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La Passion De Clermont: Hora Vos Dic Vera Raizum CD

5.0 out of 5 stars 1 customer review

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Product details

  • Conductor: None
  • Composer: La Passion De Clermont
  • Audio CD (9 May 2011)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: CD
  • Label: Alpha
  • ASIN: B000GCG8XU
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 727,333 in Music (See Top 100 in Music)

Track Listings

Disc: 1

  1. Incipit, arrivee a Betfage
  2. Les Rameaux & predication a Jerusalem
  3. Les marchands du temple & Judas
  4. La Cene
  5. La sueur goutte en sang
  6. L'arrestation de Jesus
  7. L'accusation
  8. Le proces de Jesus
  9. La condamnation & la prise de la croix
  10. La condamnation & la prise de la croix
  11. La mise en croix
  12. La mort sur la croix
  13. L'ange & les femmes aus tombeau
  14. Les pelerins d'Emmaus
  15. Louange

Product Description

Brice Duisit, voix & vièle à archet

Customer Reviews

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I'll try and explain why this CD is so awesome, but I'm not sure I'll do a very good job of it.

First of all, what is it? Well, it's just one man (Brice Duisit) and a violin. That's it. Solo voice and violin. Telling a dead story (The Passion Of The Christ), in a dead language (an ancient mediaeval dialect of French, one of the Oc group of languages apparently). It's about 1,000 years old, is probably the oldest music in my collection, and is one of the most incredible recordings ever made.

It should be boring and irrelevant, but it's not.

Let me explain why.

Well, it's a story that some people take very seriously, even 2,000 years later. Mel Gibson managed to make a cinematic torture-fest out of it, even voicing it in the original Aramaic, but I've not seen that particular work, and have no intention of doing so. Mere physical pain holds no attraction.

Brice Duisit does something quite different, and quite magical. Taking an anonymous manuscript found in the cathedral of Clermont telling the story of The Passion in verse, and setting it to a solo violin accompaniment, he weaves it into a song of life, of death, of hopelessness, of hope, of ending and of redemption.

His voice and violin soar effortlessly in a convincing acoustic space captured with consummate skill by the recording engineers. It is passionate, and simultaneously as cold and ascetic as the vacuum of space.

You will be drawn in and cast adrift in the cold and harsh tonalities of the 11th century, suspended on the intertwined lines of Duisit's voice and violin. There is not a single note or inflection out of place, even in a performance which by the nature of its source material must be entirely interpretive.
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