Reviewed by John Irvine

The Hilliard Ensemble are a vocal group well known for their performances of both renaissance and contemporary music. Their membership has varied throughout the years and at present consists of four men: a baritone, two tenors and a countertenor, a line up which severely limits the pieces of music when they can perform - at least as far as contemporary classical music is concerned. To offset this, the Ensemble has worked closely with modem composers who have written with their unique vocal sound in mind. Many of the premieres of Arvo Part's works have been made with the help of the Hilliard Ensemble, for example, and where the recording has not been the first, their collaboration with the composer has lead to their insights enhancing their performance such that the finished recording is often considered definitive for that composer's work. Such is the high standing of this group. This present recording reflects their desire to expand the range of contemporary vocal pieces available at present, consisting as it does both of favourite concert pieces and of music especially written for the group to perform. Of immediate interest to Cross Rhythms readers should be the compositions by James Macmillan and Arvo Part, but there are many other pieces in this two hour recital that deserve attention. Macmillan's "Here In Hiding" was written at the same time as his Trumpet Concerto "Epicleisis": both pieces musically quote the medieval chant "AdoroTe Devote" and are theologically infused with a contemplation of the mysteries of the Catholic Holy Communion where common elements such as bread and wine are actually transformed into the actual flesh and blood of Christ. Here Macmillan's music evokes wonder, astonishment, transfiguration, but above all else a deep sense of reverential devotion. This is indeed a piece of heaven, a breath of purity, a space for holiness, although one can look in vain for the transcendent luminosity and static otherness of a composer such as John Tavener: there is conflict and a hint perhaps of the pain of crucifixion. Macmillan focuses focuses on Christ crucified rather than Christ resurrected in his music: heaven is still to fight for, at least in our world. On the disc it is immediately followed by Part's "And One Of The Pharisees", an eight minute setting of the text from Luke 7:36-50 where the sinful woman washes Jesus' feet clean with her tears. Musically, this is in the same style as much else of Part's straight biblical settings: alto and bass take the speaking parts as it were, the whole ensemble harmonising the narrative portions; the effect is similar to that of a medieval mystery play or perhaps a mini opera. This would be an excellent introduction into the sound world of Part, where time stands still and holy truths are revealed, where the absence of sound is as important as its presence. "Summa" is also recorded here, yet this is not the Hilliard's best recorded version: try the collection reviewed in CR14, "Arbos". Of the other pieces performed as part of this two disc collection, perhaps Barry Guy's "Un Coup De Des" is the most stunning and dramatic, with the composer joining the four voice ensemble on amplified acoustic bass, adding an improvised jazz element to the formal vocal lines. The effect is strangely hypnotic in places, reminiscent of the Hilliard's collaboration with Jan Gabreck. "Officium'. With a wealth of styles in its two hours and 15 pieces, this is a remarkable collection which not only acts as a showcase for the Hilliard Ensemble's considerable talents, but also as an advertisement of all that is good in contemporary vocal writing. Highly recommended.

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

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