Viewed superficially, there would seem to be very little room in Part’s exceedingly long-breathed Passio for individualised interpretation. You open the score and only the ‘exordium’ and ‘conclusio’ include dynamic markings. Everything that falls between – which is the vast bulk of the work – has none. The triadic harmonic structure is realised by sparse but fastidiously deployed forces: a double vocal quartet supported by an instrumental quartet for the Evangelist, Christ as a baritone and Pilate as a tenor. As to rhythm, Paul Hillier (in Arvo Part; Clarendon Press: 1997) explains how Part ‘assigns a specific length of note to each syllable, depending on its position in a phrase and that phrase’s relationship to the other phrases around it.’ It’s already ‘sorted’, as they say, and the best one can do is follow the plan with maximum concentration and a careful ear to rhythm, blending and balancing. It’s some challenge, one to which the Hilliard Ensemble under Paul Hillier rise with formidable precision and endless reserves of feeling.
This new version with the Candomino Choir under Tauno Satomaa is very different on a number of counts. Firstly, it’s swifter than Hillier’s by over eight minutes (62'12 against 70'52) – not a big deal in principle, but a contributing factor to an increased sense of urgency. Jorma Hynninen’s warmly sung Jesus is, in stylistic terms, more obviously ‘acted’ than Michael George’s for Hillier, and the same might go for the mellifluous Pilate of Topi Lehtipuu, a very different portrayal to the consistently plaintive John Potter. Hillier’s tempo relations (dictated by notation rather then tempo markings) are smoother, while the Hilliards are technically more secure than their generally accomplished Finnish rivals.
Acoustically, St Jude-on-the-Hill’s reverberation provides a warmer sound frame for Part than Espoo’s dryer Olari Church and ECM’s recording achieves a more finely tapered aural blend. Indeed there are times when Hillier’s vocal and instrumental lines could almost be mistaken for each other. Finlandia’s balancing is more ‘up-front’, which suits the narrative elements of their approach. But does their approach suit the music? In a sense it does, bringing Part’s slowly chiming score a stone’s throw closer to the drama of Bach. Whether that’s where it should be is another matter. Satomaa’s reading is more angular and emphatic than Hillier’s, but part of that effect is probably due to the more blatant sound. Those who find the ECM production too ‘samey’ might like to try it, but my own preference is still for Hillier – by a considerable distance