REMA The Early Music Podcast
Talks with performers and inspiring specialists to benefit from the experience of the best, and bring a new perspective to your professional practice or listening experience!
Four editions of the Early Music Podcast are available online.
It is contributing to the knowledge and reflection about Early Music research, performance and programming, giving voice to selected specialists and experts from all over Europe. The podcast is available on all major platforms such as iTunes, Youtube and Spotify.
It is contributing to the knowledge and reflection about Early Music research, performance and programming, giving voice to selected specialists and experts from all over Europe. The podcast is available on all major platforms such as iTunes, Youtube and Spotify.
The Early Music Podcast - season 4
November 2023
Designed as an introduction to the Early Music Summit (30 November to 3 December 2023), this 4th season investigates practices and developments within the early music sector. Accompanied by professionals from all sides (artists, agents, promoters, researchers...), we question our relationship with early music. Listen to the episodes and discover the diversity and creativity of the stakeholders, the many innovations, and the richness of this sector.
NOV.
8
1. SIGHT-READING EUROPEAN POLICIES
Rarita Zbranca
How can Europe contribute to strenghten the early music scene? How can cultural policies be regulated at European level when culture is so specific to one country? What are the concrete impacts of European policies at the level of a country, a network, a town, etc.? In this first episode, Rarita Zbranca explains the repercussions of EU policies on the Romanian cultural scene, using the Cluj Cultural Center (Romania) as an example.
2. DEFINING EARLY MUSIC: I'D RATHER CHANGE CONTINENTS
Romina Lischka
What’s the scope of early music? This unanswerable question impacts our practices and our approaches to the sector. Since reaching a common definition seems idealistic, why not embrace the different meanings given to these words, and what they imply for their supporters and their activities? In this second episode, Romina Lischka shares her specific vision of early music, influenced by an intercultural approach and a desire to pass on and broaden horizons by mixing oral and written traditions, early and contemporary music.
3. MEET AN AGENT: BECOME AN ARTIST?
Clémentine Richard
What role do agents play in promoting early music? How can they help the sector evolve? Management, digitization, new expectations, news skills... Clémentine Richard from l'Agence Artist Management shares her views on the changes in the management business in this third episode of the Early Music Podcast.
4. RECYCLE AND REUSE: THE ULTIMATE CREATIVITY
Raphaël Pichon
How do we create and innovate in early music today? How do we reappropriate music that has been played thousands of times? Raphaël Pichon puts honesty, generosity, objectivity and responsibility at the heart of his work with the Pygmalion ensemble. In this 4th episode, he shares his views on the challenges faced by each generation, the need for an open mind and artistic responsibility.
5. RESEARCH: TERRA INCOGNITA OR LAND OF NEW EMOTIONS?
Tiago Simas Freire
In this episode, Tiago Simas Freire discusses how research is also a means of connecting the past with present emotions. More than historically informed, Early Music can be culturally informed and resonate with our own experiences. And that’s the first step for successful research projects that will breach the market!
6. Recording: Think outside the CD box
Hannelore Guittet
What’s the current situation of recordings in Early Music? How can we innovate in a sector that has undergone such change in recent years? Listen to Hannelore Guittet’s view on the topic: starting as co-founder of recording label NomadMusic, she had to adapt to drastic changes in the recording industry and created interactive application NomadPlay. She shares some of her processes and reflects on the perks of this creative mindset!
7. Diversity: For more polyphony in the sector!
Reginald Mobley
What’s the situation of inclusion in the Early Music sector? In this episode, countertenor Reginald Mobley puts the issues of race, gender, and more generally, identity under the spotlight. He talks about the challenges and discrimination he faced as an Afro-American singer, and opens our eyes to the progress that still needs to be made to make the sector more inclusive.
8. GIVE A GUIDONIAN HAND TO THE AUDIENCE
Isaac Alonso de Molina
How early music can be specific in its approach to new audiences? How are conservatoires tackling this issue? Isaac Alonso de Molina shares his views on the need for conservatoires to teach audience development, as the first step to develop the artists' skills to engage with society, and a focal point of the European Association of Conservatoires' Early Music working group discussions.
9. EARLYMUSE: FIND YOUR JIG PARTNER IN A RESEARCH LAB
Rebekah Ahrendt
In a branch of music where research plays such a central role, how can there be such a disconnection between research and performance? How can we create cooperation between both fields? These themes, according to Rebekah Ahrendt, are central in "EarlyMuse", a research action funded by the European Cooperation in Science and Technology (COST). Listen to her describe her ideal world in this final episode of the 4th season of the Early Music Podcast!
10. IMPRESSIONS FROM THE EARLY MUSIC SUMMIT
Hello and welcome to the last special episode of the 4th season of the Early Music Podcast, dedicated to the impressions shared by the participants of the Early Music Summit with host Darina Ablogina.
