todos los tonos y ayres · erhu⼆胡,dizi笛⽤,xiao箫,sheng笙,xun埙,recorder,khoomei...

ContentsIntroduction 1

The Emperor’s Harpsichord 2

Diego de Pantoja 3

The work of Diego de Pantoja 4

After the Legacy of Diego de Pantoja 4

The Legacy: musical program 6

The Emperor’s Musicians 8

Todos los Tonos y Ayres 9

ÍLIBER ensemble 12

Landmarks 18

Press 19

Credits 21

Contact 21

2018-2021Years Diego de Pantoja

The Emperor’s Harpsichord: After the Legacy of Diego de Pantoja is a unique pro-posal in the Spanish musicological scene, which brings together Todos los Tonos yAyres, the rst Spanish group specializing in the investigation and interpretationof early Chinese music and music relations between Imperial China and the West,together with ÍLIBER ensemble, chamber group specialized in the interpretationof baroque music with early instruments and historical criteria. Ancient Westernand Chinese instruments will unite to reconstruct the vivacious musical life of theChinese Court in a tribute to the gure of the Jesuit Diego de Pantoja.

This program commemorates the fourth centenary of the death and the 450thanniversary of the birth of this citizen of Valdemoro, who traveled to China andwas a pioneer in establishing cultural relations with the Court of Emperor Wanliof the Ming Dynasty. In addition to providing accurate data on China in Spain andEurope, he brought the rst key instrument to the Forbidden City, teaching forthe rst time the art of the clavichord in the Imperial Court.

In the reminder, the template of the The Emperor’s Harpsichord is described toget-her with a historical-musicological explanation of the selected works and detailedprogram notes.

Rubén García Benito

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https://www.youtube.com/watch?v=2aVRhfUaIsA

https://www.todoslostonosyayres.com


http://www.iliberensemble.com


mailto:[email protected]

The Emperor’s HarpsichordAfter the Legacy of Diego de Pantoja

西洋“乐瞰”紫禁城

…he oher day [he Emperor] had me sing he noes of an air he’d writen, and hen playit on he cembalo wih a few oher persons afer he Chinese fashion, and hen afer heEuropean fashion… It is not ofen hese days o hear his ype of inerpretaion in heCourt, and proof of hat was what he Emperor old me while we were playing ogeher:“What you hear now is like when Faher Pereira was here”. And he began o cry wihjoy…

This remarkable scene narrated by an Italian priest was developed at the begin-ning of the XVIII century in the very heart of the Forbidden City of Peking, inthe Court of Kangxi 康熙 (1654-1722), fourth emperor of the powerful Qing 清dynasty.

Already in the Tang唐 dynasty (7th-10th century) the Chinese Court was one ofthe most cosmopolitan in the world. Within its walls sounded the most exotic musicrom neighboring kingdoms beyond the borders of the Empire. This musical varietywas exceptionally extended rom the arrival of European missionaries to China atthe end of the sixteenth century, as a result giving a unique episode, for its extentand duration, cultural, scienti c and artistic relations between two disparate worlds.

It can be said that the key to the entrance to the Forbidden City were two clocksand a harpsichord. The need to maintain and re ne them ensured the presenceof religious experts, who taught in the Court the art of harpsichord and Westernmusic. All of this would not have been possible without the audacity and genius

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The Emperor’s Harpsichord: After the Legacy of Diego de Pantoja 西洋“乐瞰”紫禁城The Emperor’s Harpsichord: After the Legacy of Diego de Pantoja 西洋“乐瞰”紫禁城The Emperor’s Harpsichord: After the Legacy of Diego de Pantoja 西洋“乐瞰”紫禁城

of two precursor missionaries, Matteo Ricci (1552-1610) and the Spaniard Diegode Pantoja (1571-1618), the rst two Westerners to draw the veil of the ForbiddenCity. No one before in Europe had managed to access the interior of this ImperialPalace.

It was precisely Diego de Pantoja who laid the foundations of unique musicalmelanges of the Court where Western, Chinese, Manchu and Mongolian music wereoten played and mixed according to the Emperor’s disposition as described in thebeginning quote.

Diego de PantojaDiego de Pantoja was born in Valdemoro on April 24, 157⒈ Because of its pro-

ximity to Toledo, he was soon in uenced by the development that the Society ofJesus was experiencing there. On April 6, 1589, Diego de Pantoja joined the So-ciety to receive instruction in the novitiate of the Jesuit province of Toledo, locatedat that time in Villarejo de Fuentes. Later, he studied Philosophy in Ocaña andTheology in Alcalá de Henares. Toledo province was the cradle of missionaries andthe starting point for Asian lands, and it is there that the oriental dream of Diegode Pantoja takes shape, particularly thanks to his spiritual guide, the Jesuit Luis deGuzmán, to whom later, in 1602, he would write a long letter telling him of the“particular events that took place, and of remarkable things they saw in the samekingdom”.

