CAL PERFORMANCES PRESENTS PROGRAM

Tuesday, March 16, 2010, 8pm First Congregational Church Femina Nova

Hespèrion XXI Anonymous Al-Andalus (13th c.) Mowachah Billadi askara

Lux Feminæ, 900–1600: Beatritz de Día (ca. 1200) A chantar m’er de so q’ieu no voldria An Invocation of Feminity with Anonymous (Trecento mss.) Lamento di Tristano (instrumental) Seven Portraits of Woman in Ancient Hesperia

Montserrat Figueras voice, cithara Femina Amans Pierre Hamon ney, gaita, flutes Martin Codax (13th c.) Ondas do mar Dimitri Psonis oud, santur, morisca rebab, lira da gamba Bartolomé Cárceres (fl. mid-16th c.) Soleta só jo ací

Femina Mater PROGRAM Cárceres Soleta y Verge estich (villancico)

Anonymous (Castellón/Berber) Alba (instrumental) Amazigh lullaby Mma gar dada its

Femina Antiqua Femina Ludica

Anonymous (Sephardic) Hermoza muchachica (instrumental) Anonymous (15th c.) Sibil-la de Mallorca (Oracle) Responsory: Al jorn del judici Anonymous Sephardic (Sofia) La Guirnalda de Rosas: Una matica de ruda Un rei vendrà perpetual Ans que el Judici no serà Femina Gemens Del cel gran foc devallarà Llos puygs e.ls plans seran eguals Anonymous (Andalusia) Lamento (Saeta antigua) Los infants qui nats no seran Mare de Déu pregau per nos The activities of Hespèrion XXI are made possible with support from the Generalitat de Catalunya Departament de Cultura i Mitjans de Comunicació, the Instituto Nacional de las Marcabru (ca. 1100–ca. 1150) Planctus (instrumental) on Pax in nomini Domini Artes Escénias y de la Música of the Spanish Ministry of Culture, and the Institut Ramon Llull.

This performance is made possible, in part, by Patron Sponsors Charles and Helene Linker. Femina Mistica Cal Performances’ 2009–2010 season is sponsored by Wells Fargo. Codex de las Huelgas (13th c.) Flavit auster

Llibre Vermell de Montserrat (13th c.) Polorum Regina

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Lux Feminæ, 900–1600: An Invocation of Feminity with Seven Portraits of Woman in Ancient Hesperia

1. Femina Antiqua room filled with light. It was an explosion. It was we shall love one another as birds love cherries, bit- shining. The lighted lamp was drowned in dark- ing through to the very stone, and the landscape Let us imagine, amid the veils of darkness, a ray of ness. When you came. will throw open its windows to gaze in on us. light. In the still depths of silence, let us listen to the limpid sound of a voice. A portent, an oracle, an enigma borne on the air like a bird with a single 4. Femina Amans 7. Femina Gemens wing. It is saying that the world will come to an end: after the night, a black sun will rise. It is say- You feel your body like a mountain yielding stone In your cold, stone prison, the gathered darkness ing that everything will be plunged into the deep: to build houses. You feel the tenderness of a statue watches you. Joy has ebbed away from you, like a the sea will have no shores. It is saying that nothing held gently in the hands of an archaeologist. The sea whose waves fall short of the shore. Time past is will survive: the air will vainly search for lungs. It thrill of a field of sunflowers at dawn. The joy of a a fruit that can never return to the tree, a wine that is saying that death will come and we shall be as well filling with water. The rapture of fallow land knows it cannot return to the blithe roundness of helpless water before a thirsting mouth. Our life under the weight of the plough. The delight of pet- the grape. Time present is a source of pain, cruelly spans no more than the flight of an arrow, from als enfolding the soft, winged body of a bee. The teaching you, a ship, to forget the sea. Memories tense bow to wounded flesh. pleasure of a cloud that finally knows the nature of are hard, like stale bread. Memory is sometimes a the sky it is crossing. And you see the shore break bird that has flown the full expanse of the sky. And in waves upon the sea. When you love. every night you dream of the inquisitor: his finger 2. Femina Mistica points to a stake, wood demanding fire. The future cry lies dormant in the mouth. The flame relentlessly pursues its taper. And paths 5. Femina Mater await the footsteps that create them. Mysticism and Love seek ways toward union: when you are Within the silence throbs the seed. Like colors in Manuel Forcano a root, you desire earth. And tirelessly you make the darkness. Deep in the earth burns a fire with- your way through fathomless gorges and sheer out flames that warms the mineral womb. And in precipices, like a flower searching for colors to that warmth the seed sprouts roots like hands pris- inhabit. You sense the turbulent air-but not the ing open windows. It will grope its way until at last wings-of flight, and on the parched horizon of it finds the only way forward: the light. The shoot your desert you glimpse the taste of water. At long will grow strong and the stalk high, the grain will last, you reach the other side of all the bridges you swell, and when the time is ripe the ear of corn will have crossed. proudly shout: let me be bread. The wind moving in the wheat, a hand ruffling hair: tenderness.