The Early Music Podcast - season 3
April 2023
For its third season, the Early Music Podcast is an introduction to early music. Each of the ten episodes follows in the footsteps of an outstanding composer from the Middle Ages to the Romantic era, gives keys to listening and understanding a work or a period, and examines the great myths of the ancient music: music of the past, based on research and rediscovery of the repertoire, or territory of creation and experimentation for artists? Far from pre-conceived ideas, each episode gives the floor to a specialist who depicts an unexpected picture of what makes early music so facinating for artists and audiences today!
APR.
6
1. Introduction
Andrew Burn
What is so special about Early Music that makes people so passionate about it?
What is it like to “rediscover” today a composer from 1000 years ago? What do you learn about a piece when you search for the ultimate grail of the original concert hall it was first performed in? How can you try to rebuild a long gone Renaissance instrument and not lose your sanity? And, more than everything, what is so fascinating about it that you would want, today, in 2023, to dedicate your life to it? Let’s investigate, in 9 episodes, listening to the 9 speakers we picked for their reputation of being quite particular about one specific character of Early Music.
To go further >
2. Girolamo Frescobaldi
Francesco Corti
Why can’t you just read the score that you want to perform?
Dedicated to the Italian genius composer Girolamo Frescobaldi (1583-1643), this episode is an introduction to early music performance and textual sources. Francesco Corti, harpsichordist and conductor, explains the principles of musical improvisation and, above all, how composers told their contemporaries how to play their music. We will then go on to discover the cultural and musical revolution that was the 'Seconda Prattica', a revival to which Frescobaldi contributed greatly.
To go further >
3. Claudio Monteverdi
Tim Carter
What happens when a piece by Monteverdi finds its way to its original concert hall?
In the third episode of season 3 of the Early Music Podcast, Tim Carter introduces us to Claudio Monteverdi (1567-1643), an Italian composer and contemporary of Girolamo Frescobaldi, who is considered one of the creators of opera and, with Orfeo, the author of the first masterpiece of the genre. From Florence to Venice, passing through Mantua, this third episode evokes the privileged link between architecture and music and evokes the scenic dimension of the works of Monteverdi and his contemporaries.
To go further >
4. Guillaume Dufay
Catalina Vicens
Why do you care so much about what sort of keyboard Johan Sebastian Bach used to play on?
This fourth episode is devoted to the fifteenth-century Flemish composer Guillaume Dufay, but also to a work of art that is as mythical as it is mystical, The Adoration of the Mystic Lamb (1432, Saint Bavo Cathedral, Ghent) by the Van Eyck brothers. Catalina Vicens takes us on a journey of discovery of this timeless work and, more generally, the textual or figurative sources that point researchers and musicians to the way music was played before the eighteenthᵉ century and what the musical instruments used looked like.
To go further >
This fourth episode is devoted to the fifteenth-century Flemish composer Guillaume Dufay, but also to a work of art that is as mythical as it is mystical, The Adoration of the Mystic Lamb (1432, Saint Bavo Cathedral, Ghent) by the Van Eyck brothers. Catalina Vicens takes us on a journey of discovery of this timeless work and, more generally, the textual or figurative sources that point researchers and musicians to the way music was played before the eighteenthᵉ century and what the musical instruments used looked like.
To go further >
5. Ludwig van Beethoven
Olga Pashchenko
Don’t you sometimes wish you could just ask Beethoven what he meant in that peculiar passage?
This fifth episode is devoted to one of the most famous composers in classical music: Ludwig van Beethoven (1770-1827), presented by Olga Pashchenko. While this one is not obviously early music, it does allow us to look back at the history of the piano, the instrument of choice of the great composer. Do not hesitate to consult the resources below to discover more about the mechanism of the piano and its ancestors.
To go further >
This fifth episode is devoted to one of the most famous composers in classical music: Ludwig van Beethoven (1770-1827), presented by Olga Pashchenko. While this one is not obviously early music, it does allow us to look back at the history of the piano, the instrument of choice of the great composer. Do not hesitate to consult the resources below to discover more about the mechanism of the piano and its ancestors.
To go further >
6. Hildegard von Bingen
Benjamin Bagby
What is so fascinating about some medieval nun’s songs?
Better known for her important work as a naturalist and physician, Abbess Hildegard von Bingen (1098-1179) also composed more than one hundred and fifty liturgical songs and melodies, which were rediscovered in the late 1970s by the ensemble Sequentia and its two directors, Barbara Thornton and Benjamin Bagby. In this sixth episode, Bagby tells us about the rediscovery of early music in the second half of the twentieth century, a movement to which he and his ensemble contributed greatly.
To go further >
7. Henry Purcell
Errollyn Wallen
How could we possibly top the perfection that is a masterpiece like Purcell’s Dido & Aeneas?
In this seventh episode, composer Errollyn Wallen presents her opera Dido's Ghost, a sequel to Henry Purcell's (1659-1695) semi-opera Dido and Æneas. At a time when the Baroque and the performing arts were flourishing in England, Purcell's work offered his contemporaries a delightful spectacle that continues to inspire artists and musicians today. Prepare to be immersed in the world of this incredible baroque opera and the tumultuous story of these two lovers, taken straight from Virgil's Aeneid.