Pantoja let Lisbon, together with eighteen other Jesuits, in April 159⒍ Ater ayear in Goa, he arrived in Macao in 1597, where he remained for two years comple-ting his training. There he was chosen to help Matteo Ricci in the important ChinaMission. In October 1599, they were in Naǌing taking gits for the Emperor.

In January 1601, Diego de Pantoja and Matteo Ricci arrived in Beĳing. Theyare summoned to the Court of Emperor Wanli万历 (1573-1620) of the Ming明dynasty, days ater delivering the presents, to teach the eunuchs the maintenance ofthe clocks, which ensures visits to the Forbidden City with some requency. Therethey deployed paintings, traditions and European architectural works, among which

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is an etching engraving of San Lorenzo de El Escorial.Amongst the various gits, undoubtedly the clavichord was one of the most re-

markable. Intrigued by the performance of such an ingenious instrument, the Em-peror sends four musical eunuchs to learn the technique of its interpretation. It isDiego de Pantoja who is in charge of interpreting and teaching how to play the rstkey instrument of the Forbidden City.

The work of Diego de Pantoja

During the 17 years that Pantoja lives in the capital of the Celestial Empire,thanks to his excellent command of Chinese language and writing, he contributesto the exchange of knowledge between China and the West. He writes in his nativelanguage several books of various kinds, rom the improvement in the ability tomeasure time to predict eclipses to geography, through philosophy. Undoubtedly,his most in uential work is The Treaty of the Seven Sins and Virtues 《七克⼤全》, where he compares the Christian virtues with the Confucian ones, work thatensures successive editions up to nowadays.

The letter he wrote in 1602 to his riend and spiritual guide Luis de Guzmánhas a profound impact on the knowledge about China at the time. Published inValladolid in 1604, this extensive epistle has an excellent reception and is readilypublished in other Spanish cities and translated in Europe into French, German,English, Latin… Among the many rst order details, Pantoja’s letter represents therst document in the West con rming, against all publications of the time, that

the legendary Catay and China are the same country.

After the Legacy of Diego de PantojaUpon his death in 1618, Diego de Pantoja leaves behind an important task that

contributes to the later presence of missionaries in the Court until the end of the18th century. It can be said that Pantoja opens a new chapter in Sino-Spanishrelations and in diplomacy with the West.

It is especially during the Qing dynasty, particularly during the reign of the

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Kangxi (1654-1722) and Qianlong (1711-1799) emperors, when the exchange ofknowledge and relationship of the missionaries with the Court reaches its peak.

Kangxi’s curious spirit towards everything foreign, and in particular his love forall musical manifestations, makes the presence of Western music in the Court re-cur. The rooms of the palace house numerous instruments such as harpsichords,spinettes, organs and keys, among others. Hand in hand with the Portuguese Jesuitand exceptional musician Tomás Pereira (1645-1708), one of Kangxi’s favorites (asrecounted in the beginning scene), we get the rst treaty of Western musical theorywritten in Asia in the Chinese language. Pereira builds musical instruments, teachesthe Emperor’s sons to play the harpsichord, and plays with Kangxi himself in thefamous musical mélanges.

Although Pantoja and Pereira were great musicians, only their theoretical workshave come to us. We will have to wait until the arrival of the missionary TeodoricoPedrini (1671-1746), author of the description of the beginning, which leaves us12 beautiful sonatas for violin and continuous composing during his stay in Beĳingand kept in the National Library of China.

Emperor Qianlong inherits the musical taste and curiosity of his grandfather,arriving to establish a baroque orchestra in his Court, formed by 18 eunuchs dres-sed in European costumes and wigs. In his birthdays, in the festivities, or simplyfor amusement, all kinds of groups presented their art to the Emperor: Mongoliancourt music, Manchu, southern opera, banquet music…Thanks to the bureaucra-tic apparatus of the Court, all these activities and musical pieces are compiled inenormous encyclopedic works enhanced by the Emperor.

During this time, the French Jesuit Joseph-Marie Amiot (1718-1793) records agood amount of Chinese music and Sino-Christian religious pieces in a long collec-tion of documents sent to the West, which provided the rst musical transcriptionsof the Asian giant in Europe in the mid-eighteenth century. Some of these trans-criptions become part of works by Carl Maria von Weber or Paul Hindemith.

