Swiss violinist Paul Giger´s interest in ancient cultures, religious history and mysticism led him to study the history and architecture of the Chartres Cathedral in France. Like others, Giger has seen the musical-architectural relationship in the spaces of Chartres, adding up to a „kind of visible Doric scale as used in Gregorian chant“. The recordings were made on two nights around the summer solstice, between one and five in the morning. There are five sections, recorded in different parts of the building and culminating at the „Holy Centre“, representing the traditional passage of pilgrims.
Chartres
Paul Giger
- 1Crypt I+II
08:19 - 2Crypt III
06:12 - 3Labyrinth
09:29 - 4Crossing
22:15 - 5Holy Center
07:10
The music of Chartres draws life from the building in every way, its magnificence and mysteries inspiring Giger´s musical invention, its echoing spaces supporting and sustaining the sound of his solo violin. In his spectacular technical control of his instrument (…) he far outclasses many concert violinists, and his resourcefulness and assurance breathe vitality into the work.
J.M. Gramophone
That Giger is well versed in the musical traditions of eastern Europe and Asia is evident throughout. It is all part of the quality of this recording - musical, not mystical – which sustains interest and fascination. Strongly recommended to all with an instinct to explore, regardless of whether you´ve been to Chartres or even accept its special significance. A rare experience.
Peter Herring, Hi-Fi Review
Fünf improvisierte oder auskomponierte Stücke, die sich stilistisch gegen jede Eingrenzung sperren. Adaptionen indischer Ragas, Pentatonik und strenge Kirchentonart mischen sich darin ebenso freizügig wie temperamentvolle orientalische Folkloristik oder gar ins Elektronische reichende Ausdrucksversuche. Ein Teufelsgeiger ist Paul Giger mit seinem Fundus an Magie und Mystik allemal. (…) Zuweilen entsteht in der Überakustik des Sakralraumes sogar das Unmögliche: daß Paul Giger Solist und sich selbst begleitendes Orchester in voller Besetzung ist.
Peter Fuhrmann, Die Zeit