To go further >
In this seventh episode, composer Errollyn Wallen presents her opera Dido's Ghost, a sequel to Henry Purcell's (1659-1695) semi-opera Dido and Æneas. At a time when the Baroque and the performing arts were flourishing in England, Purcell's work offered his contemporaries a delightful spectacle that continues to inspire artists and musicians today. Prepare to be immersed in the world of this incredible baroque opera and the tumultuous story of these two lovers, taken straight from Virgil's Aeneid.
To go further >
8. Guillaume de Machaut
Björn Schmelzer
How are you an artist when you are just following a tradition and reading a score?
With this eighth episode, Björn Schmelzer takes us on a journey of discovery of medieval sacred music and the oral tradition. This episode a dive into the revival of early music in the XXᵉ century and is dedicated to the French composer and writer Guillaume de Machaut from the XIVᵉ century, whose famous Messe de Nostre Dame performed by the ensemble Graindelavoix will musically illustrate the speaker's point.
To go further >
9. Clara Wieck-Schumann
Natasha Loges
Probably a XIXth century woman couldn’t contribute significantly as an artist, composer or concert organizer, right?
And if we apply the critical eye of early music to more recent times, what do we get? Here we take a step aside to discover the work of Clara Wieck-Schumann (1819-1896), a genius pianist and talented composer, overshadowed by a composer husband at a time when married women were kept out of the public sphere. Natasha Loges, professor of musicology, tells us about her career as a pianist after her husband's death and how concerts were scheduled in the 19th century, at the height of the Romantic period.
To go further >
And if we apply the critical eye of early music to more recent times, what do we get? Here we take a step aside to discover the work of Clara Wieck-Schumann (1819-1896), a genius pianist and talented composer, overshadowed by a composer husband at a time when married women were kept out of the public sphere. Natasha Loges, professor of musicology, tells us about her career as a pianist after her husband's death and how concerts were scheduled in the 19th century, at the height of the Romantic period.
To go further >
10. Suor Maria Celeste
Laurie Stras
Does music get suddenly better when it’s linked to the Borgia family, or are we ok with anonymously composed pieces?
In this final episode of the season, musicologist Laurie Stras introduces us to an enigmatic composer: Suor Maria Celeste (1600-1634), illegitimate daughter of the Italian scientist Galileo, and a Florentine nun of the early 17th century. She wrote some magnificent polyphonic compositions, found by the researcher in the Biffoli-Sostegni Manuscript and performed by her all-female ensemble, Musica Secreta: discover the story of this crazy adventure in the search for these lost scores!
To go further >
In this final episode of the season, musicologist Laurie Stras introduces us to an enigmatic composer: Suor Maria Celeste (1600-1634), illegitimate daughter of the Italian scientist Galileo, and a Florentine nun of the early 17th century. She wrote some magnificent polyphonic compositions, found by the researcher in the Biffoli-Sostegni Manuscript and performed by her all-female ensemble, Musica Secreta: discover the story of this crazy adventure in the search for these lost scores!
To go further >
The Early Music Podcast - season 2
April 2021
Supporting the REMAin Connected sessions organized throughout 2021, each episode focuses on the topic on the agenda: audience development, culture and tourism, the translation of research into stage performances … In each episode, the guest speaker is provided with the space to go further into detail, or branch out to look at the broader picture.
APR.
5
FRENCH SUMMER EPISODES: ACCORD MAJEUR
This episode of the Early Music Podcast takes you to Aix en Provence, on the occasion of the Rencontres Nationales d’Accord Majeur, for our last French Summer episode!
This conference is organized every year in the frame of Aix en Provence Festival, and gathers members of various French networks for music (ensembles, operas, festivals…). This year’s theme was dedicated to how the professionals of the live performance field address the challenges of ecology. By reviewing the different steps towards awareness, and putting forward the most relevant and meaningful projects, the conference has whetted the participants’ appetite for doing better and bigger!
Interviews with:
This conference is organized every year in the frame of Aix en Provence Festival, and gathers members of various French networks for music (ensembles, operas, festivals…). This year’s theme was dedicated to how the professionals of the live performance field address the challenges of ecology. By reviewing the different steps towards awareness, and putting forward the most relevant and meaningful projects, the conference has whetted the participants’ appetite for doing better and bigger!