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The Legacy: musical program

This exceptional chapter of the history of exchange not only musical but alsoartistic and scienti c, would not have been possible without the audacity of Diegode Pantoja and Matteo Ricci, the rst two Westerners to unravel the mysteries oflife and intricacies of the Forbidden City.

On the occasion of the fourth centenary of Diego de Pantoja, we want to payhomage to the bright Spanish Jesuit, making a journey that begins with the musicof his time, to discover the musical legacy let behind through the records that havereached our time thanks to the missionaries who lived in the Court until the endof the 18th century.

From its initial stage will be played pieces by Ginés de Boluda (1545-1606) andAlonso Lobo (1555-1617), masters of the Cathedral of Toledo during Pantoja’s yearsof study. The archives of the Jesuit libraries in Macau preserve a detailed catalog ofthe books used there. Through this, we can nd hymns collected in the manual ofPedro Navarro published in Salamanca in 1586 and masses of the composer DuarteLobo (1565-1646), which allows us to reconstruct part of the religious music thatsounded during the stay of the Spanish Jesuit in the Portuguese colony in China.

From here we will travel with to Pantoja to the capital of the Celestial Empire. Aswell as in Macao, the library of the Beitang church in Beĳing collects a multitudeof titles, among which we can nd a compilation of lauds with titles by FranciscoSoto de Langa (1534-1619). To these will be added Christian religious hymns withChinese music and text composed by converts for the local congregation.

From here we will trace the legacy of Diego de Pantoja, thanks to which latermissionaries could work in the Forbidden City allowing us to explore the musical lifeof the Chinese Court in its various manifestations. The rst book that introducedthe theory of Western music in China was written in Chinese and compiled byFather Tomás Pereira (1645-1708) for Emperor Kangxi (1654-1722). We will listento pieces collected by Athanasius Kircher (1602-1680) in his Musurgia Universalis,an inspiration book by Pereira, of which were found three copies in the library ofthe Jesuits of Peking.

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One of the jewels of this catalog are the 12 sonatas for violin and continuo com-posed by Father Pedrini (1671-1746) during his life in the Chinese Court. TheEmperor’s Harpsichord will interpret a selection of them rom an exact facsimile ofthe only original preserved in the National Library of China, obtained thanks to acollaboration with the Confucius Institute of Granada and Peking University.

We will accompany the Emperor on his diplomatic and hunting trips. We willvisit with him the northern steppes, where great ceremonies, banquets and celebra-tions take place, with music rom the most diverse places, while the missionariesaccompanying the Son of Heaven teach him geometry and western music in theimperial yurts. We will listen to Mongolian music for the Emperor in commemo-ration of his birthday, pieces rarely performed not only outside, but also withinChina, of which he does an important job of revival.

Both Emperor Kangxi and Qianlong were lovers of the Kunqu昆曲, Southernmusical dramatic genre, of beautiful and delicate melodies, some of which were co-llected by Father Joseph-Marie Amiot (1718-1793) in a series of notebooks he sentto the West and considered one of the pioneering musicological works in Europe.Nowadays, thanks to studies of comparison with original Chinese sources of thetime and previous ones, we can know exactly what works Amiot registered.

The rst transcriptions of music that came to the West will also sound, publishedin 1735 rom annotations sent by the French Jesuit, as well as French pieces thatwere played in the harpsichord by Amiot to the Emperor.

We will end the trip saying goodbye with a musical curiosity that we will revealat that point.

Rubén García Benito

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西洋“乐瞰”紫禁城

Todos los Tonos y AyresRubén García Benito

erhu⼆胡, dizi笛⼦, xiao箫, sheng笙, xun埙, recorder, khoomei

Abigaíl R. Horroguzheng古筝, matouqin马头琴, harp, recorder, voice

ÍLIBERensembleDarío Tamayo

harpsichord

María del Mar Blascobaroque violin

Javier Utraboviolone

Luis Vivespercussion

Aníbal Sorianoplucked strings, recorder

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Todos los Tonos y AyresTodos los Tonos y Ayres is a project devoted

to the research and dissemination of Chineseearly music. Its purpose is to bring visibilityto the music of written tradition rom theAsian giant and to get it included in the spe-cialised early music networks.Todos los Tonos y Ayres started rom the

conviction that the inclusion of Chinese an-cient music in the general early music net-works could be a pioneering and enrichinginitiative, because of the beauty and abun-dance of its musical works, the existence ofnumberless compilations of this music, andthe systematization of theoretical treatrisesby the Imperial Department of Music throughout two thousand years, which allowsus to make a rigurous reconstruction of the musical life in the Celestial Empire andthe historical context in which it developed.

