Given the strict limits on the materials and techniques that Pärt permits himself, it is remarkable that his work continues to sound fresh and original. This beautiful release is another compelling illustration of the emotional and textural intensity central to his art.

In the context of such a strict aesthetic even the most subtle of developments can seem revolutionary. This collection, Hillier’s third for Harmonia Mundi, showcases four compositions from this decade alongside some earlier works, most of which have been revised, as is Pärt’s habit, within the past 15 years. While his methodology has remained much the same, Pärt admitted a greater harmonic and textural richness over that period, and this relative lushness is superbly realised by the EPC Choir without ever betraying the fundamental asceticism of Pärt’s sound.

The album opens with the most recent piece, Da pacem Domine (2004), a typical work not least because of its slow harmonic speed coupled with increasingly intense light and colour. It contrasts with Salve regina (2001-2) which, as Hillier comments, could almost be “a dream sequence from a film about a peasant community” in the early passages. Indeed, at first hearing one could almost confuse it with something Preisner might have written for Kieslowski, although there are enough characteristic chords and intervals to mark it out as Pärt. The Psalms (1984), with their unusually strong Slavonic tinge, again show the variety Pärt can achieve within restricted means. As always, Hillier and his colleagues have done Pärt proud.