OUR FUTURE PAST - The Early Music Podcast: Recent Episodes
REMA-European Early Music Network
Interviews with specialists of the cultural field that bring a new perspective to your professional practices and goals! REMA’s Early Music Podcast is a series dedicated to what’s happening in the Early Music sector in Europe, in connection with the REMAin Connected conferences held online throughout 2021. Each episode takes another look at the theme that is addressed during each talk, providing an ideal introduction or a branching out session.
Production - REMA
In this last episode, Darina meets the artistic director of the Zefiro Torna ensemble, Jurgen De Bruyn, to discuss the shift towards ecological awareness and the collaborative approach as an example of interest in and respect for other cultures. In the course of this conversation, Jurgen de Bruyn mentions a project he launched during the Covid-19 pandemic about ecological sustainability and how this theme is a priority for the music sector.
CREDITS
guest Jurgen De Bruyn, Zefiro Torna
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
"With endless tears that never cease", Robert Johnson
performed by Zefiro Torna
2009
Excerpt "Les Tisserands"
performed by Zefiro Torna, Amorroma and Philippe Laloy
2006
In this episode, Darina talks to three female guests, Laura Granero, Hannah Ely and Aino Peltomma, who share their views on diversity in their country and the inspiration they draw from influential women of the past. We look at what it meant to be a musician in the 19th century, what it meant to have a traditional upbringing in Victorian England, and how religious dynamics influenced women artists in medieval Finland.
CREDITS
guests Hannah Ely, soprano
Aino Peltomaa, soprano
Laura Granero, pianist
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
"Come fiammeggia e splende", Maddalena Casulana
performed by Fieri Consort
2024
"Il contrasto di cinque sensi", Barbara Strozzi
performed by Fieri Consort
2024
"Come fiammeggia e splende", Maddalena Casulana
performed by Fieri Consort
2024
"Kinderszenen", Robert Schumann
performed by Fanny Davies
1929
"Sonata Opus 18 Nr 5 in A Major", Johann Christian Bach
performed by Fanny Davies Ensemble
2021
Excerpt "Lapsed caick laolacatt", Jaakko Suomalainen - Piae Cantiones
performed by Ensemble Gamut!
2021
"Trina caeli hierarchia"
performed by Ensemble Gamut!
2022
With the director of the early music department at the Royal Conservatory The Hague, Teunis van der Zwart, we discuss the challenges of making a conservatoire more diverse and inclusive safe space, as well as open to interdepartmental collaborations. Finally, we find out how the lives of students and teachers can be made safer in an institution, and look at the development of music conservatoires in general.
CREDITS
guest Teunis van der Zwart, Koninklijk Conservatorium
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
"Symphony no 7 in B minor D759", Franz Schubert
performed by students from the Early Music department of the Royal Conservatoire The Hague, the Orchestra of the Eighteenth Century, conducted by Sir Roger Norrington
2019
How do we tackle gender equality issues in our sector? How do we deal with problematic texts of music works? Lila Hajosi, director of Ensemble Irini and co-founder of the French network #EllesDirigent, which supports women ensemble directors, will share her views on the challenges raised by these issues and the importance of creating an atmosphere of collaboration.
CREDITS
guest Lila Hajosi, Ensemble Irini
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
"Liturgie de Saint-Jean Chrysostome: Cheruvikon, Hymne des Chérubins", Anonymous
performed by Ensemble Irini
2021
This episode is devoted to a guest straight from America: Karin Cuéllar Rendón, from the Early Music America network, historic Bolivian violinist, researcher and social justice advocate. Together with Darina, they will discuss issues of inclusivity and diversity in the field of early music, as well as interaction with the LGBTQI+ community and enlarging audiences, resources and funding.
