challenge to us ‘to see everything in the light of the end’ as Kristina Kōrver puts in her excellent booklet notes. That’s present in Simeon’s vision of salvation of course, but reinforced in the text from the Book of Revelation in the title track ‘And I heard a voice’, appropriately chosen to conclude the programme. […] Vox Clamantis and their gifted director Jaan-Eik Tulve have provided a thoughtful and highly memorable tribute. Their sound has been atmospherically captured by ECM in Haapsalu Cathedral. I can’t think of how this 90th birthday present could be bettered.
Dominic Hartley, Music Web International
His simple, clear and pure Renaissance inspired harmonic style, graced with ‘crunchy’ semitone dissonances along the way that cut through the harmonic fabric like a knife, is pure magic. Its timeless quality, as if emanating from the dawn of time, instantly grabs your attention. And when sung to perfection as it is in this ECM recording, the simple becomes ornate. The Vox Clamantis vocal ensemble’s wondrous control of pitch, intonation, blend and dynamic balance is a thing of beauty all its own. Combined with Pärt’s sublime yet subliminal harmonic touches their sound is infectious. For example, the way they seem to build something out of nothing in the opening ‘Nunc dimittis’ is quite simply goose bumps inducing. The same could be said about ‘Für Jan van Eyck’, the only track on this disc which features a pipe organ. Whether you’re new to or a seasoned Arvo Pärt follower, this CD is a must for the simple reason that a capella choral singing of this calibre combined with this type of music will have you pondering the depths of existence itself.
Jean-Yves Duperron, Classical Music Sentinel
The sound that is seared into my memory is the Norton Anthology of Western Music recording of ‘O Weisheit’ from his choral work ‘Sieben Magnificat-Antiphonen’, which ignited something in my brain when I heard it for the first time. The seven-movement work sets texts from the Roman Catholic Advent liturgy — specifically the seven evenings before Christmas Eve — and it’s the centerpiece of a new portrait album of Pärt’s vocal works out Sep. 5 on ECM Records. Some of the most outstanding performances I have attended in my life have featured vocal music by Estonian composers performed by Estonian choirs in the acoustic marvel that is Estonian churches – and Vox Clamantis’ new album of works by Arvo Pärt recorded in Haapsalu Cathedral is equally magnificent.
Amanda Cook, I care if you listen
Vox Clamantis and leader Jaan-Eik Tulve have once again proven what a perfect match they are for Pärt’s music. This album is a gift to celebrate the composer’s birthday. But we’re the beneficiaries of this breathtaking album.
Craig Byrd, Cultural Attache
Die Klänge der Musik des estnischen Komponisten Arvo Pärt schweben förmlich durch die Räume, in denen sie aufgenommen werden. Um dem sanft gleitenden Charakter der Stücke des bald 90-jährigen Partituren-Architekten Pärt gerecht werden zu können, wurde das neue Album in einer Kathedrale mitgeschnitten. In deren akustisch nahezu perfekt ausgerichteten Räumlichkeiten fand sich das ebenfalls aus Estland stammende Vokalensemble Vox Clamantis ein. Die 17-köpfige Sängerinnen- und Sänger-Gruppe arbeitet seit nunmehr 25 Jahren eng mit Pärt zusammen. Die künstlerische Partnerschaft schuf scheinbar derart großes gegenseitiges Vertrauen, dass die neue Einspielung getrost zur vorläufigen Meisterinterpretation von Pärts Pilgerliedern gekürt werden kann. […] Erbaulicher, weil verbindlicher kann Musik für die zerbröselnde Menschengemeinschaft nicht klingen.
Michael Loesl, Aachener Zeitung
What Pierre Boulez once dismissed as ‚holy minimalism‘ proves irresistibly hypnotic […] Just listen. You will not forget this sound for a very long time.
Norman Lebrecht, The Critic
Si les ‘Sieben Magnificat-Antiphonen’ de 1988, parcourues en apesanteur avec vocalité ouatée et réverbérée, approchent l’idéal de la prière extatique recherché par le musicien très croyant, la pièce écrite pour l’inauguration, en 2021, de l’église orthodoxe grecque construite sur le site de Ground Zero (‘O Holy Father Nicolas’) révèle un appréciable renouvellement dans la manière de tintinnabuler. Comme pour Veljo Tormis (1930-2017), son premier maître, c’est le chœur, dont l’Estonie constitue un eldorado, qui prime.
