ENSEMBLE MED2014

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O Ensemble Med [med: mediterrâneo/medi-eval] nasceu em Abril de 2012 no seio do De-partamento de Música Antiga da Hogeschool voor de Kunsten Utrecht, Países Baixos, sob direcção artística de Daniela Tomaz (flautas). O ensemble (in illo tempore “Tre Fontane”) nasceu da interpretação da peça homónima, a Istampitta Tre Fontane, motor do nascimento de um novo olhar interpretativo da música deste período, entre a tradição escrita e a tradição oral.

Tem-se apresentado regularmente ao público, com diversas formações, destacando músicos como Yenisey Gomez (canto), Ilil Danin (or-ganetto) e Jornt Duyx (darbouka) . Participou em diversos festivais de música antiga neste país desde então, destacando: Kamermuziek Dag em Nikolaikerk, Utrecht (Junho 2012), a Temporada de Verão do Catharijn Museum, Utrecht (Agosto 2012) e o Festival De Open Blokfluit Dagen Amsterdam, (Outubro 2012), aqui em representação da Hogeschool voor de Kunsten Utrecht. Em Março de 2013 apresen-tou-se no II Festival Internacional de Percussão Cidade de Portimão com Rui Silva do Projecto AL-DUFF e Ana Margarida Marreiros no canto. Para o II Ciclo de Música Antiga Sons Antigos a Sul 2013, o projecto extende-se e incorpora um novo músico de formação erudita e trans-disciplinar, Sérgio Calisto, que se tem dedicado ao estudo da nyckelharpa e moraharpa, no âm-bito da música tradicional e medieval.

Em 2014 apresenta-se em duo, a convite da Bar-end Tobe Cultural Connections Company, em

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Utrecht, onde elabora um programa centrado no legado sefardita, cristão e árabe da bacia do Mediterrâneo, juntando Daniela Tomaz com o aclamado Dider François. Participam também nos concertos da Igreja do Castelo, em Agosto de 2014, em Castro Marim.

O Ensemble Med, desde os seus primórdios, procura como inspiração este delicado ponto de contacto entre os universos da música an-tiga historicamente informada e a música tradi-cional historicamente informada, procurando a sua própria interpretação viva e actual da música de raiz medieval Europeia, realizada em torno da Ibéria e das regiões circundantes do Mar Mediterrâneo, numa abordagem multicul-tural e transversal entre o legado cristão, árabe e sefardita.

Daniela Tomaz: flautas e axabebaYenisey Gomez: cantoSérgio Calisto: nyckelharpa e moraharpaRui Silva: percussão histórica

Para mais informações:www.facebook.com/EnsembleMed

audio:http://snd.sc/1g0dF4y

vídeo:http://youtu.be/_28kjzDdnag

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Ensemble Med

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Ensemble Med is:

Daniela Tomaz: artistic direction | flutesYenisey Gomez: voiceSérgio Calisto: nyckelharpa (viola d’amore a chiavi) & moraharpaRui Silva: historical percussion

social media:www.facebook.com/EnsembleMed

audio:http://snd.sc/1g0dF4y

vídeo:http://youtu.be/_28kjzDdnag

Group Biography

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Ensemble MedThe Ensemble Med [med: mediterranean/medi-eval] is a music performing-research lab aiming at exploring the limits between Early Music and World Music i.e. the written source versus the oral tradition. This new source of inspiration is twofolded: on one hand, the interpretation of medieval Western music into the living perfor-mance practice and on the other hand, the oral tradition practice from etnomusicologists re-search into the historically informed realm.

The group is build by experienced music pro-fessionals from from both worlds and nowadays presents historical flutes, percussion, singing, moraharpa and nyckelharpa. It was formed in April 2012 in Utrecht, the Netherlands and has been invited to play in several early music festi-vals in that country and Portugal, namely the Ka-mermuziek Dag at the Nikolaikerk Utrecht [June 2012], the Summer Concert Series of the Cath-arijn Museum [August 2012], De Open Blokfluit Dagen Amsterdam [October 2012], the II Inter-national Percussion Festival Cidade de Portimão [March 2013] , the II Edition of the Early Music Festival “Sons Antigos a Sul” , Lagos and Sagres [August 2013], the Catherijn Convent Musique Series, Utrecht, August 2014 (with Didier Fran-çois), and Igreja do Castelo, Castro Marim (Au-gust 2014).

The performance practice of such distant reper-toire represents undoubtedly immense creative possibilities. The outcome presented today is a sum of steps that gradually builds itself from the written material offered by the source into a kind of live improvisation, that we believe is clos-er to the piece historical performance practice.