Abigail and Rubén conceived in Beĳing the idea of starting a stage project devo-ted to Chinese music. At the beginning, they founded Seda&Bambú duo, thatfocused on the traditional music of that country; with this project, they have perfor-med concerts all around Spain, being invited by the Confucius Institute’s centres inBarcelona, Madrid, and Granada, the Autonomous University of Madrid, and theFestival Cultural Asia-Sevilla, among other entities. As part of their researchs tond new scores, they knew the fascinating manuscripts of Dunhuang, and the sug-

gestive history of the production and discovery of this documents; as a result, theydecided to start a more speci c research by founding Todos los Tonos y Ayres, a pro-ject specialised in the study and performance of Chinese early music, which becamethe rst Spanish group of this nature. This activity has brought them to perform

The Emperor’s Musicians: Todos los Tonos y Ayres 9










https://www.todoslostonosyayres.com/wp-content/uploads/Documentos/Dossier_proyecto_Seda_y_Bambu.pdf

http://www.confuciobarcelona.es/zh/index.php/actividades/cultura/notas-prensa/652-seda-bambu-conferencia-ic10

http://confuciomadrid.es/wp-content/uploads/2016/09/Programa-D%C3%ADa-Confucio-2016.pdf

http://institutoconfucio.ugr.es/pages/actividades/20132014/03_conferencias/03_5aaniversario-icugr/ciclo-conferencias-quinto-aniversario

http://icas-sevilla.org/musicas-del-mundo-festival-cultural-asia-sevilla/




concerts in specialised early music festivals, such as the 1st Andújar Early MusicFestival or the rst three editions of the Granada Early Music Festival (MAG).

In 2016, they were invited by the City of Arts and Sciences of Valencia to give aninnovative talk-concert about the relationship between astronomy and music in theAncient China, delving into the role theese disciplines played in the preservationof the cosmic order for the Celestial Empire.

Along with Veterum Mvsicae, they took part in the creation of the ambitiousproject Musafir Medieval Travelers, an intercultural and multidisciplinary pro-gramme about trade and exploration great routes in the Middle Ages, which waspremiered in the closing concert of the 2nd Granada Early Music Festival.Todos los Tonos y Ayres has developed artistic and research projects together with

entities like the Instituto Cervantes or the Confucius Institute. Moreover, this sea-son its has made its international debut with a tour throughout China together withthe group ÍLIBER ensemble in May-June 2018 with the present project.

Rubén García Benito • erhu⼆胡, dizi笛⼦, xiao箫, sheng笙,recorder, mongolian throat singing & co-direction

Ph.D. in Astrophysics and a musician with a clas-sical formation (Composition, Violin, Recorder andLyrical Singing), he felt soon attracted by the Chi-nese culture, taking a degree in East Asian Studies,and moving then to China, where he combined theresearch and studies on Chinese language with thestudy of the traditional music rom that country atthe University of Beĳing, where he studied erhu (Chi-nese violin), dizi, and xiao (Chinese utes). In recentyears, he has been awarded a scholarship to take partin several editions of the Chinese Traditional Music Workshops at the ShanghaiConservatory of Music, where he has taken lessons with great musicians, suchas Cheng Haihua 成海华, Wang Yongde 王永德, or Zhang Yongming 詹永明,








https://www.facebook.com/AyuntamientodeAndujar/photos/pcb.886560214695075/886559814695115/?type=3&theater

https://www.facebook.com/AyuntamientodeAndujar/photos/pcb.886560214695075/886559814695115/?type=3&theater

http://festivalmag.es/seda-bambu/

http://www.cac.es/astronomia/conferencia2016-02.jsp

https://www.cac.es/es/prensa/noticias/Entrevista-Ruben-Garcia-Conferencia-astronomia-musica-antigua-China-Museo-de-las-Ciencias.html

https://www.cac.es/es/prensa/noticias/Entrevista-Ruben-Garcia-Conferencia-astronomia-musica-antigua-China-Museo-de-las-Ciencias.html

https://www.youtube.com/watch?v=ZS6S185bkik

https://festivalmag.es/wp-content/uploads/2017/05/programacion-mag-2017.pdf



http://rgb.iaa.es/wp-content/uploads/Documents/CV/Ruben_Garcia_Benito_CV_en.pdf



among others. In the 2nd and 3rd editions of Granada Early Music Festival (MAG),he was responsible for developing the main topic of the Festival, co-directing andperforming the programme Musafir Medieval Travelers, besides conceiving anddeveloping the present project. Currently, he combines his musical and educatio-nal activity with his research work at the Institute of Astrophysics of Andalusia(IAA-CSIC).

