エピソード
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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
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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
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エピソードを見逃しましたか？
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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
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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
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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
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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
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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.
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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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