CANTADERAS is the name of a women’s ensemble with a solid musical education in the field of medieval music, allowing the combination of musical repertoires from the 13th century (like Cantigas de St. María de Amigo, pieces from Notre Dame or from the trovadour’s repertoire) with other repertoires coming from oral traditional music, exclusively performed by women.
Anne Marie Lablaude, Ana Arnaz, June Telletxea and Paloma Gutiérrez del Arroyo approach this women’s repertoire, relying on the experience as early music singers.
More information on cantaderas.anaarnaz.com
Friday morning. A group of women knock on the door of every village house to ask for grain. They will bring it to the mill, and with that flour they will bake the bread and the cakes, which will be offered to the saint on the Sunday procession. The men observe while women of all ages perform rituals, singing and playing. Accompanying themselves on hand percussion … Read more…
AS FESTAS DO ANO
« This song is for the pilgrimage which takes place during the Assumption’s Day» is the title of the Cantiga de Santa María n° 420, and it is easy to imagine that it was composed for a pilgrimage like El Ramo a la Magdalena, performed by women in Asturias. For the program As Festas do Ano, the Ensemble Cantaderas has chosen to focus on the last Cantigas de Santa María del Códice Princeps de El Escorial, written and sung at festivals and holy days throughout the year: the Epiphany, the Annunciation, the Ascension, the Assumption and the Festival of the Crosses held in May.
TRANSITE SION FILIE
That the Church continuously condemned the dance during the middle ages proves that its practice never disappeared. Cantaderas gives shape a theory defended by several musicologists, that the 60 rondellus found at the end of the manuscripts of the Notre Dame school link directly with medieval danced carols.
The Baroque ensemble was founded in 2003 in Basel, where all the members of the group studied early music at the Schola Cantorum Basiliensis. The repertoire of La Cecchina goes from the end of XVI century until the end of XVII century, during this period the poliphony leaves the protagonism to the accompanied modody, that offers the possibility to create bridges beetwen two different styles that allways appeared clearly separated: the Renaissance and the Baroque.
More information on lacecchina.anaarnaz.com
O QUAM PULCHRA EST
Towards the prima or the seconda prattica? The arrival of the new asesthetic at the end of the XVI century in Italy shows the path from polyphony to basso continuo: the end of the contrapuncto era leaves space for a new practice called the Recitative style, in which the text once again gains the importance that it lacked in the polyphonic style. The program is conceived around emblematic figures like F. Cavalli, C. Monteverdi and A. Grandi, some of the most famous composers of this time… Read more…
The ensemble Vox Suavis (Dominique Vellard, Baptiste Romain and Ana Arnaz) builds bridges between medieval and Renaissance repertoires and traditional music, trying to find in this one new keys for their interpretation of early music. Common characteristics of these repertoires permit a confrontation that opens a new and richer perspective.
The bases of their work are recordings of the first half of the 20th century and transcriptions published in the same period, as well as medieval sources. Searching for a common ground for these repertories, the ensemble combines these sources of information and creates a special and unique style.
More information on voxsuavis.com
Since time immemorial the brotherhood Los Rosarieros de Híjar in the province of Teruel (Spain) has been singing every holiday before dawn songs dedicated to the festivity. As well as the Rosarieros in Teruel, another brotherhood has been organizing since the 16th century the Mystery play: El Misteri d’Elx, on Mary’s Ascension’s Day in Elche (Alicante). Read more…
With this program the ensemble approaches the repertoire of Las Jarchas: the first lyric genre in vernacular language known in the Iberian Peninsula. It flourished between the 11th and the 13th century during the Hispano-Arabic coexistence. The members of Vox Suavis make use of improvisation within the framework of medieval monody and give a voice to these melodies, referred to as unknown because only the text survived. Read more
LA VOZ DEL OLVIDO
In this program the 7 cantigas de amigo of Martin Codax and some others Cantigas de Santa María are framed in the oral tradition of several Spanish provinces, among others these of Galicia and Castilian, regions where the Cantigas and their language, the galaique-Portuguese, were born. Read more
BEN VENNAS MAYO
Vox Suavis takes the Cantigas de Santa María repertoire as the most prominent expression of the Virgin worship in the Iberian Peninsula. The ensemble nourishes its interpretation with archaic musical remains from the aural tradition. These traditional pieces cannot be dated but they show a close melodic, formal, metric and thematic relation with the Cantigas. Read more