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Daniela Tomaz | flautas e direcção artísti-ca (flutes and artistic direction)

Daniela Tomaz inicia os seus estudos musicais em 1990 no Conservatório Regional de Gaia como bol-seira da Fundação Calouste Gulbenkian, estudando com Pedro Castro, Pedro Couto Soares e Pedro Sou-sa Silva. Em 2008 prossegue com os estudos musicais no Departamento de Música Antiga da Hogeschool voor de Kunsten Utrecht (HKU), Países Baixos, sob orientação de Heiko ter Schegget em Flauta de bisel e Wilbert Hazelzet em Traverso, graduando-se em Abril de 2012 Cum Laude. Paralelamente inicia actividade profissional no âmbito da gestão cultural com a As-sociation Européenne des Conservatoires (AEC) em Utrecht. Como organizadora e musicista activa, forma frequentemente ensembles de música antiga com par-ticipação activa em França, Países Baixos e Portugal, de onde destaca Ensemble Med, Voce Humana e No Sopro do Vento, especializados especificamente em Música Antiga Medieval/Tradição Oral, Renascenti-sta e Barroca. Colabora desde Setembro de 2012 na direcção artística da Academia de Música de Lagos, tendo produzido e participado na II Edição do Festival de Música Antiga Sons Antigos a Sul.

Daniela Tomaz was born in Porto, Portugal. In 2001 she obtained the degree of Complementary Studies in Re-corder at the Conservatório de Música do Porto. In April 2012, she graduated (Cum Laude) in Recorder, from the Early Music Department of the Utrecht Conservatory, un-der guidance of Heiko Ter Schegget. She also studied Tra-verso with Wilbert Hazelzet. Furthermore she received his-torically informed ensemble practice with Siebe Henstra, Wouter Verschuren, Frank de Bruine, Adrián Rodriguez Van der Spoel and Rebecca Stewart. She is an active chamber music musician, specialized in pre-baroque repertoires. Thus she is often organizing and being invited into several early music ensembles: Tre Fontane, Voce Humana, Rosa Gallica, Ensemble Portigaler, Trovas d’Amigo, Les Guillau-mes and No Sopro do Vento.

Biografias | Biographies

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Yenisey Gomez | canto (singing)

Nasceu em Santiago de Cuba, em 1983. Em 1993 obteve a sua Licenciatura em Música, vertente Di-reção Coral, no Conservatório Esteban Salas, em Santiago de Cuba. Posteriormente ela prosseguiu os seus estudos em Música no Departamento de Música Antiga do Fontys Conservatorium em Til-burg, Países Baixos desde 2008, sob direção de Ildiko Hajnal. Recebeu formação em música his-toricamente informada com Xenia Meiyer, Stratton Bull, Anne Azema, Jill Feldman, Kees Boeke, Patrizia Bovi e Adrian Rodriguez Van der Spoel. É regular-mente convidada a integrar diversos grupos dedi-cados a práticas musicais anteriores a 1700, tais como: Musica Temprana, Ars Vocalis, Musica Aurea, Voce Humana e Ensemble Med.

Yenisey Gomez was born in Santiago de Cuba, Cuba in 1983. In 1993, she obtained her musical degree in Choir Direction at the Conservatorium Esteban Salas in Santiago de Cuba. Furthermore she studies at the Early Music Department of the Fontys Conservatorium in Tilburg, Nederlands, since 2008, under the direction of Ildiko Hajnal. She has received coaching on histori-cally informed practice with Xenia Meiyer, Stratton Bull, Anne Azema, Jill Feldman, Kees Boeke, Patrizia Bovi and Adrian Rodriguez Van der Spoel. She is often called to integrate vocal ensembles e.g. Musica Temprana, Ars Vo-calis, Musica Aurea and Ensemble Med.

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Rui Silva | percussão histórica (historical percussion)

1984, Coimbra. Em 2012, concluiu, com nota máxima (10) o Master en Interpretación de Música Antigua - Percusión Histórica, na ESMUC (Barcelona, Catalunha), tendo sido aluno de Pedro Estevan. Actualmente, dando seguimento à sua tese de mestrado (“Al-duff: bases para aplicação das técnicas de frame drums medi-terrânicos ao adufe, séc. XXI adentro” ESMUC, Maio 2012), desenvolve uma linha de investigação em torno do Adufe, pandeiro quadrado portu-guês, religando-o aos frame drums mediterrânicos através das técnicas de performativas e da inova-ção na construção de protótipos. É percussionista das Sete Lágrimas - Consort de Música Antiga e Contemporânea e Touli Ensemble. Toca com in-strumentos Missom, Rui Silva - Adufes, Red Clay, e adufes tradicionais José Relvas.

