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Vox Clamantis

Music by Henrik Odegaard

Release Date: June 2, 2023

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1 Ødegaard: Jesu, dulcis memoria  
2 anon.: Alleluia. Pascha nostrum  
3 Ødegaard: O filii et filiæ  
4 anon.: Kyrie  
5 anon.: Pater Noster  
6 Ødegaard: Meditations over St. Mary Magdalene's Feast in Nidaros / Maria dilexit multum  
7 I. Psalm 62 (Vul. 63), antiphon  
8 III. Canticum Trium Puerorum, antiphon  
9 IV. Psalm 148-150, antiphon  
10 V. Benedictus, antiphon  
11 VI. Hymn  
12 VII. Magnificat, antiphon  
13 VIII. Maria, tibi persolvum  
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After dedicating past ECM New Series recordings to the works of contemporary composers Arvo Pärt, Erkki-Sven Tüür, Helena Tulve and most recently Cyrillus Kreek, the Vox Clamantis choir, under the direction of Jaan-Eik Tulve, turns its attention towards Norwegian composer Henrik Ødegaard with a fine-drawn programme of liturgical choral music. Vox Clamantis are at home in the worlds of both old and new music, having addressed Gregorian chant and the polyphony of Pérotin as well as present-day compositions on previous albums. The ensemble and the works of Ødegaard make a perfect match, as the composer’s work, in a subtle sleight of hand, interweaves Gregorian chant with Norwegian folk song.

“In this recording, Gregorian chant is the protagonist,” writes Kristina Kõrver in the liner notes, “sometimes in its pure beauty, sometimes intertwined with the ‘new song’ of Henrik Ødegaard. As an organist and choir conductor, his musical thinking has been strongly influenced by two important traditions, Gregorian chant and Norwegian folk music, both of which have found unique expressions in his work.”

While these two traditions appear inextricably merged into one in the performance of the choir, they are visibly separated from one another in Ødegaard’s scores – the passages of Gregorian chant being marked in square notation, the predominant musical notation form in European vocal music from the 13th to the early 17th century. It’s a symbolic divide, translated gracefully into the music by opening up monophonic plainchant with modern polyphonic ingredients. The composer employs liturgical hymns as source material, from which he then branches off with his own compositional voice. 

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