CREDITS
guest Karin Cuéllar Rendón, Early Music America
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
"La Primavera - Le Quattro Stagioni", Antonio Vivaldi
performed by Karin Cuéllar Rendón and L'Harmonie des saisons
2023
Musicking Off the Cuff: Models for Early Music Improvisation
performed by Karin Cuéllar Rendón and Linda Pearse
2020
"Una panthera", Johannes Ciconia
performed by CWRU Medieval Ensemble
2015
In this episode, Jan Van den Borre, artistic director of MA Festival Brugge, presents his approach to programming one of the oldest early music festivals in the world. We talk about communication, mediation and engagement of the audience, the importance of empathy and respect in relationships with artists, and the challenges raised by today's genre definitions.
CREDITS
guest Jan Van den Borre, MAfestival Brugge
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
"Ruins"
performed by Pitou and B.O.X.
2020
"Leçons de ténèbres pour le Mercredi saint", François Couperin
performed by Capriola di Gioia, conducted by Bart Naessens
2020
"Don Quichotte chez la Duchesse", Joseph Bodin de Boismortier
performed by Le Concert Spirituel, conducted by Hervé Niquet
2016
Anna Karinsdotter, managing director of Drottningholm Theatre in Sweden, shares in this episode the strategies used by the Theatre to be more effective and inclusive in terms of audiences, and how this artistic genre is taking steps to include children and artists with special needs in a baroque opera performance.
CREDITS
guest Anna Karinsdotter, Drottningholms Slottsteater
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
"Come nube che fugge - Agrippina", George Frideric Handel
performed by Bruno de Sá
2021
"Overture - The Magic Flute", Wolfang Amadeus Mozart
performed by Drottningholm Theatre Orchestra, Drottningholm Theatre Chorus, conducted by Arnold Östman
2015
"Il Gustino", Antonio Vivaldi
performed by Drottningholm Theatre Orchestra, conducted by George Petrou
2022
This episode is devoted to the EEEmerging programme and its lasting change, openness to mental health issues and the mid-career diversion of professional musicians. Isabelle Battioni, director of the Centre culturel de rencontre d'Ambronay, shares her rich professional experience on these current issues.
CREDITS
guest Isabelle Battioni, Centre culturel de rencontre d’Ambronay
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
"Sr. Ulick Burk", "The soup of good drink" and "The high road to Dublin", Anonymous
performed by The Curious Bards
2016
"Cello concerto in C minor, RV 401", Antonio Vivaldi
performed by Les Contre-Sujets
2015
In this episode, we're off to discover the traditions of historical queer theatre and the problem of ‘ideological’ traditionalist practices in music. Darina will discuss the possibility of re-examining the original texts with members of the ĀRT HOUSE 17 ensemble: Michael Hell, Thomas Höft and Georg Krones.
CREDITS
guests Michael Hell, Thomas Höft and Georg Krones, ĀRT HOUSE 17
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
Excerpts "Kaffeekantate"
performed by ĀRT HOUSE 17
2022
Excerpts "The Crocodile Bar"
performed by ĀRT HOUSE 17
2023
Excerpts "Geister von Sanssouci"
performed by ĀRT HOUSE 17
2023
In this first episode, Darina shares a discussion with the artistic director of the ECOS festival and director of the Cantoría vocal ensemble, Jorge Losana, about the evolution of the young festival he organises, keeping in mind his unique approach to awareness-raising, repertoires diversity, and an empathetic and inclusive attitude towards the audience.
CREDITS
guest Jorge Losana, ECOS Festival
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
"Oy comamos y bebamos", Juan del Encina
performed by Ensemble Cantoría
2022
"¡Cucú, cucú!", Juan del Encina
performed by Ensemble Cantoría
2021
"Dadme albricias, hijos d’Eva", Anonymous - Cancionero de Uppsala
performed by Ensemble Cantoría
2021
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.