Interviews with:
- Margaux Hardoin, Communication and Resources officer, Grands Formats
- Aline Sam Giao, General Manager, Auditorium de Lyon- Orchestre National de Lyon; President of Les Forces Musicales, vice-president of Associaton Française des Orchestres
- Jean-Christophe Frisch, XVIII-21 - Le Baroque Nomade, Festival OuVERTures
Credits
Scènes de la forêt, Op. 82: L'oiseau prophète
Ensemble Zellig - Jivaro's Works - Klarthe 2017
Tarentella
XVIII-21 Le Baroque Nomade - «Melothesia Æthiopica (Live) - Evidence 2015
Scènes de la forêt, Op. 82: L'oiseau prophète
Ensemble Zellig - Jivaro's Works - Klarthe 2017
Tarentella
XVIII-21 Le Baroque Nomade - «Melothesia Æthiopica (Live) - Evidence 2015
UN CHEMIN JOYEUX- TRANSITION ET VIVANT
VERSAILLES, 300 ANS DE SPECTACLES 8 MILLIONS DE VISITEURS
This episode of the Early Music Podcast follows our REMAin Connected conference on 21 May on cultural tourism. The Château de Versailles and domain are an important part of France's historical heritage, welcoming around 8 million visitors every year. It is also an important place in the history of French baroque music, which is reflected not only in its architecture but also in the events that are organised there today. In Versailles, two organisations coexist: the public body that is the Château, the museum and the national domain of Versailles, and the private company Château de Versailles Spectacles, which is responsible for concerts and shows.
Interview with Denis Verdier-Magneau, Director of Cultural Development at the Château de Versailles
Click here to read the summary of the episode:
Versailles, 300 years of live performance, 8 million visitors ></a>
Interview with Denis Verdier-Magneau, Director of Cultural Development at the Château de Versailles
Click here to read the summary of the episode:
Versailles, 300 years of live performance, 8 million visitors ></a>
LOST AND FOUND: TRADITIONAL AND EARLY MUSIC IN IRELAND
Ireland is known for many things but one thing that keeps fascinating people all around the world is its culture and its traditional music that pervades any representation we have of the country. As an early music musician in Ireland, it is inevitable to be confronted to the many instrumental and performance traditions that have existed for centuries, from the jig to the fiddle and the harp.
Interview with:
Siobhán Armstrong, harpist.
Music
Da miche manum: give me your hand
Cumha caoine an Albanaigh: lamentation for the baron of Loughmoe by John Scott (c.1570–1650)
A féachain gléis: an ancient Irish harp prelude by Dennis O’Hampsey (1695-1807)
Calen o custure me by William Byrd (1539/40–1623)
Mr Cormake allman by Cormacke MacDermott ((before 1575–1618)
From The Irish Consort dir. Siobhán Armstrong, Music, Ireland and the Sixteenth Century. London, Destino Classics, 2018.
Division set on Lady of the Desart by Cornelius Lyons (c.1680–c.1750) as played by Dennis O’Hampsey to Edward Bunting, Siobhán Armstrong, PhD recording.
Seabhac na hÉirne: the hawk of the river Erne by Turlough Carolan (1670–1738)
Bríd Ní Mhaoilchiaráin, voice,
Siobhán Armstrong, early Irish harp
From Siobhán Armstrong, Cláirseach Na hÉireann: The Harp of Ireland. Vol. MCD0401. Carlow, Maya Recordings, 2004
Interview with:
Siobhán Armstrong, harpist.
Music
Da miche manum: give me your hand
Cumha caoine an Albanaigh: lamentation for the baron of Loughmoe by John Scott (c.1570–1650)
A féachain gléis: an ancient Irish harp prelude by Dennis O’Hampsey (1695-1807)
Calen o custure me by William Byrd (1539/40–1623)
Mr Cormake allman by Cormacke MacDermott ((before 1575–1618)
From The Irish Consort dir. Siobhán Armstrong, Music, Ireland and the Sixteenth Century. London, Destino Classics, 2018.
Division set on Lady of the Desart by Cornelius Lyons (c.1680–c.1750) as played by Dennis O’Hampsey to Edward Bunting, Siobhán Armstrong, PhD recording.
Seabhac na hÉirne: the hawk of the river Erne by Turlough Carolan (1670–1738)
Bríd Ní Mhaoilchiaráin, voice,
Siobhán Armstrong, early Irish harp
From Siobhán Armstrong, Cláirseach Na hÉireann: The Harp of Ireland. Vol. MCD0401. Carlow, Maya Recordings, 2004
EVERYONE DESERVES THE BEST PERFORMANCE: THE ART OF BRINGING ART TO THE PUBLIC
When creating projects and programming concerts, concert organisers should always be aiming at satisfying their audiences’ needs or desires. But it is not only the role of programmers: composers and artists alike should also play an important role in the process of audience development.
Interview with
Constanze Wimmer, musicology professor at Graz University, specialised in audience engagement.
Music
François Couperin: Leçons de Ténèbres pour le Mercredy Saint (Première Leçon)
Le Caravansérail: Rachel Redmond and Maïlys de Villoutreys, sopranos - Bertrand Cuiller, harpsichord, organ and direction
Recorded on 23 July 2020 at Festival de Saintes
Interview with
Constanze Wimmer, musicology professor at Graz University, specialised in audience engagement.