Abigail R. Horro • guzheng古筝, matouqin马头琴, harp, recorder& voice

Abigail R. Horro has a long pro-fessional career focused on Europeanclassical and early music in the dis-ciplines of Singing, Violin, MedievalHarp, and Recorders. She has perfor-med concerts in Europe and Asia, aswell as all over Spain, taking part infestivals such as Opera Fontilles, Gra-nada Early Music Festival, MOMUA,Beĳing International Chorus Festival, or Donne in Musica nel Medioevo (Sicily),among others. Her interest in other sounds led her to discover Chinese music, mo-ving to Beĳing to make her guzheng 古筝 (Chinese zither) studies, getting theCertificate of Arts Grade Examination of China 社会艺术⽔平考级证书 at theChina Conservatory of Music, in Beĳing. At present, she collaborates with di erentmusic groups, such as Íliber Ensemble, Veterum Musicae or Serpens Cauda, activitythat combines with her musical work with Seda&Bambú and Todos los Tonosy Ayres. Moreover, she has been a member of the Granada Early Music Festival’sboard of directors in its three rst editions.








https://www.youtube.com/watch?v=ZS6S185bkik

https://www.todoslostonosyayres.com/wp-content/uploads/Documentos/Dossier_proyecto_Seda_y_Bambu.pdf





ÍLIBERensemble

ÍLIBER ensemble is a chamber music group devoted to the research and perfor-mance of baroque music with historically informed criteria and using period instru-ments. It was founded in May 2013 in Granada and integrated by young musiciansrom di erent parts of Spain.

Its purpose is to recover and disseminate the Spanish Baroque musical heritage(and specially that rom Andalusia), and also disseminate pieces by rare Europeancomposers, as well as the interpretation of works by great maestros of 17th and18th centuries.

Its members belong to or have collaborated with important orchestras, such asSpanish National Youth Orchestra, Orquesta Ciudad de Granada, Orquesta Sinfóni-ca del Principado de Asturias, Joven Orquesta y Coro de la Comunidad de Madrid,Andalusian Youth Orchestra, The World Orchestra, Bruckner Akademie Orches-ter, or Gustav Mahler Jugendorchester, among others, as well as with renownedearly music ensembles, such as Ensemble La Danserye, Claroscvro Teatro, GranadaBaroque Orchestra, Andalusian Youth Baroque Orchestra, or Finnish Baroque Or-chestra. Moreover, they have received classes and advice rom great specialists in thiseld, such as Jordi Savall, Fahmi Alqhai, Luca Guglielmi, Pedro Estevan, Eduardo

López Banzo, Jean Tubéry, Luca Chiantore, Pablo Gómez Ábalos, Michael Tho-mas, Mercedes Ruiz, Glen Vélez, Katalin Illés, Edoardo Torbianelli, Andrés Cea,Barry Sargent, Alexis Aguado, or Guy Ben-Ziony.

Since the beginning, they have performed concerts in important musical seasons,such as the Meet In Beĳing Arts Festival, Festival Internacional de Música y Danzade Granada, or MusaE, a project organized by the Spanish Ministry of Culture, aswell as in early music festivals in Granada, Córdoba, Vélez Blanco, and Lorquí. This

The Emperor’s Musicians: ÍLIBER ensemble 12











activity has brought them to prestigious music halls, like the Auditorio Manuel deFalla (Granada) or Daning Theatre (Shanghai), and to emblematic spaces, such asthe Ateneo de Madrid, the Granada Cathedral or the Constitutional Court of Spain,receiving a great welcome rom the specialised critics. Likewise, the ensemble hasbeen awarded with HEBE Prize 2016 in the Music category, and has been runner-up as Best Young Ensemble in the GEMA Awards 2017, granted by the SpanishAssociation of Early Music Ensembles.

Throughout its track record, it has completed co-productions with ensembleslike Granada Baroque Orchestra, Tomás Luis de Victoria Choir, or Todos los Tonosy Ayres, as well as with renowned voice soloists, such as Raquel Andueza, Mar-ta Infante, Eva Juárez, Olalla Alemán, Soledad Cardoso, or Aurora Peña, amongothers. Moreover, it has completed several artistic and research projects togetherwith entities like the Instituto Cervantes, the Confucius Institute, or the Centrode Documentación Musical de Andalucía.