CREDITS
guests Richard Lorber, WDR and the Early Music Days in Herne
Mélanie Froehly, ZAMUS
Thomas Höft and Georg Kroneis, Kunsthaus 17
Lila Hajosi, Ensemble Irini
Jorge Losana, ECOS Festival
Sofie Vanden Eynde, Imago Mundi Ensemble
Jurgen De bruyn, Zefiro Torna Ensemble
Karin Cuéllar Rendón, Early Music America
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
Nocturne in E major, Frédéric Chopin
performed by Raoul Koczalski
Historical recording, 1938
¡Cucú, cucú!, Juan del Enzina
performed by Ensemble Cantoria
2021
Ensemble Irini at La Cité de la Voix
2017
The White Rose, Florence Beatrice Price
performed by Reginald Mobley and Agave
American Orignals: A New World, A New Canon, Acis 2021
Introduction, Sofie Vanden Eynde
Mistress Elizabeth Davenant, Her Songes, 2012
The Nutcracker Suite, op. 71a, Piotr Ilitch Tchaikovsky
Symphony No. 41 & Symphony No. 41 in C 'Jupiter', K. 551, Wolfgang Amadeus Mozart
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!
CREDITS
guest Rebekah Ahrendt, Utrecht University
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
String Quartet No. 7 in F Major, Op. 59 No. 1, "Razumovsky": III. Adagio molto e mesto, Ludwig van Beethoven
performed by Quatuor Ébène
Beethoven around the World, Erato 2019
The White Rose, Florence Beatrice Price
performed by Reginald Mobley and Agave
American Orignals: A New World, A New Canon, Acis 2021
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.
CREDITS
guest Isaac Alonso de Molina, Koninklijk Conservatorium Den Haag
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
Ave verum corpus, O sacrum convivium
performed by La Academia de los Nocturnos and Ensemble La Danserye
2023
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.
CREDITS
guest Reginald Mobley, countertenor
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
Music for a while, Henry Purcell
performed by Reginald Mobley and Brandon Acker
2022
The White Rose, Florence Beatrice Price
performed by Reginald Mobley and Agave
American Orignals: A New World, A New Canon, Acis 2021
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!
CREDITS
guest Hannelore Guittet, NomadPlay
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
Partita No.1 in B-flat major, BWV 825, Johann Sebastian Bach
performed by Jean-Luc Ho
Intégrale des Partitas pour clavecin, NoMadMusic 2018
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!
CREDITS
guest Tiago Simas Freire, "Per esercitarsi nella dispositione di gorgia" (CNSMDL, Schola Cantorum Basiliensis, HEM Geneva)
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
Ad Tenebras - Jerusalem surge - Responsório II, Dizidme qual de los dos, Requiem aeternam - Graduale - Anonyme, Zente Pleto - Vilancico Negro a2 & a6
performed by Capella Sanctae Crucis and Tiago Simas Freire
Ad Tenebras, Artway Records / University of Coimbra 2023
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.
CREDITS
guest Raphaël Pichon, Ensemble Pygmalion
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
Les Boréades, RCT 31, Act IV, Scene 4: Entrée de Polymnie, Jean-Philippe Rameau
performed by Ensemble Pygmalion and Raphaël Pichon
Enfers, Harmonia Mundi 2018
Cantata BWV82 - Ich Habe Genug, Johann Sebastian Bach
performed by Ensemble Pygmalion and Raphaël Pichon
live performance, Philharmonie de Paris 2018
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.
CREDITS
guest Clementine Richard, Agence Artist Management
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
Aria, Nicola Matteis
performed by Gli Incogniti and Amandine Beyer
False Consonances of Melancholy, Alpha Classics 2019
III. Adagio molto e mesto
String Quartet No. 7 in F Major, Op. 59 No. 1, "Razumovsky", Ludwig Van Beethoven
performed by Quatuor Ébène
Beethoven around the world, Warner Classics 2020
Symphonie No. 3 Eroica, Op. 55
Ludwig Van Beethoven
performed by Orchestre Elektra
live performance, Paris 2023
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.
CREDITS
guest Romina Lischka, leader of the Hathor Consort
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
King of Denmark’s Galliard
Raga Bhairavi: Alap
In Nomine
When Daphne from fair Phoebus did fly
performed by Hathor Consort and Uday Bhawalkar
Dhrupad Fantasia, Fuga libera 2020
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.