3. Femina Nova 6. Femina Ludica Memories vanish, just as night turns into day. A white light melts them like a tear that bathes the Play is the smile on the face of time. It is the hap- eye without being shed. The life pulsing through piness where desire, sparked by laughter, flares them is brief as a tiny drop of ink poised on the tip like the flame that smouldered at the tip of a fire- of a reed. They last no longer than it takes to trace brand. It is then that we long to close the distance an arabesque on a sheet of paper, to cross the white between our lips and the kiss. And celebrate the desert of a page with the thirst for a few words. In light as if the stars also shone in the day. And sing the sanctuary of seclusion, memory branches into in praise of the love that is possible: the blossom verse and song, and we immerse ourselves in it to of the olive tree aches to be an olive between the bear more lightly the absence of those we love: the teeth. Enough of slaking our thirst with sea water:

12 CAL PERFORMANCES CAL PERFORMANCES 13 PROGRAM NOTES TEXTS AND TRANSLATIONS

O Lux Lux Feminæ

Sibil·la de Mallorca Mallorcan Sibyl u x f e m i n æ is an homage to the light of The manner of singing, therefore, also draws on Anònim (s. XV) Anonymous (15th c.) LWoman. Having sung of that light for so long that intimacy, while also incorporating strength, through music and poetry, I naturally became rhythm, dance and the dramatic power of words. Al jorn del judici On judgment day aware that it has not always been free to shine. Lux The different traditions of Christianity, Judaism parrà qui haurà fayt servici. who served shall be repaid. Feminæ is also a story with music about women and Islam have all felt the need to express that inti- and an invocation to femininity, as the key to macy through the same symbolism: the inner gar- Un rei vendrà perpetual An eternal king will come the spiritual world. Lux Feminæ focuses on seven den, the cloister, the castle of interior mansions as vestit de nostra carn mortal; Dressed in our mortal flesh: aspects of woman in ancient Hesperia, from the spaces of quietude, knowledge and meditation. del cel vindrà tot certament He will come from heaven certainly Middle Ages to the Renaissance. Seven is a sa- Lux Feminæ is celebratory because the best ap- per fer del segle jutjament. To pass judgment on the century. cred number that has been revered by sages and proach to life is to celebrate everything and take Ans que el Judici no serà Before judgment is passed mystics through the ages: it is the union of 4 (the time to celebrate. It is a hymn to the place of un gran senyal se mostrarà: A great sign will show itself: four elements, the four colors from which all the woman through history, focusing on her aspects of lo sol perdrà lo resplendor, The sun will lose its shine colors in the artist’s palette are made…) and 3 (the light: mysticism, sensuality, motherhood, love, la- la terra tremirà de por. The earth will tremble with fear. Trinity, the Pyramid…), symbolizing the union of ment, rejoicing and wisdom. Women sing the story all things both spiritual and earthly, a union which of humanity, celebrating the beauty and possibil- Del cel gran foc devallarà From heaven a great fire shall descend is also embodied in the figure of woman. Seven is ity of being sweet as honeycomb on the tongue; com a sofre molt podirà with a sulphurous stench, the number of the climes, the seas, the heavens and celebrating mystical love, the fruitful womb and la terra cremarà del furor, the earth shall burn with fury la gent haurà molt gran terror and the people with terror blench. the days of Creation; this sacred dimension is also the tender breast that nurtures God; celebrating found in music and poetry and, indeed, in our- the experience of giving birth, of motherhood and Llos puygs e.ls plans seran eguals, Peaks and plains shall be as one, selves, since we have the capacity to make sacred nursing a child; the gift and duty of transmitting aquí ceran los bons e.ls mals: in a place where good and bad; or profound everything that we experience and do. life, teaching and being teachers of life; celebrat- los reys, e.ls comptes e.ls barons where kings and counts and barons Over and above sacred music, there is a sacred way ing the experience of joy, even in the midst of grief qui de lurs fayts retran raysons. of their deeds shall give account. of making music. and loss. All the protagonists of the poems and Lux Feminæ represents an interval of inti- songs in Lux Feminæ embody and bear witness to Los infants qui nats no seran Children not yet born macy, the description of a delicate, secluded space that light. dintre ses mares cridaran Will cry from their mother’s wombs, i diran tots plorosament: And with the crying say: which must be protected, an inner garden at the “Ajuda’ns, Déu omnipotent.” “Help us, God, omnipotent.” center of which we find the anima, light, Beauty. Montserrat Figueras Mare de Déu pregau per nós, Mother of God, pray of us, puix sóu mare de pecadors, You, the Mother of sinners, que bona sentència hajam May the sentence be merciful, i paradís possejam. May Paradise be open to us.

Flavit Auster Codex de Las Huelgas (s. XIII) Codex de Las Huelgas (13th c.)

Ia Ia Flavit Auster flatu levi From heaven Auster ventris aulam Deo pleni breathed his gentle breeze tuam, virgo, celitus, and made thy womb the holy place of God.

Ib Ib Quo mundata culpas mundas, By whom, thus purified, quo fecunda [nos fecundas] thou purifiest sin and, by Him made fruitful, donis Sancti Spiritus. bringest forth in us the fruits of the Holy Spirit.