Music
François Couperin: Leçons de Ténèbres pour le Mercredy Saint (Première Leçon)
Le Caravansérail: Rachel Redmond and Maïlys de Villoutreys, sopranos - Bertrand Cuiller, harpsichord, organ and direction
Recorded on 23 July 2020 at Festival de Saintes
WHY DO THEY KEEP COMING: CRACKING THE AUDIENCE SECRET
For several years, museums have developed specific audience management strategies. In this episode, we will see how they can be applied to the Early Music field. But before that, in order to establish a strategy, one must know their audience: this is why audience surveys are essential in helping institutions to engage with the public.
Interview with:
Stephanie Wintzerith, consultant in audience surveys and evaluations for cultural institutions.
Music:
J.S. Bach: Cantata BWV 47
Le Banquet Céleste: Céline Scheen, soprano - Damien Guillon, alto and direction - Thomas Hobbs, tenor - Benoît Arnould, baritone
Recorded on 21 July 2020 at Festival de Saintes
Interview with:
Stephanie Wintzerith, consultant in audience surveys and evaluations for cultural institutions.
Music:
J.S. Bach: Cantata BWV 47
Le Banquet Céleste: Céline Scheen, soprano - Damien Guillon, alto and direction - Thomas Hobbs, tenor - Benoît Arnould, baritone
Recorded on 21 July 2020 at Festival de Saintes
The Early Music Podcast - season 1
December 2021
In connection with the programming of the European Early Music Summit (20 to 22 November 2020), the episodes examine the practices and the future of the early music sector, with professionals from all sides: ensembles, concert halls, festivals, but also conservatories, researchers, labels, media… Listen to your favourite artists sharing their experiences, discover inspiring projects and immerse yourself in the lives of the people that make Early Music in Europe!
DEC.
5
OUR FUTURE SUMMIT: A GLIMPSE INTO THE PROGRAMME
This episode will give an overview of the Early Music Summit that will take place from 20 to 22 November 2020 in BOZAR, Brussels, and online, on the occasion of the opening of registration. This major event for REMA is conceived as an opportunity for the whole early music sector to meet and work together towards a better future: taking a look back at the history of the Movement, embracing today’s practices, and getting to know more about what will come in the next years.
Interviews with:
Albert Edelman chairman of REMA / Artistic coordinator – Concertgebouw Brugge,
Veerle Declerck Early Music Coordinator – BOZAR
Music
WÖR
VB71 bis
Interviews with:
Albert Edelman chairman of REMA / Artistic coordinator – Concertgebouw Brugge,
Veerle Declerck Early Music Coordinator – BOZAR
Music
WÖR
VB71 bis
PERFORMERS AND MUSICOLOGISTS: YOU CAN DO IT!
We are very proud to welcome Margaret Bent as one of our keynote speakers for the Early Music Summit, our 100% online event. So proud that we are actually releasing her contribution in advance!
A keynote by :
Margaret Bent Emeritus Fellow of All Souls College, Oxford
A keynote by :
Margaret Bent Emeritus Fellow of All Souls College, Oxford
THE END OF EARLY MUSIC: POSTPONED
The End of Early music is at the same time the title of the book published by Bruce Haynes in 2007, the title of a symposium organized in zamus (Köln) that was conceived as a follow-up on the book’s themes, and a deliberately controversial proposed approach to today’s Early music practice. In this episode, we gathered a few of the original guests of this symposium, and whom you may still hear on this topic when it can finally take place in 2021.
Interviews with
Ira Givol Artistic director of Köln Early Music Festival
Benjamin Bagby Ensemble Sequentia, Associate teacher in Université Paris-Sorbonne
Professor Daniel Leech-Wilkinson Musicologist, Emeritus Professor of Music, King’s College London
Peter Van Heyghen Ensemble Il Gardellino, Teacher of Historical Performance Practice at the Early Music Departments of the Conservatories of Brussels, Amsterdam and The Hague
Music
Niccolo Jommelli: Requiem & Miserere
Ensemble Il Gardellino directed by Peter Van Heyghen – Passacaille 2020
Dido & Belinda
King’s College London’s Department of Music and Helios Collective
More
ZAMUS SYMPOSIUM
DIDO & BELINDA ON CHALLENGING PERFORMANCE
OTHER CHALLENGING PERFORMANCE PIECES
Interviews with
Ira Givol Artistic director of Köln Early Music Festival
Benjamin Bagby Ensemble Sequentia, Associate teacher in Université Paris-Sorbonne
Professor Daniel Leech-Wilkinson Musicologist, Emeritus Professor of Music, King’s College London
Peter Van Heyghen Ensemble Il Gardellino, Teacher of Historical Performance Practice at the Early Music Departments of the Conservatories of Brussels, Amsterdam and The Hague
Music
Niccolo Jommelli: Requiem & Miserere
Ensemble Il Gardellino directed by Peter Van Heyghen – Passacaille 2020
Dido & Belinda
King’s College London’s Department of Music and Helios Collective
More
ZAMUS SYMPOSIUM
DIDO & BELINDA ON CHALLENGING PERFORMANCE
OTHER CHALLENGING PERFORMANCE PIECES
READ THE BOOK: FROM THE LIBRARY SHELF TO THE CONCERT HALL
Early Music is all about how we deal with our heritage. After an episode where we followed the path that goes from the music instruments kept in museums collections to the stage and live performance, let’s hear how the precious written sources held in our libraries can be a tool and an inspiration for the artists. Here is the story of another love triangle, between the library curators, the musicologists, and the performers themselves.