CREDITS
guest Rarita Zbranca, program director at the Cluj Cultural Center
interview & editing Darina Ablogina
production REMA
design Doretta Rinaldi
music
Music for a while, Henry Purcell
performed by Reginald Mobley and Brandon Acker
2022
Musical excerpts
performed by local artists
Baroque Festival in Cluj 2010
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 was the illegitimate daughter of the Italian scientist Galileo and a Florentine nun in 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 >
CREDITS
guest Laurie Stras, musicologist and performer
interview & editing Andrew Burn
production REMA
credits music
Platée, Act 1, Orage - Jean-Philippe Rameau
performed by Les Talens Lyriques, dir. Christophe Rousset
Camera Lucida 2014
All rights reserved - Courtesy of Les Talens Lyriques
design Doretta Rinaldi
original drawings Vincent Flückiger
cover score Folio, Biffoli-Sostegni Manuscript, 1560 (Bibliothèque du Conservatoire Royal, Bruxelles, MS 27766)
music
Selection from Mother Sister Daughter
performed by Musica Secreta, Laurie Stras
Lucky Music 2022
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 >
CREDITS
guest Natasha Loges, musicologist
interview & editing Andrew Burn
production REMA
credits music
Platée, Act 1, Orage - Jean-Philippe Rameau
performed by Les Talens Lyriques, dir. Christophe Rousset
Camera Lucida 2014
All rights reserved - Courtesy of Les Talens Lyriques
design Doretta Rinaldi
original drawings Vincent Flückiger
cover score Folio, An einem lichten Morgen, op. 23, 1872 (Library of Congress, ML96.S4148)
music
Piano Sonata in G Minor 2. : Adagio, Scherzo & Rondo - Robert Schumann
performed by Franz Vorraber
Hommage à Schumann, Thorofon 2012
Romanze, Leidenschaftlich schnell - Clara Schumann
performed by Flóra Fábri, Martin Jantzen
live recording, 2021
Piano Sonata No. 11 in A major, K.331. I. Tema con variazione - Wolfgang Amadeus Mozart
Improvisation 3
Moments musicaux Op. 94 D. 780: III. Allegro moderato in F Minor- Franz Schubert
composed and performed by Josep Colom
Moments musicaux, MarchVivo 2022
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 >
CREDITS
guest Björn Schmelzer, founder and artistic director of Graindelavoix
interview & editing Andrew Burn
production REMA
credits music
Platée, Act 1, Orage - Jean-Philippe Rameau
performed by Les Talens Lyriques, dir. Christophe Rousset
Camera Lucida 2014
All rights reserved - Courtesy of Les Talens Lyriques
design Doretta Rinaldi
original drawings Vincent Flückiger
cover score Folio, Lais, motets, ballades, rondeaux et virelais, ca. 1350-1355 (Bibliothèque nationale de France, Français 1584)
music
Salve sancta parens [Introitus], Agnus Dei & Ite missa est - Guillaume de Machaut
Performed by Björn Schmelzer, Graindelavoix
Messe de Nostre Dame, Glossa 2016
Miserere- Coro della Confraternita di Santa Croce
Live recording, 2014
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 >
CREDITS
guest Errollyn Wallen, composer
interview & editing Andrew Burn
production REMA
credits music
Platée, Act 1, Orage - Jean-Philippe Rameau
performed by Les Talens Lyriques, dir. Christophe Rousset
Camera Lucida 2014
All rights reserved - Courtesy of Les Talens Lyriques
design Doretta Rinaldi
original drawings Vincent Flückiger
cover score Folio, When on my sick bed I languish Z.144, 1678 (British Library, Add MS 30930)
music
Wayward sisters, you that fright…,
The Witches' Dance,
Thy hand, Belinda, darkness shades me
With drooping wings ye Cupids come - Henry Purcell
Performed by Le Concert Spirituel, Hervé Niquet
Dido and Aeneas, Glossa 2001
Dido’s Ghost - Errollyn Wallen
performed by Dunedin Consort
Live recording