In 2017, it carried out its rst staged production with the performance of theopera La guerra de los gigantes by Sebastián Durón (1660-1716), together with Gra-nada Baroque Orchestra and in collaboration with Asociación Ars Hispana, a workwich has been recently gathered in its rst album, wich will be launched in thecoming months in the IBS Classical label. Moreover, this season its has made itsinternational debut with a tour throughout China together with the group Todos losTonos y Ayres in May-June 20














Darío Tamayo • harpsichord & co-direction

Darío Tamayo (Granada, 1993) studied Pianofor a Bachelor degree at Granada Conservatoryof Music. He also made higher studies of Or-chestra Conducting with important maestros,such as Enrique García Asensio, Colin Met-ters, Achim Holub, Michael Thomas, or Ma-nuel Hernández-Silva, among others. His inter-est in early music and historically informed per-formance led him to move to Barcelona, wherehe is currently studying Harpsichord for a Ba-chelor degree at the Escola Superior de Músi-ca de Catalunya (ESMUC) with professor LucaGuglielmi. He has performed concerts all over Spain, as well as in several Europeancountries, conducting orchestras like Granada Philharmonia Orchestra, LondonClassical Soloists or Berlin Sinfonietta, as well as early music ensembles, such asTomás Luis de Victoria Choir. As a researcher, he has published articles on di e-rent aspects of Renaissance and Baroque keyboard music performance in prestigiousjournals, and he has made the rst translation into Spanish in the history of therst edition of the treatise L’art de toucher le clavecin by François Couperin.










María del Mar Blasco • baroque violine

She studied Baroque Violin for a Bachelor de-gree at the ESMUC, where she made as well herstudies of Masters degree in the same disciplinewith professor Emilio Moreno. There, she com-pleted her training rom important specialists,such as Lorenzo Coppola, Marc Hantaï, Chia-ra Banchini, or Xavier Díaz-Latorre. She hastaken Violin lessons with Gilles Colliard, Fra-nçois Fernandez, and Catherine Manson, as wellas Chamber Music lessons with Jaap Ter Linden, Charles Toet, or Adam Woolf.She is a member of several early music groups, such as Lodi Mvsicali, BarcelonaBaroque Orchestra (OBB), or El Parnaso Español, and she requently collaborateswith ÍLIBER ensemble and La Spagna, performing concerts in di erent festivals andstages rom Spain, France and Switzerland, among other countries, as well as takingpart in the recording of several CDs. She has also participated as the concermasterin a workshop about Monteverdi’s Orfeo at Teatro Real in Madrid.

Javier Utrabo • violone

Born in Granada in 1981, he studied Pianoand Composition at his hometown’s coserva-tory, getting his Bachelor degree in 200⒌Around 2003, he discovered the Double bass,which became his favourite musical instrument,and then decided to focus his musical career onit, specially in the eld of early music. He hasan intense musical activity, performing concertsand recording with all type of groups (Orques-ta Joven de Andalucía, Orquesta Sinfónica de la











Región de Murcia, Granada Baroque Orchestra, ÍLIBER ensemble). It should behighlighted his work with the folk sextet Ambulancia Irlandesa, with which herequently performs concerts all around Spain. Moreover, he is the author of nume-rous musical compositions for all kind of vocal and instrumental groups, as well assymphonic arrangements for pop-rock groups; in this context, it should be outlinedhis arrangement of the song Maldita dulzura, performed by Vetusta Morla alongwith OSRM. Currently, he is a professor of Musical Language at Granada Profes-sional Conservatory of Music, activity that combines with his studies or Singingfor a Bachelor degree at Córdoba Conservatory of Music.

Luis Vives • percussion

Luis Vives controls several musical styles,rom classical to popular music, and rom earlyto contemporary music, specialising in MiddleAges, Renaissance and Baroque music. This hasbrought him to perform concerts in importantfestivals and music halls, such as the GranadaInternational Festival, Úbeda-Baeza Early Mu-sic Festival, Sevilla Early Music Festival, VélezBlanco Renaissance and Baroque Music Festi-val, Corrala de Comedias de Alcalá de Henares,Almagro International Classical Theatre Festival, Teatro Auditorio de San Lorenzode El Escorial, Jornadas de Teatro del Siglo de Oro de Almería, Morella Medievaland Renaissance Music Festival or Festival de Música Antiga dels Pirineus, amongothers. In 2011, he received a Special Mention of the Jury at the 1st InternationalChildren’s Theatre Contest of the 25th Almagro International Classical TheatreFestival, as a member of Compañía Claroscuro. Currently, he is a member of ÍLIBERensemble and Veterum Musicae, and he oten collaborates with groups such asGranada Baroque Orchestra or Ensemble La Danserye, among others.













