If you were hanging around a conservatory during the 1970s and ’80s, and you were paying attention, you will be familiar with the style of choral writing that dominates these Per Norgård compositions–ambiguous tonality, use of clusters and other dissonance as structural devices, utilization of “non-singing” vocal effects for dramatic, expressive purpose–and you’ll also be impressed (as will anyone who knows choral singing) with the ability of Ars Nova Copenhagen to perform these works with such confidence and authority and beautiful sound.
This kind of writing is inherently homogenous–the harmonic ambiguity by definition precludes significant distinction from piece to piece–but at least in Norgård’s case, his technique is extraordinarily refined and perfectly designed for choral ensemble, so the result is eminently listenable and satisfying for its purity of sound and its structural clarity. On the down side, few choirs will ever perform these very challenging pieces; yet when, as here, you hear them performed and recorded as well as they can be, you appreciate the sheer sonic delights to be found at the more extreme end of choral singing. I can’t say I’ll ever return to this; but it’s a program that should be required listening for anyone who wants to be up on the modern choral scene (most of these pieces were written within the last five years), or who just wants to hear an admirable display of voices charged with the grandeur of difficult music. It’s not essential, but there are far worse ways to spend 70 minutes. The booklet notes are detailed and informative.
