The Early Music Podcast

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

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

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

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

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

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

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 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

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

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

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

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

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

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

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

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

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

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

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

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

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