Aníbal Soriano • plucked string instruments & recorder

Born in Sevilla, where he got his Bacherlordegree in Classical Guitar and Renaissance andBaroque Plucked String Instruments, he hasworked with groups such as Accademia del Pia-cere, Arte Factvm, La Ritirata, La Folía, Vanda-lia, ÍLIBER ensemble, Todos los Tonos y Ayres, Or-feón San Juan Bautista of Puerto Rico, MálagaSymphony Orchestra, Sevilla Baroque Orches-tra, Granada Baroque Orchestra, Málaga Baro-que Orchestra and Capilla Real de Madrid, among others.

He has performed concerts in the most important stages and specialised festi-vals in Spain. Internationally, he participated, among others, in the Festival Ibe-roamericano de las Artes de Puerto Rico and Utrecht Early Music Festival (TheNetherlands), and he has toured China, India, Argentina, Uruguay, Chile, and Bra-zil. Moreover, he has made recordings for TV, radio and cinema. He has been thePresident of the Sociedad de la Vihuela, el Laúd y la Guitarra, and he has direc-ted Aracena Early Music Festival for 11 years. Currently, he is the director of thegroup Marizápalos, Cristóbal de Morales Baroque Orchestra, and Diego de Veláz-quez Choir, as well as professor of Plucked String Instruments, Chamber Music,and Continuo at Sevilla Professional Conservatory of Music.











The Emperor’s HarpsichordLANDMARKS

♦ The only musical project devoted to the gure of the Spanish Jesuit Diego dePantoja (1571-1618), on the occasion of the 4th centenary of his death.

♦ In 2021, the 450th anniversary of his birth will be celebrated.

♦ A large part of the programme is made up of unpublished pieces, performed inbase on transcriptions of the original sources made speci cally for this projectby Rubén García Benito, Abigaíl R. Horro and Darío Tamayo.

♦ The sonatas of Teodorico Pedrini (1671-1746) have been transcribed based onthe only facsimile existing in Europe, made rom the only original preserved inthe National Library of Beĳing, and acquired by Todos los Tonos y Ayres with themediation of the Confucius Institute of Granada and the University of Peking.

♦ The program includes the first interpretation outside of China of the mongolcourt music Da he qu⼤合曲 and You zi yin游⼦吟.

♦ The repertoire includes works of great interest by little-known Spanish com-posers, such as Francisco Soto de Langa (1534-1619) or Ginés de Boluda (1545-1606).

♦ The project serves to commemorate the centenaries of four other importantcomposers, some of whose works are included:

• Joseph-Marie Amiot (1718-1793), III centenary of his birth, commemora-ted in 20

• Francisco Soto de Langa (1534-1619), 4th centenary of his death, comme-morated in 20

• Athanasius Kircher (1602-1680), 340th anniversary of his death comme-morated in 20

• Teodorico Pedrini (1671-1746), 350th anniversary of his birth, commemo-rated in 202⒈

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The Emperor’s HarpsichordPRESS

«. . . has created a show so fascinating thatafter this tour in China they have already comeup with proposals to carry out other functions»

Un jesuita en la corte china[Translated rom the original in Spanish]

El Correo, 7th june 2018Zigor Aldama

«The instruments mixed harmoniously and,in some pieces, the melody was accompanied

by an aria, which was combined with the sin-ging styles of traditional Chinese Kunqu Opera»

China, Spain celebrate an evening of an-cient court musicChina Daily, 11st june 2018Fang Aiqing

«A peculiarity of this program is thata good part of it, almost 90 percent,is unpublished music or has been pu-

blished but only in original editions ofthe time; there is no modern edition»

Grupos de música antigua reivindican alprimer español que accedió a la CiudadProhibida como catalizador de intercambioscon China[Translated rom the original in Spanish]

china.com, 31st may 2018Xinhua

«The two groups began a two-week tour ofChina on 29, 30 and 31 May -as part of the

2018 Meet in Beijing Arts Festival- and willcontinue in Shanghai on the 5th and 6th ofJune at the magnificent Daning Theatre»

Íliber Ensemble y Todos los Tonos y Ayres,en China[Translated rom the original in Spanish]

Melómano Digital, 18th may 2018

«Ancient Chinese and Western instruments co-me together to recreate an alchemy of soundsand voices . . . heard at the court of Chine-se emperors in the 17th and 18th centuries»

Unen música barroca occidental y china enhomenaje a Diego Pantoja en China[Translated rom the original in Spanish]

