REMA REMA 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!
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.
1. SIGHT-READING EUROPEAN POLICIES
2. DEFINING EARLY MUSIC: I'D RATHER CHANGE CONTINENTS
3. MEET AN AGENT: BECOME AN ARTIST?
4. RECYCLE AND REUSE: THE ULTIMATE CREATIVITY
5. RESEARCH: TERRA INCOGNITA OR LAND OF NEW EMOTIONS?
Tiago Simas Freire
6. Recording: Think outside the CD box
7. Diversity: For more polyphony in the sector!
8. GIVE A GUIDONIAN HAND TO THE AUDIENCE
Isaac Alonso de Molina
9. EARLYMUSE: FIND YOUR JIG PARTNER IN A RESEARCH LAB
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!
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
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
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
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
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
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
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
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
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
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 >
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.
FRENCH SUMMER EPISODES: ACCORD MAJEUR
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!
- 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
Scènes de la forêt, Op. 82: L'oiseau prophète
Ensemble Zellig - Jivaro's Works - Klarthe 2017
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
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
Siobhán Armstrong, harpist.
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
Constanze Wimmer, musicology professor at Graz University, specialised in audience engagement.
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
Stephanie Wintzerith, consultant in audience surveys and evaluations for cultural institutions.
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
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!
OUR FUTURE SUMMIT: A GLIMPSE INTO THE PROGRAMME
Albert Edelman chairman of REMA / Artistic coordinator – Concertgebouw Brugge,
Veerle Declerck Early Music Coordinator – BOZAR
PERFORMERS AND MUSICOLOGISTS: YOU CAN DO IT!
A keynote by :
Margaret Bent Emeritus Fellow of All Souls College, Oxford
THE END OF EARLY MUSIC: POSTPONED
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
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
DIDO & BELINDA ON CHALLENGING PERFORMANCE
OTHER CHALLENGING PERFORMANCE PIECES
READ THE BOOK: FROM THE LIBRARY SHELF TO THE CONCERT HALL
- 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
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
BIBLIOTHÈQUE NATIONALE DE FRANCE’S LATIN 1139 ON GALLICA
MARE BALTICUM RECORDINGS
OFF THE RECORD: THE STORY BEHIND YOUR EARLY MUSIC CDS
- 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
Artistic director Andres Mustonen
Recorded on Jan 12th and 13th, 2018 in Estonia Concert Hall, Tallinn
Alex McCartney, lute
JEAN RONDEAU AND THOMAS DUNFORD RECORDED BY ALINE BLONDIAU
ESTONIAN RECORDS PRODUCTION
ALEX MCCARTNEY’S RECORDINGS
BORN UNDER CHARLEMAGNE: HOW EUROPE MAKES EARLY MUSIC
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!
- 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
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.
BARLAAM AND JOSAPHAT
NEW EUROPEAN AGENDA FOR CULTURE
LEARN AND BECOME: TEACHING THE NEXT GENERATION OF PERFORMERS
- 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
Tomás Luis de Victoria (1548-1611)
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
- 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
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
BIRMINGHAM CITY OPERA
JONATHAN KEREN’S SUITE BY LES VOYAGEURS
JOHN ADAMS’ ERASMUS PRIZE ACCEPTANCE SPEECH
MUSEUMS, PERFORMERS, INSTRUMENT MAKERS: A LOVE TRIANGLE?
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.
- 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
Allegro and Aria Gratioso from Sonata 3, Opus 1, Henry-Jacques de Croes
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
PHILHARMONIE DE PARIS’ SYMPOSIUM
GREAT EXPECTATIONS: BUILDING A SUSTAINABLE CAREER IN EARLY MUSIC
- 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
Romerico florido, Mateo Romero from the Cancionero de la Sablonara (early 17th century) Ensemble Seconda Prat!ca
Recorded at the Göttingen Händel Festival 2019
EEEMERGING/ SECONDA PRAT!CA
EARLY MUSIC: BERNARD FOCCROULLE TELLS YOU WHY
- Nigra Sum, Bernard Foccroulle -Outhere Music 2012
- Recorded on the Picard organ (1741) of Beaufays