Interviews with:
Interviews with:
- Dinko Fabris Musicologist, Director of the Department for Research, Publishing and Communication, Teatro San Carlo, Naples
- Małgorzata Krzos Head of the Music Collection Department, Jagiellonian Library, Kraków
- Giulio Prandi Conductor and Artistic Director of Coro e Orchestra Ghislieri
- Agnieszka Budzińska-Bennett Singer and Musicologist, Ensemble Peregrina
Music
Cristofaro Caresana Cantata a 5 voci “La Tarantella” (Napoli 1673) with the Cappella della Pietà de’ Turchini directed by Antonio Florio
OPUS 111 30152 – 1996
Stabat Mater from the Monopoli manuscript and Ostuni manuscript
PERGOLESI STABAT MATER with Pino De Vittorio, Patrizia Bovi, Pages de la Chapelle Royale de Versailles and Le Poème Harmonique directed by Vincent Dumestre
ALPHA 009 – 2000
More
BIBLIOTHÈQUE NATIONALE DE FRANCE’S LATIN 1139 ON GALLICA
MARE BALTICUM RECORDINGS
Cristofaro Caresana Cantata a 5 voci “La Tarantella” (Napoli 1673) with the Cappella della Pietà de’ Turchini directed by Antonio Florio
OPUS 111 30152 – 1996
Stabat Mater from the Monopoli manuscript and Ostuni manuscript
PERGOLESI STABAT MATER with Pino De Vittorio, Patrizia Bovi, Pages de la Chapelle Royale de Versailles and Le Poème Harmonique directed by Vincent Dumestre
ALPHA 009 – 2000
More
BIBLIOTHÈQUE NATIONALE DE FRANCE’S LATIN 1139 ON GALLICA
MARE BALTICUM RECORDINGS
OFF THE RECORD: THE STORY BEHIND YOUR EARLY MUSIC CDS
CD recording has undergone major changes in the last few years, due, obviously, to the arrival of digital opportunities for distribution, and new habits for the listeners and CD buyers. How are the labels reacting and adapting? And what opportunity will performers see in recording their music in the future? What can we expect from the listeners’ side? And, more importantly, what happens in the recording studio? Here is an insight into the minds of label managers, performers and sound engineers…
Interviews with
Interviews with
- Aline Blondiau Sound engineer and producer
- Alex McCartney Lutenist
- Charles Adriaenssen Chairman of Outhere
- Jean Rondeau Harpsichordist
- Peeter Vähi and Tiina Jokinen Estonian Record Productions
Music
Canto
Hortus Musicus
Artistic director Andres Mustonen
Recorded on Jan 12th and 13th, 2018 in Estonia Concert Hall, Tallinn
ERP
Toccata: Touched
Alex McCartney, lute
Veterum Musica
More
OUTHERE
JEAN RONDEAU AND THOMAS DUNFORD RECORDED BY ALINE BLONDIAU
ESTONIAN RECORDS PRODUCTION
ALEX MCCARTNEY’S RECORDINGS
Canto
Hortus Musicus
Artistic director Andres Mustonen
Recorded on Jan 12th and 13th, 2018 in Estonia Concert Hall, Tallinn
ERP
Toccata: Touched
Alex McCartney, lute
Veterum Musica
More
OUTHERE
JEAN RONDEAU AND THOMAS DUNFORD RECORDED BY ALINE BLONDIAU
ESTONIAN RECORDS PRODUCTION
ALEX MCCARTNEY’S RECORDINGS
BORN UNDER CHARLEMAGNE: HOW EUROPE MAKES EARLY MUSIC
Which came first, Early Music or Europe?
Whenever you choose a start date for Early Music, you will probably pick a period during which the idea of a common European culture was present. The music that marks us always carries a sense of belonging to a broader community, which made it relevant to so many people across the area. But it also gives a sense of diversity, with local traditions melting into more general movements and adding to more than a thousand years of shared common heritage. Skip to 2020 and see how today’s European Union reflects this immense cultural wealth, and what tools support Early Music producers and performers today in the European Union!
Interviews with
Whenever you choose a start date for Early Music, you will probably pick a period during which the idea of a common European culture was present. The music that marks us always carries a sense of belonging to a broader community, which made it relevant to so many people across the area. But it also gives a sense of diversity, with local traditions melting into more general movements and adding to more than a thousand years of shared common heritage. Skip to 2020 and see how today’s European Union reflects this immense cultural wealth, and what tools support Early Music producers and performers today in the European Union!