Courtesy of the Barbican, 2021
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 >
CREDITS
guest Benjamin Bagby, founder of Ensemble Sequentia
interview & editing Andrew Burn
production REMA
credits music
Platée, Act 1, Orage - Jean-Philippe Rameau
performed by Les Talens Lyriques, dir. Christophe Rousset
Camera Lucida 2014
All rights reserved - Courtesy of Les Talens Lyriques
design Doretta Rinaldi
original drawings Vincent Flückiger
cover score Folio, Riesencodex, 1175–1190 (Landesbibliothek Wiesbaden, BM 3600 FY 29451)
music
Instrumental dance I & II & Instrumental lament - Hildegard von Bingen
performed by Ensemble Sequentia
Ordo Virtutum, Sony 1998
Instrumental piece II - Hildegard von Bingen
performed by Ensemble Sequentia
O Jerusalem, Sony 1997
Instrumental piece II - Hildegard von Bingen
performed by Ensemble Sequentia
Geistliche Gesänge, BMG 1985
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 >
CREDITS
guest Olga Pashchenko, historical keyboardist
interview & editing Andrew Burn
production REMA
credits music
Platée, Act 1, Orage - Jean-Philippe Rameau
performed by Les Talens Lyriques, dir. Christophe Rousset
Camera Lucida 2014
All rights reserved - Courtesy of Les Talens Lyriques
design Doretta Rinaldi
original drawings Vincent Flückiger
cover score Folio, Sonatas for piano no. 30, op 109, E Major, 1820 (Library of Congress - Gertrude Clarke Whittall Foundation, 87752609)
music
Piano Sonata No. 26 in E-Flat Major, Op. 81a "Les adieux": III. Das Wiedersehen. Vivacissimamente, Piano Sonata No. 21 in C Major, Op. 53 "Waldstein": I. Allegro con brio, Piano Sonata No. 23 in F Minor, Op. 57 "Appassionata": II. Andante con moto & Piano Sonata No. 23 in F Minor, Op. 57 "Appassionata": III. Allegro ma non troppo - Presto - Ludwig van Beethoven
performed by Olga Pashchenko
Beethoven: Appassionata, Les Adieux & Waldstein, Alpha Classics 2017
Der Tag, der ist so freudenreich, BWV 605, Wir Christenleut, BWV 612 - Johann Sebastian Bach
performed by Ton Koopman
Organ works, vol. 8 & 9, Warner Classics 2022
Concerto in D Major, BWW 972 - Johann Sebastian Bach
performed by Jovanka Marville
Keyboard works, Passacaille 2012
Suite in G Major: X. Chaconne rondeau - Jean-Henry d’Anglebert
performed by Céline Frisch,
Pièces de clavecin & airs d’ après M. de Lully, Alpha Classics 2005
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 eighteenth century and what the musical instruments used looked like.
To go further >
CREDITS
guest Catalina Vicens, musician specialising in historical keyboard instruments
interview & editing Andrew Burn
production REMA
credits music
Platée, Act 1, Orage - Jean-Philippe Rameau
performed by Les Talens Lyriques, dir. Christophe Rousset
Camera Lucida 2014
All rights reserved - Courtesy of Les Talens Lyriques
design Doretta Rinaldi
original drawings Vincent Flückiger
cover score Folio, L'homme armé in the Mellon Chansonnier, around 1470 (Yale University Library, Beinecke MS 91)
music
Procurans Odium, Presul Nostri Temporis, Organum & Honte, Paour, Doubtance
performed by Catalina Vicens
Organic Creatures, Consouling Sounds 2020
Belle, bonne, sage, plaisante et gente - Baude Cordier
performed by Ensemble Servir Antico, Catalina Vicens
The City of Ladies, 2021
Concerto No. 7 in G Minor, BWV 1058: III. Allegro assai - Johann Sebastian Bach
performed by Evgeni Koroliov, Kammerakademie Potsdam
Concertos for piano, Alpha Classics 2019
Actus Tragicus - Sonatina
Gottes Zeit ist die allerbeste Zeit in E-Flat Major, BWV 106 - Johann Sebastian Bach
performed by Lionel Meunier, Vox Luminis
Actus Tragicus, Alpha Classics 2016
Ave regina celorum - Gilles Binchois