Pierre Gervasoni, Le Monde
Un équilibre exemplaire, mêlant la précision de l’image sonore et la variété du coloris. Vox Clamantis s’y révèle toujours fort convaincant, notamment par la beauté de ses grisés.
Benôit Fauchet, Diapason
Released to celebrate the Estonian composer’s 90th birthday, this beautiful recording is not just a wonderful way to celebrate but is a celebration in itself. Bringing together some of Pärt’s more recent compositions, the oldest ‘Sieben Magnificat-Antiphonen’ having been written in 1988, the choir Vox Clamantis under the direction of their leader Jaan-Eik Tulve breathe life into the music in an enlightening and uplifting manner. […] Vox Clamantis have been working with Pärt for over a quarter of a century and their depth of understanding for the music is staggering. Working from scriptural verses the composer is able to bring to the choir the same feeling of calm and space that is an integral part of his works for orchestra. Vox Clamantis in turn bring their mastery of plainchant and early polyphony along with a feeling for contemporary composition that permits the music to inhabit its own unique space. […] Having immersed oneself in the luxurious sounds of Vox Clamantis, a surprise quietly creeps up with the addition of another voice with the sound of the organ played by Ene Salumäe. As delightful as it is unexpected. The integration of organ and choir is so delicately and masterfully done that it immediately pulls at the ear, yet the new voice becomes at one, while paradoxically enhancing the textures within the choir. This superb collection of music for choir composed by Pärt concludes with ‘And I heard a voice’, notable as the only composition by the Estonian composer in which he has set sacred text in his native language, using a translation into Estonian of the Book of Revelation. To the text Pärt has written music that perfectly blends the past with the present, and to which Vox Clamantis bring a gravitas that acknowledges both the compositions and the composer.
Nick Lea, Jazz Views
Le compositeur estonien Arvo Pärt a fêté ses 90 ans en septembre. Le label ECM, qui a fidèlement gravé ses oeuvres, publie un nouveau recueil choral. L’ensemble Vox Clamantis de Jaan-Eik Tulve, spécialiste de son répertoire, est formidable de précision et d’intensité dans les pièces ‘Nunc Dimittis’, ‘O Holy Father Nicholas’, ‘Sieben Magnificat-Antiphonen’, ‘Für Jan van Eyck’, ‘Kleine Litanei’, ‘And I heard a voice’… La musique s’élève, dans une forme de dépouillement, d’épure, de recueillement mystique (les textes sont d’inspiration religieuse). Elle est tendue entre les origines de la polyphonie et des harmonies contemporaines et entre l’assise d’une basse profonde et l’envolée aiguë des sopranos. C’est une musique qui pose, qui pousse à l’intériorité, à la communion, à supporter l’insoutenable vacarme du monde.
Elisabeth Haas, La Liberté
Das Kirchenschiff, mit hauchdünnem Marmor verkleidet, leuchtet nachts von innen wie eine riesige Laterne. So wie die Stimmen von Vox Clamantis. Arvo Pärt und Vox Clamantis verbindet eine 25-jährige Zusammenarbeit, die Pärt als eng und inspirierend beschreibt. Sie teilen ihre Leidenschaft für Gregorianik, frühe Vokalpolyphonie und zeitgenössische Musik. Sie suchen nach Klarheit im Klang und einer seelenvollen Interpretation der Melodie. Über die Jahre sind Pärts Klangvorstellung und die Stimmen von Vox Clamantis enger zusammengewachsen – das hört man auch auf dem neuen Album. Die Melodien fließen mühelos, die perfekte Vokalfärbung erzeugt einen obertonreichen Klang […] Am Ende wiegen sich die Akkorde in die Unendlichkeit. […] Die Sängerinnen und Sänger atmen Pärts Musik – ein Fest der Klarheit und Wärme zum 90. Geburtstag.