El Periódico, 6th june 2018EFE

19


https://www.todoslostonosyayres.com/en/el-clave-del-emperador-gira-china-2018-en-los-medios-chinos-y-espanoles

https://www.todoslostonosyayres.com/wp-content/uploads/Prensa/IC2018/Un-jesuita-en-la-corte-china-El-correo-2018-06-07-Zigor-Aldama.pdf

https://www.todoslostonosyayres.com/wp-content/uploads/Prensa/IC2018/news-chinadaily-00000-20180611-m-020-300.pdf

https://www.todoslostonosyayres.com/wp-content/uploads/Prensa/IC2018/news-chinadaily-00000-20180611-m-020-300.pdf

http://espanol.china.com/news/culture/480/20180531/1299955.html




https://www.melomanodigital.com/iliber-ensemble-y-todos-los-tonos-y-ayres-en-china

https://www.melomanodigital.com/iliber-ensemble-y-todos-los-tonos-y-ayres-en-china

https://www.elperiodico.com/es/ocio-y-cultura/20180606/unen-musica-barroca-occidental-y-china-en-homenaje-a-diego-pantoja-en-china-6860723

https://www.elperiodico.com/es/ocio-y-cultura/20180606/unen-musica-barroca-occidental-y-china-en-homenaje-a-diego-pantoja-en-china-6860723


«The concerts are part of the events organi-zed by the Instituto Cervantes on the occa-sion of the fourth centenary of the death of

Diego de Pantoja (1571-1618), the first greatdisseminator of Chinese culture in Europe.»

Unen música barroca occidental y china enhomenaje a Diego Pantoja en China[Translated rom the original in Spanish]

La Vanguardia, 6 june 2018EFE

«The audience was fascinated by therichness with which apparently incompa-

tible Western and Chinese instrumentscreated a marvelous web of details»

西洋“乐瞰”紫禁城The West sets its eyes on the music of theForbidden City[Translated rom the original in Chinese]

Morning Post 北京晨报, 5 june 2018Li Cheng 李澄

«Taking Pantoja’s travels as a thread,different musical genres come together torecreate the fascinating interaction bet-

ween China and the West at that time.»

追寻庞迪我的音乐遗产,两支西班牙乐团跨越中西Aer Diego de Pantoja’s legacy: two Spanishgroups set out to explore East-West dialogue[Translated rom the original in Chinese]

The Paper 澎湃, 6th june 2018Cheng Qianqian 程千千

«This is a very special concert, as it is held. . . in the Church Nuestra Señora de la Asun-

ción, where the font and the baptismal actsof the famous missionary from Valdemoro arepreserved. In this way, the concert will com-

plete the geographical tour that the project hascarried out throughout this year, since, af-

ter taking it to Beijing, . . . now arrives tothe city where Diego de Pantoja was born»

El clave del Emperador llega a Valdemoro[Translated rom the original in Spanish]

Melómano Digital, 6th november 2018

«The Emperor’s Harpsichord . . . is a uni-que proposal in the Spanish musicological pa-norama . . . Western and Chinese period ins-

truments will come together to reconstructthe lively musical life of the Chinese court ina tribute to the figure of Diego de Pantoja»

Música Antigua en la Corte ImperialChina[Translated rom the original in Spanish]

MusicaAntigua.com, 8th november 2018

The Emperor’s Harpsichord on the media20







https://www.lavanguardia.com/vida/20180606/444159681520/unen-musica-barroca-occidental-y-china-en-homenaje-a-diego-pantoja-en-china.html

https://www.lavanguardia.com/vida/20180606/444159681520/unen-musica-barroca-occidental-y-china-en-homenaje-a-diego-pantoja-en-china.html

https://www.todoslostonosyayres.com/wp-content/uploads/Prensa/IC2018/%E5%8C%97%E4%BA%AC%E6%99%A8_20180605B06.pdf



https://m.thepaper.cn/newsDetail_forward_2182143?from=singlemessage&isappinstalled=0




https://www.melomanodigital.com/el-clave-del-emperador-llega-a-valdemoro

http://www.musicaantigua.com/musica-antigua-en-la-corte-imperial-china/

http://www.musicaantigua.com/musica-antigua-en-la-corte-imperial-china/


Credits

♦ Idea and research: Rubén García Benito

♦ Musical direction: Darío Tamayo & Rubén García Benito

♦ Musical selection and transciption: Darío Tamayo, Abigail R. Horro &Rubén García Benito

Contact

Todos los Tonos y Ayres

m https://www.todoslostonosyayres.com

B tonos.ayres⒛gmail.comT 653371723 (Rubén)

ÍLIBER ensemble

m http://www.iliberensemble.com

B iliberensemble⒛gmail.comT 664366839 (Darío)

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