1984, Coimbra - Portugal. In 2012, was awarded the title Master in Early Music Interpretation - Historic Percussion, at ESMUC (Bar-celona, Spain) under the supervision of Pedro Estevan and having graduated top in his class. Currently, he is following up on the theme of his dissertation “Al-duff: applying mediterranean frame drums techniques to the adufe in the 21th” by further researching the Adufe, the portuguese traditional square frame drum. He is doing this by developing performance techniques which con-nect the Adufe to classic mediterranean frame drums and also through building inovative prototypes of the Adufe which aim at broadning the instrument’s sound and playing range. He is resident percussionist at Sete Lágrimas - Old and Contemporary Music Consort and also at Touli Ensemble.

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Sérgio Calisto | nyckelharpa & moraharpa

Professor de violoncelo e músico natural do Porto, formou-se em Ensino de Música (Ramo: Violoncelo) pela Universidade de Aveiro. Depois de terminar a sua formação em música erudita, dedicou-se ao estudo da nyckelharpa e moraharpa, tocando estes instrumentos nos ensembles de música folk MU e Mandrágora (ambos vencedores do Prémio Car-los Paredes) e no ensemble de música medieval Trovas de Amigo. Realizou masterclasses de nyck-elharpa com Ditte Andersson, Magnus Holmström, Marco Ambrosini e Didier François. Recentemente foi convidado a participar no projecto ENCORE - European Nyckelharpa Cooperation - ORchestral Experience. Na área da música improvisada trabal-hou com Mark Dresser/ Fred Frith e realizou um curso de aperfeiçoamento em Soundpainting com Walther Thompson.

Is a cello teacher and musician from Porto, graduated in Music Education from Aveiro University. After finish-ing his classical music studies, started learning the nyck-elharpa/morharpa and played folk music in several en-sembles such as MU and Mandrágora (both winners of Prémio Carlos Paredes) and medieval music with Trovas d´Amigo. At the International Days of the Nyckelharpa had the opportunity to work with Ditte Andersson, Magnus Holmström, Marco Ambrosini and Didier Fran-çois. Recently was invited to participate in the nyck-elharpa orchestra ENCORE – EuropeanNyckelharpa Cooperation - ORchestral Experience. After attendind a Soundpainting course with Walther Thompson he as been also studying this live composing sign language.

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A los baños dell amor Anonimous in Cancionero Musical del Pala-cio, in: Biblioteca del Palacio Real, Madrid circa 1470/1520

Tres morillas m’enamoranCancionero Musical de Palacio, ibidem

Makam Rast «Murass’a» usul Duyek [instrumen-tal]Turkish Traditional theme, Dimitri Cantemir Manuscript 1673-1723]

Si Verías a la Rana,Traditional sefardit song, circa 15th century, gathered by Moshe Shaul, 1929-

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Senhora do AlmurtãoTraditional theme from Beira-Baixa/Portugal [gathered by Rodney Gallop, “Cantares do Povo Português”, Lisboa, Instituto de Alta Cultura, 1960]

Cantiga de Ceifa [instrumental]Traditional theme from Penha Garcia/Portugal [recolhida por Michel Giacometti em Penha Garcia [Idanha-a-Nova, Castelo Branco, Portu-gal, 1970]

Côro das Maçadeiras [female working song]Traditional theme from Póvoa de Lanhoso/Por-tugal [Cancioneiro Minhoto de Gonçalo Sam-paio 1943]

track #1 [audio demo] Live extract from performance at

“Sons Antigos a Sul” 130818

track #2 [audio demo]

idem

track #3 [audio demo]

idem

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Istampitta Tre Fontane [instrumental]The Manuscript London, British Mu¬seum Add. 29987

Fenice fu’ e vissi pura e morbidaJacopo de Bologna (1339-1386) in Florence: Bib-lioteca Medicea-Laurenziana, Palatino 87 (Squar-cialupi Codex)

Saltarello [instrumental]The Manuscript London, British Mu¬seum Add. 29987

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O Virgo Splendens / Mariam Matrem VirginemIn: Codex El Llivre Vermell de Montserrat, Biblio-teca de l’Abadia de Montserrat, circa 1399

Stella Splendens [instrumental]In: Codex El Llibre Vermell de Montserrat, ibi-dem

Senhora del MundoAnonimous Portuguese vilancico in Cancioneiro Musical Bibliothèque de l’Ecole Supérieure des Beaux-Arts de Paris, 1520-1530

Rosa das Rosas, Cantiga de Santa Maria X Alfonso X “O Sábio” (1221-1284)

track #4 [audio demo]

idem

track #5 [audio demo]

idem

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The theme of our concert circles around the Feminine Persona in ancient Iberia and Mediterranean Region. The program centers itself in four medieval originated genres and sources: in four different groups:

arabian/sefardit legacy; portuguese traditional music;italian trecento;iberian marian repertoire.

