Paul Giger – ars moriendi (2022) [FLAC 24bit/48kHz]

Paul Giger - ars moriendi (2022) [FLAC 24bit/48kHz] Download

Paul Giger – ars moriendi (2022)
FLAC (tracks) 24 bit/48 kHz | Time – 01:09:06 minutes | 670 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © ECM New Series

On ars moriendi Paul Giger looks at life’s flowing patterns, at death and renewal, as he brings together compositions by Bach and new music drawing inspiration from the work of painter Giovanni Segantini and Swiss folk traditions. The album was recorded in Maloja, where Segantini spent the last years of his life.„In the late Middle Ages, a literary genre of devotional books illustrated with woodcuts flourished under the name ‘ars moriendi’. They gave instructions on how to ‘die well’. The purpose of this tradition was to attune the soul to the ‘art of dying’ in order to save it for eternity. Music is also an ars moriendi, an exercise in the “becoming” of a note, of “being” in sound and of “passing” into silence – or into an inner reverberation.” (Paul Giger)

“Becoming – Being – Passing” – this is the name of the triptych by the Tyrolean painter Giovanni Segantini, which served violinist and composer Paul Giger as an important source of inspiration for the music on ars moriendi. The theme of transience runs through this programme like a thread and combines Bach compositions with original pieces and music influenced by traditional Swiss folk in equal parts. Much of the programme was written in connection with the film about the painter, Giovanni Segantini – Magie des Lichts, and was recorded in the Chiesa Bianca, Maloja, in the Swiss canton of Graubünden. On the album, Giger is joined by Marie-Louise Dähler on harpsichord, Pudi Lehmann on gongs and percussion, and alto Franz Vizthum as well as the Carmina Quartett to form a chamber ensemble.

“In Guggisberglied, apart from the water sounds, everything bowed, beaten, drummed, scratched and plucked was recorded and partly arranged with my 11-string violino d’amore and brought together in the studio,” the violinist explains the complex sound collage behind the meditative opening piece. It is one of the oldest and best-known Swiss folk songs, which Giger makes his own through an additional fifths-relationship, thereby expanding the material with a nine-tone scale. Beyond occidental practices, the violinist also makes use of non-European musical idioms, so that characteristics of South Indian music also come to bear. The Zäuerli mit Migrationshintergrund in turn, uses elements of the traditional natural yodel from the Swiss canton Appenzell, and expands these with a microtonal language as well as a low second degree, as is common in the Arabic “Bayati” maqam.


1-1. Paul Giger – Giger: Guggisberglied (LocheZen) (18:54)
1-2. Pudi Lehmann – Giger: Agony I (Atmosphere) (02:31)
1-3. Paul Giger – J.S. Bach: Ich ruf’ zu dir, Herr Jesu Christ, BWV 639 (Transcr. Dähler & Giger) (03:12)
1-4. Paul Giger – Giger: Agony II (Sechzigplus) (06:10)
1-5. Paul Giger – I. Largo (06:11)
1-6. Paul Giger – Giger: Zäuerli mit Migrationshintergrund (07:01)
1-7. Paul Giger – No. 39, Aria “Erbarme dich” (06:43)
1-8. Paul Giger – Giger: Agony III (Die bösen Mütter) (06:28)
1-9. Paul Giger – IV. Altus solo II (11:52)


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