performed by La Reverdie
Lux Laetitiae, Arcana 2022
Lasse ! Comment - Se j'aim - Pour quoi me bat mes maris ?- Guillaume Dufay
performed by Crawford YoungFerrara Ensemble
Merci ou Mort, Arcana 2001
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 >
CREDITS
guest Tim Carter, musicologist
interview & editing Andrew Burn
production REMA
credits music
Platée, Act 1, Orage - Jean-Philippe Rameau
performed by Les Talens Lyriques, dir. Christophe Rousset
Camera Lucida 2014
All rights reserved - Courtesy of Les Talens Lyriques
design Doretta Rinaldi
original drawings Vincent Flückiger
cover score Folio, Alto part of the Magnificat from the vespers for Marian feast days, 1610, (Museo internazionale e biblioteca della musica, Bologna, M-3478)
music
Cruda morte, hai! Pur potresti & Poi che gl'eterni imperi - Jacopo Peri
performed by Les Arts Baroques, Mireille Podeur
Euridice, Maguelone Music, 2017
Toccata, No. 1, Sinfonia (Act 2), No. 10, Sinfonia (Act 3), No. 1 Ritornello (Act 5), No. 6 Sinfonia, (Act 5), No. 9, Ritornello (Act 5) & No. 11 & Moresca (Act 5) - Claudio Monteverdi
performed by Cappella Mediterranea, Chœur de Chambre de Namur, Leonardo García Alarcón
L’Orfeo SV 318, Alpha Classics 2021
Spem in alium - Thomas Tallis
performed by The Tallis Scholars, Peter Phillips,
Spem in alium, Gimell 1985
Psalmus 126. Nisi Dominus a dieci voci Vespro della Beata Vergine SV 206 - Claudio Monteverdi
performed by The Tallis Scholars, Peter Phillips
Vespro della Beata Vergine, Gimell 1985
Combattimento Di Tancredi E Clorinda - Claudio Monteverdi & Marco Marazzoli
performed by Le Poème Harmonique, Vincent Dumestre
Combattimenti!, Alpha Classics 2010
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 >
CREDITS
guest Francesco Corti, harpsicordist and conductor
interview & editing Andrew Burn
production REMA
credits music
Platée, Act 1, Orage - Jean-Philippe Rameau
performed by Les Talens Lyriques, dir. Christophe Rousset
Camera Lucida 2014
All rights reserved - Courtesy of Les Talens Lyriques
design Doretta Rinaldi
original drawings Vincent Flückiger
cover score Folio, Harpsichord pieces, 1607-1637 (Bibliothèque Nationale de France, FRBNF14792481)
music
Primo Libro di Toccate: Partite sopra La Monica, Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti &Toccata nona, "Non senza fatiga si giunge al fine” - Girolamo Frescobaldi
performed by Lambert Colson, Alice Foccroulle, Bernard Foccroulle
Organ Works, Ricercar 2017
What is so special about Early Music that it 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.
CREDITS
interview & editing Andrew Burn
production REMA
credits music
Platée, Act 1, Orage - Jean-Philippe Rameau
performed by Les Talens Lyriques, dir. Christophe Rousset
Camera Lucida 2014
All rights reserved - Courtesy of Les Talens Lyriques
design Doretta Rinaldi
original drawings Vincent Flückiger
music
Sanctus - Guillaume de Machaut
performed by Graindelavoix
Messe de Nostre Dame, Glossa 2016
Cello Duetto in G Major, ABV 47: I. Allegro Giuseppe Clemente Dall'Abaco
performed by Elinor Frey, Catherine Jones, Michele Pasotti, Federica Bianchi
The Cello According to Dall'Abaco, Passacaille 2022
Canzon La Lusignuola, OP. 1 No. 2
performed by Enrico Onofri, Imaginarium Ensemble
Into Nature. Vivaldi Seasons & Other Sounds from Mother Earth, Passacaille 2019
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:
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
Production/ REMA-Agathe Créac’h
With Flora Croce
Targeting a professional audience of performers, promoters or anyone involved in the Early Music Field, the Early Music Podcast is dedicated to what’s happening in the sector in Europe.