Interviews with
- Prof. dr. Katarina Livljanić Voice professor of medieval-renaissance music Schola Cantorum Basiliensis / Artistic director, ensemble Dialogos
- Simone Dudt Secretary General of the European Music Council
- Delma Tomlin National Centre for Early Music York
Music
Era in quel tempo d’India signore
Excerpt from the Italian Leggenda di Santo Giosafà in ottava rima
Text: Neri Pagliaresi, Oxford, Bodleian Library, Ms. Canonici it. 53, 14th c.
Musical reconstruction: Katarina Livljanić
From the CD and multimedia e-book Barlaam & Josaphat. Buddha – a Christian Saint?, Arcana-Outhere Music 2019.
More
BARLAAM AND JOSAPHAT
NEW EUROPEAN AGENDA FOR CULTURE
Era in quel tempo d’India signore
Excerpt from the Italian Leggenda di Santo Giosafà in ottava rima
Text: Neri Pagliaresi, Oxford, Bodleian Library, Ms. Canonici it. 53, 14th c.
Musical reconstruction: Katarina Livljanić
From the CD and multimedia e-book Barlaam & Josaphat. Buddha – a Christian Saint?, Arcana-Outhere Music 2019.
More
BARLAAM AND JOSAPHAT
NEW EUROPEAN AGENDA FOR CULTURE
LEARN AND BECOME: TEACHING THE NEXT GENERATION OF PERFORMERS
The music schools in which young students are trained to become Early Music performers come in all shapes and sizes, with sometimes a repertoire as the only common ground. What does it mean to study in the Early Music department of a prestigious conservatory? What would be different in a school designed to focus on Early repertoire? Or a Summer course? Or a more eclectic institution? Coming from a variety of backgrounds, our guests share how their teaching situation has shaped the curriculum and the pedagogy they can implement, and the repercussions for the students. This episode was created in partnership with AEC, the European Association of Conservatoires.
Interviews with
Interviews with
- Isaac Alonso de Molina Renaissance Music Theory and Performance Practice teacher at the Royal Conservatory of The Hague – AEC Early Music Platform Chairman
- Claire Michon Early Music coordinator at Pôle Aliénor, Poitiers – AEC Council Member responsible of activities in the field of Early Music
- Kelly Landerkin Management team, and Head of studies for the Bachelor, Master of Music Education, and Medieval Programs, Schola Cantorum Basiliensis
- Marcello Mazzetti and Livio Ticli Directors of Palma Choralis Research Group; heads of the Early Music Department at the Diocesan Foundation “Santa Cecilia” Brescia
- Dr. Mauricio Molina Director of the Mediaeval Music Besalu course
Music
Tomás Luis de Victoria (1548-1611)
Officium defunctorum
Students of The Hague Royal Conservatoire, led by Isaac Alonso de Molina
Bethany Shepherd – cantus primus, Aleksan Chobanov – cantus secundus, Tigran Matinyan – altus, Isaac Alonso de Molina – tenor primus, Yuichi Sakai – tenor secundus, Andrew Hopper – bassus
(performance from facsimile of the original choirbook edition of 1603)
Recorded live in the presentation of the VOXearlyMUS ERASMUS+ project Saint Joseph Cathedral, Bucharest 26th June 2016
Tomás Luis de Victoria (1548-1611)
Officium defunctorum
Students of The Hague Royal Conservatoire, led by Isaac Alonso de Molina
Bethany Shepherd – cantus primus, Aleksan Chobanov – cantus secundus, Tigran Matinyan – altus, Isaac Alonso de Molina – tenor primus, Yuichi Sakai – tenor secundus, Andrew Hopper – bassus
(performance from facsimile of the original choirbook edition of 1603)
Recorded live in the presentation of the VOXearlyMUS ERASMUS+ project Saint Joseph Cathedral, Bucharest 26th June 2016
CONCERT 2.0: BACK TO THE FUTURE
CONCERT 2.0: BACK TO THE FUTURE
Early Music performances, just like any type of music, come with certain rules and traditions: you will most probably sit in a darkened room and enjoy your concert in silence for one hour and a half. These are not perpetual laws, but merely constantly evolving standards. And the magic happens when performers, programmers, and audiences step out of their comfort zone… and experience the concert of the future!