Marie König, Deutschlandfunk Kultur
Das jetzt bei ECM erschienene Album ‘And I heard a voice’ mit Werken für Chor a cappella, gesungen vom Ensemble Vox Clamantis (Dirigent: Jaan-Eik Tulve) macht auf berückende Weise deutlich, warum seine Musik von Chören auf der ganzen Welt gesungen wird.
Burkhard Schäfer, Südwestpresse
It is clear whithin minutes of this recording that Voxy Clamantis are a leading interpreter of Pärt’s music. They breathe it; they live it. Pärt’s melodies are expertly lifted off the page and brought to life by the Estonian ensemble. […] This selection of predominantly new works has been recorded in the resonant splendor of Estonia’s Haapsalu Cathedral, whose acoustic lends each piece a an ethereal reverb. As Pärt’s harmonies unfold, the ensemble perfectly captures their drama – letting each phrase build and then ring out as the progression reaches its peak. Their tuning is so locked in that it produces an overtone-like effect as it hangs in the air. […] Pärt’s genius harmonic writing is delivered at its very best.
Freya Parr, BBC Music Magazine
In a July 2020 Gramophone review, the late Ivan Moody drew attention to the Estonian vocal ensemble’s exceptional clarity, precision and sheer musicianship. All these elements are displayed in abundance on this latest release. Alongside clarity and precision, one is also drawn to the lush, almost sensuous quality that belongs to the ensemble’s sound, heard for example in the delicately weighted and balanced opening entries to Pärt’s setting of the ‘Nunc dimittis’: fragile melodic fragments as if snatched from the clutches of silence. […] Add to this the rounded, generous acoustics of Haapsalu Cathedral, Estonia, and this recording places Vox Clamantis right up there with some of the best interpretations of Pärt’s sacred choral music, rivalling even The Hilliard Ensemble’s best moments.
Pwill ap Sión, Gramophone
Offensichtlich treffen estnische Ensembles den Ton der Musik von Arvo Pärt am besten. Jedenfalls kann man einmal mehr diesen Eindruck bei dem aktuellen Album mit dem Vokalensemble Vox Clamantis unter Jaan-Eik Tulve gewinnen – ein Album, das (wie so oft bei ECM) einen Referenz-Status erreicht. Ohne auch nur im Ansatz ein Vibrato zu erzeugen, zelebrieren die exzellenten Vokalisten diese karge und zugleich warme Klangwelt zwischen irdischem Glauben und himmlischen Sphären.
Michael Kube, Neue MusikZeitung
Much of the music, other than the opening ‘Nunc dimittis’ and the ‘Sieben Magnificat-Antiphonen’, is quite recent. So for both performers and composer, the album has the qualities of a culmination, and it is impressive indeed. One hears the precision of which this group is capable right at the beginning of the program in the ‘Nunc dimittis’, and one also experiences the degree to which the ECM label is poles ahead of anyone else sonically in recording Pärt’s music; the sound from the Haapsalu Cathedral in Estonia is profoundly meditative but not distant; ‘cathedral’ is not quite the right word for this compact structure. There are many attractions here, including the unusually detailed text-painting in the ‘Sieben Magnificat-Antiphonen’ (hear the dissonance in ‘O Sproß aus Isais Wurzel’), the deep mysticism of ‘Für Jan van Eyck’, the declamatory ‘Kleine Litanei’, and the presence of ‘And I heard a voice…’, which, although its title is in English here, is Pärt’s only setting of a sacred text in the Estonian language. These add up to an album that gathers power as it proceeds, and marks a milestone in the recording of a composer who is rightly recorded often, but rarely this well.
James Manheim, All Music
Die Vokalkunst des am gregorianischen Choral geschulten estnischen Ensembles bewegt sich auf allerhöchstem Niveau und die Akustik des Albums lässt keine audiophilen Wünsche offen.
Burkhard Schäfer, Musik & Theater
Una nuova, preziosa tessera nel mosaico di quelle ‘preghiere in musica’ che, fuori del tempo, sembrano destinate a risuonare all’infinito.
Andrea Milanesi, Avvenire