Depuis quelques années, les préoccupations de transition sociale et écologique sont au premier plan des questions politiques et sociales ainsi que dans nos vies privées et professionnelles. De nombreuses organisations culturelles mettent en place des initiatives innovantes pour atteindre un avenir plus équitable et durable. Dans cette entreprise, il est toujours fructueux de partager nos difficultés et nos réussites avec le reste du secteur afin que nos efforts puissent apporter de réels changements. C'est dans cette optique que Nathalie Moine et Sophie Lanoote ont entrepris de créer un livre blanc contenant le résultat d'années d'observations ainsi que des conseils aux organismes culturels qui souhaitent repenser leur place dans le monde et leur impact sur celui-ci.
Interview de :
Sophie Lanoote, Galatea Conseil
Nathalie Moine, Atelier Florès
Crédits
"La Predica del Sole”, Marco Marazzoli (1602-1662),
De Jérôme Corréas et les Paladins, Rossi & Marazzoli : Soleils baroques, 2008, Ambronay Editions.
Production/ REMA-Agathe Créac'h
Avec Flora Croce
Destiné à un public professionnel d'interprètes, de programmateurs ou à toute personne impliquée dans le domaine de la musique ancienne, le Early Music Podcast est dédié aux actualités du secteur en Europe.
Cet épisode du Early Music Podcast fait suite à notre conférence REMAin Connected du 21 mai sur le tourisme culturel. Monument incontournable du patrimoine historique français, le Château de Versailles et son domaine accueillent chaque année environ 8 millions de visiteurs. C'est aussi un lieu important de l'histoire de la musique baroque française, ce qui se manifeste non seulement dans son architecture mais aussi dans les événements qui y sont organisés aujourd'hui. A Versailles deux organismes cohabitent : l'organisme public qu'est le Château, le musée et le domaine national de Versailles, et la société privée Château de Versailles Spectacles qui est chargée des concerts et des spectacles.
Interview de Denis Verdier-Magneau, Directeur du Développement Culturel au Château de Versailles
Crédits :
Roland (Ouverture-Air des Deux Insulaires- Chaconne-Air de Roland-Air de Logistille)
From Christophe Rousset et Les Talens Lyriques, Roland - Jean-Baptiste Lully, 2004, Ambroisie.
Production/ REMA-Agathe Créac'h
Avec Flora Croce
Destiné à un public professionnel d'interprètes, de programmateurs ou à toute personne impliquée dans le domaine de la musique ancienne, le Early Music Podcast est dédié aux actualités du secteur en Europe.
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.
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
Production/ REMA-Agathe Créac’h- Flora Croce
With Jasmina Črnčič
Targeting a professional audience of performers, promoters or anyone involved in the Early Music Field, the Early Music Podcast is dedicated to what’s happening in the sector in Europe.
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.
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
With Jasmina Črnčič
Production/ REMA-Agathe Créac’h
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.
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
With Jasmina Črnčič
Production/ REMA-Agathe Créac’h
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!
This episode will give an overview of the Early Music Summit that will take place from 20 to 22 November 2020 in BOZAR, Brussels 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 Edelmanchairman of REMA / Artistic coordinator – Concertgebouw Brugge,
- Veerle DeclerckEarly Music Coordinator – BOZAR
Music
WÖR - VB71 bis
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.
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 kept 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.
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...
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!
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.
Early Music performances, just like any music performances, 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 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 - department of Musical Instrument Making
University Ghent & School of Arts, Ghent
Sebastian Kirsch - Musée de la musique, Paris & University of Leipzig
Catalina Vicens - organist
Interviews by Jasmina Črnčič
Music :
Henry-Jacques de Croes - Allegro and Aria Gratioso from Sonata 3, Opus 1
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.
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 – 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
An interview with Bernard Foccroulle, organist, composer, former director of Théâtre Royal de La Monnaie, Festival d’Aix-en-Provence, founder of Culture et Démocratie and RESEO
Music:
Nigra Sum, Bernard Foccroulle-Outhere music 2012
Recorded on the Picard organ (1741) of Beaufays