It relates, in our programme, to different ex-pressions of love, from the holy and devoted love to the earthly feelings of desire passion. This complexity of the Feminine persona, since the Middle Ages till late Renaissance is also brought throuought traditional por-tuguese working songs, found by ethnomu-sicologists at the dawn of he XXth century, e.g. “Coro das Maçadeiras.”

On one hand, the anguishes of love em-brace most non-sacred repertoire in the middle ages and renaissance. “Tres morillas m’enamoran” (three moorish girls I have fell in love) depicts the topic of prohibited love between a Christian man and three Moorish girls showing the recurrent theme of for-bidden desire. It is also an ancient moorish himn of Jen (Spain).The “baños” (baths) in “A los Baños dell Amor” highlight the water as a symbolic universe of purification, after the heart illness that is struck with unfulfilled

“Hispaniae et Portugalliae Reg-na”, Allard, Carel(1648-1706, Am-

sterdam 1685

BEN SENI SEVERIM

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love. Particularly impressive in this piece is the throughout repetition in the cantus fir-mus of ” sol-la-mi-re”, that relates to the cantus text: “Sola me iré” (I will go alone). The idea around the extreme sadness and solitude around this woman walk to the pu-rification place, is musically enhanced with the percussive rhythm of the processional “pavana”. This is also a very popular sephar-dit theme. These ancient medieval themes, were sometimes found in renaissance song-books. “Cancionero del Palacio”, one of the most know renaissance “cancioneros” it was meant to be performed during the reign of the “Catholic Monarchs”. The Ibe-rian Peninsula was then richly fulfilled and entwined in its poetic subjects and forms of musical expression with christian, jewish and arab cultures.

On the other hand, from the heavenly feel-ing, we present the christian strongest me-dieval legacy, the Cantigas de Santa Maria (Songs of The Virgin Mary), 457 songs gath-ered during the kingdom of Afonso X de Castilla y de León (1221-1284) and written in Galician Portuguese language. “Rosa Das Rosas” (Rose of Roses), one of the most popular cantigas, praises the Virgin Mary for its beauty, kindness and power. The collec-tion remains one of the biggest sources of monodic songs in the Middle Ages, along with El Llibre Vermell de Montserrat (Mar-

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iam, Matrem Virginem, O Virgo splendens and Stella Splendens). Other connections to the Virgin are gathered in “Senhora del Mundo”, a two-part Portuguese villancico in which the text glorifies a Lady (Senhora) - gentle metaphor for the Virgin Mary and “Senhora do Almurtão”, one of the oldest versions of the traditional theme of Beira-Baixa [Portugal].

Our journey departs from the medieval Ibe-rian Peninsula, a territory now correspond-ing politically to Portugal and Spain, but we do not know where it ends.

Curious to notice that although Portugal is one of the oldest nations in Europe, in-dependent since 1143, the other kingdoms of Iberia (e.g. Castile-Léon, Aragón and Granada) continued independent entities till the marriage of Queen Isabela I of Cas-tilla with King Fernando II of Aragon at the turn of the XVI century. The union of the “Catholic Monarchs” settled the path to the birth of modern Spain, and its conse-quent separation of these three once united cultures: christian, arab and jewish. Most of the expelled Jews settled in various parts of the Ottoman Empire, in particular Salonica and Constantinople, and whose traditional language is Ladino, simililar to Old Span-ish. Some went further east to the Arabic-speaking territories of the Ottoman Empire.

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Hence the complexity of the Music found in the Mediterranean baisin and its neighbour territoires

In our programme, the medieval italian repertoire is extremely important mainly for its instrumental legacy. “Tre Fontane” belongs to a small group of music purely instrumental, up to the year 1400 d.C. Indeed - until the libera¬tion of instrumental music in the Late Renaissance - the main extant repertoire is vocal. The exception is made on the dance-music repertoire i.e. the french “estampie” or the italian “istampitta”. Today are known sixteen textless composi¬tions identified in their sources as “estampies” which rep-resent both the French and the Italian traditions: eight are in the late 13th century “Manuscrit du Roi” and eight in an Italian manuscript from about 1400 (The Manuscript London, British Museum Add. 29987), following the heading Istanpitta.

The melodic material of this repertoire, does not resemble similar Western European repertoire of the same period hence the immediate and spontane-ous identification with an Arabic sonority; the construction of the trecento Italian dances resemble more that of eastern Mediterranean dance than that of European music (of the same period). According to Handschin (1930–31) and McGee (1982), its formal aspects are close to those of the pesrev, an instrumental form found in Turkey and Arab countries, and its melodic ideas conform closely to the Turkish maqãm system and Arab theoretical practices.

Daniela Tomaz

special thanks traditional portuguese repertoire research: José Prata(architect, sound engineer, musician)