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. Read more…
MULIER, QUID PLORAS?
The meaning of this sentence, originating in the liturgical dramas of the Middle Ages, is one of the most important messages to society of these centuries. Cantaderas proposed program gives shape to one of the most important periods of the liturgical year: Easter time. The medieval repertoire chosen from the Florence Manuscript (the most important source from the Notre Dame repertoire) are the Rondelli sung during Easter time. Read more….
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
DACA, BAILEMOS CARILLO!
The program shows the influence dances had in vocal music since the end of the XV century to the beginning of the XVII century. Villottes, Villanelle, Villancicos, Ensaladas and Recercadas, sung and danced in the Aragon Kingdom during the renaissance. A joyful program with music from: Azzaiolo, Da Nola, del Encina, Flecha, Ortiz, Milán, etc… Read more…
LA VITA CHE PASSA …
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…