Interviews with
Interviews with
- Bernard Foccroulle composer, organist, and founder of RESEO network
- Ira Givol Artistic director of Cologne Early Music Festival
- Mélanie Froehly manager of zamus
- Tamar Brüggemann Managing director of Wonderfeel Festival
Music
Suite (2019), Jonathan Keren
Les Voyageurs – Cécile Dorchene, Joanna Huszcza – violin ; Ira Givol – cello ; Jonathan Keren – viola ; Michael Borgstede – harpsichord
Live concert in Cologne, Germany ( November, 2019) zamus unlimited
More
BIRMINGHAM CITY OPERA
RESEO
ZAMUS
JONATHAN KEREN’S SUITE BY LES VOYAGEURS
JOHN ADAMS’ ERASMUS PRIZE ACCEPTANCE SPEECH
Suite (2019), Jonathan Keren
Les Voyageurs – Cécile Dorchene, Joanna Huszcza – violin ; Ira Givol – cello ; Jonathan Keren – viola ; Michael Borgstede – harpsichord
Live concert in Cologne, Germany ( November, 2019) zamus unlimited
More
BIRMINGHAM CITY OPERA
RESEO
ZAMUS
JONATHAN KEREN’S SUITE BY LES VOYAGEURS
JOHN ADAMS’ ERASMUS PRIZE ACCEPTANCE SPEECH
MUSEUMS, PERFORMERS, INSTRUMENT MAKERS: A LOVE TRIANGLE?
On one side, instruments from museums and collections, carefully protected and studied by their curators. On the other side, performers longing to rediscover a unique sound. And on the last side, instrument makers, working with both to recreate some of the lost magic of heirloom instruments…
Recorded at the International symposium PLAYING AND OPERATING: FUNCTIONALITY IN MUSEUM OBJECTS AND INSTRUMENTS, organised by Cité de la musique-Philharmonie de Paris in collaboration with ICOM-CIMCIM and CIMUSET.
Interviews with:
Recorded at the International symposium PLAYING AND OPERATING: FUNCTIONALITY IN MUSEUM OBJECTS AND INSTRUMENTS, organised by Cité de la musique-Philharmonie de Paris in collaboration with ICOM-CIMCIM and CIMUSET.
Interviews with:
- Thierry Maniguet Head of the curatorial team of Musée de la Musique -Paris
- Emanuele Marconi Director of Musée des Instruments à vent – La Couture Boussey
- Geerten Verberkmoes Ghent University & Department of Musical Instrument Making, School of Arts, Ghent
- Sebastian Kirsch Musée de la musique, Paris & University of Leipzig
- Jean-Luc Ho harpsichordist
- Catalina Vicens historical keyboards player
Music
Allegro and Aria Gratioso from Sonata 3, Opus 1, Henry-Jacques de Croes
Ensemble Boussu
Geerten Verberkmoes – instrument maker, researcher
Recorded using the copies of Brussels Musical Instruments Museum’s violin (MIM2781) and cello (MIM1372) made as part of G. Verberkmoes’ PhD at Ghent University. Recordings funded by School of Arts, Ghent
More
CATALINA VICENS
PHILHARMONIE DE PARIS’ SYMPOSIUM
ENSEMBLE BOUSSU
Allegro and Aria Gratioso from Sonata 3, Opus 1, Henry-Jacques de Croes
Ensemble Boussu
Geerten Verberkmoes – instrument maker, researcher
Recorded using the copies of Brussels Musical Instruments Museum’s violin (MIM2781) and cello (MIM1372) made as part of G. Verberkmoes’ PhD at Ghent University. Recordings funded by School of Arts, Ghent
More
CATALINA VICENS
PHILHARMONIE DE PARIS’ SYMPOSIUM
ENSEMBLE BOUSSU
GREAT EXPECTATIONS: BUILDING A SUSTAINABLE CAREER IN EARLY MUSIC
A journey into the life of a young performer, falling into Early Music by chance, being provided support by mentors, avoiding the traps of the star system, and finally building a sustainable path towards a happy ending career story.
Interviews with
Interviews with
- Jonathan Cohen cellist and director of Arcangelo
- Daniel Bizeray Director of Ambronay and founder of the Eeemerging programme
- Jonatan Alvarado and Nuno Atalaia Seconda Prat!ca Ensemble
- Skip Sempe harpsichordist and founder of Capriccio Stravagante
- Catalina Vicens historical keyboards player and artistic director of Servir Antico
Music
Romerico florido, Mateo Romero from the Cancionero de la Sablonara (early 17th century) Ensemble Seconda Prat!ca
Recorded at the Göttingen Händel Festival 2019
More
CATALINA VICENS
EEEMERGING/ SECONDA PRAT!CA
JONATHAN COHEN
Romerico florido, Mateo Romero from the Cancionero de la Sablonara (early 17th century) Ensemble Seconda Prat!ca
Recorded at the Göttingen Händel Festival 2019
More
CATALINA VICENS
EEEMERGING/ SECONDA PRAT!CA
JONATHAN COHEN
EARLY MUSIC: BERNARD FOCCROULLE TELLS YOU WHY
As a composer, organist, director of several prestigious music institutions in Europe, and founder of RESEO network, Bernard Foccroulle knows the history of the Early Music Movement, its evolution and possible outcomes better than anyone. A first-rate introduction to Early Music!
Music
Music
- Nigra Sum, Bernard Foccroulle -Outhere Music 2012
- Recorded on the Picard organ (1741) of Beaufays