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IIa IIa Cobles Felix alvus, felix pectus O happy womb, oh happy breast, Ante partum virgo Deo gravida. Before birth, Virgin, pregnant by God, cuius Deus carne tectus that cradled God Semper permansisti inviolata. you remained always inviolate. lac suscepit uberum. and gave Him suck. Et in partu virgo Deo fecunda. And in labour, Virgin, fertile by God, IIb IIb Semper permansisti inviolata. you remained always inviolate. Ave, claustrum trinitatis, Hail, cloister of the Trinity, ave, mater pietatis, Hail, mother of all piety, Et post partum virgo mater enixa. And after birth, Virgin, Mother, medicina vulnerum. who to our wounds art balm. Semper permanisti inviolata. you remained always inviolate.

IIIa IIIa Te amanti nichil durun, Those who love thee know no hardship, A Chantar M’er de So Q’ieu No Volria I Must Sing of What I Would Not Speak te sequenti nil oscurum, no darkness those who follow thee, Comtessa (Beatritz) de Día, sègle XII Countess (Beatritz) of Día, 12th c. [nullum] iter devium. nor any devious path. A chantar m-er de so q’ieu no volria, I must sing of what I would not speak, IIIb IIIb tant me rancur de lui cui sui amia so bitterly I complain of him who calls me friend, Deformatum reddis forme, The twisted body thou settest straight, car eu l’am mais que nuilla ren que sia ; for I love him more than all else in the world; quod declinat sue norme and those who from His precepts stray vas lui no-m val merces ni cortesia, to him my grace and manners me scarce commend, trais rect[r]iclinium. thou gatherest in thy hall. ni ma beltatz, ni mos pretz, ni mos sens, nor yet my beauty, virtue and my good sense, c’atressi-m sui enganad’e trahia for now I stand deceived and betrayed IVa IVa cum degr’esser, s’ieu fos desavinens. as by rights I should if I had been unkind. Tibi sapit cui tu sapis, Thou knowest him who knoweth thee, qui te capit illum capis thou choosest him that chooseth thee, D’aisso-m conort car anc non fi faillensa, I console myself that I have never failed, dum te fide concipit. if only in thee he place his trust. amics, vas vos per nuilla captenenssa, my friend, on any occasion, in your sight; anz vos am mais non fetz Seguis Valenssa, more than Seguin loved Valensa do I love you, IVb IVb e platz mi mout quez eu d’amar vos venssa, and I revel in trumping you at love, Spes es grata tibi grato, Dear hope to him who holds thee dear, lo mieus amics, car etz lo plus valens ; for in this, my friend, you are all others above; favus mellis es palato and sweet as honeycomb thou art mi faitz orguoill en digz et en parvensa, with me you are haughty in the way you speak and act, quod te sane recipit, to those who truly welcome thee. e si etz francs vas totas autras gens. despite your openness with everyone you meet.

Va Va Meravilh cum vostre cors s’orguoilla, I marvel at the harshness of your heart Ergo salus miserorum To sinners thou offerest salvation, amics, vas me, per q’ai razon qe-m duoilla ; with me, my friend, and I have reason to be hurt: portus vite naufragorum. to the shipwrecked a harbor of life, non es ges dreitz c’autr’amors vos mi tuoilla it is unjust that another love should steal you from me, Tuis opem percibus and through thy supplications, per nuilla ren qu-us diga ni-us acuoilla; no matter what she tells you and the favors she bestows; e membre vos cals fo-l comensamens think back to the early days Vb Vb de nostr’amor. Ja Dompnidieus non vuoilla when first we loved! May God forbid Patris tui Filiique Favor with the Father and the Son q’en ma colpa sia-l departimens! that by my fault we should ever part! nobis semper et ubique procurest for us who, suppliant, para suplicantibus. at all times and everywhere, do call on thee. Valer mi deu mos pretz e mos paratges My merit and nobility should stand me in good stead, e ma beutatz e plus mos fis coratges, together with my beauty and my sterling heart: Amen. Amen. per q’ieu vos mand lai on es vostr’estatges and so I send to you at your estate esta chansson que me sia messatges; this song as my own delegate; e volh saber, lo mieus bels amics gens, for I would know, my gentle, noble friend, Polorum Regina Our Sovereign of All Heaven per que vos m’etz tant fers ni tant salvatges, why you are so abrupt and harsh with me, Llibre Vermell de Montserrat Llibre Vermell de Montserrat non sai si s’es orguolhs o mals talens. I cannot tell whether it is pride or cruelty.

“A ball redon” “As a round dance” Mas aitan plus vuolh li digas, messatges, Above all else, my messenger, tell him this: qu’en trop d’orguolh ant gran dan maintas gens. that many through arrant pride have come to grief. Tornada Polorum regina ominum nostra. Our sovereign of all heaven, Stella matutina, dele scelera. morning star, take away our sins. Et respondetur et iteritur in qualibet cupla

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Ondas do Mar Waves of the Sea Ara que n’és hora Now at last the time has come, Cantiga d’Amigo I sivoleu venir. come witness if you will. Martin Codax (s. XII) Martin Codax (13th c.) O, com se alegraven Oh, how they did celebrate Ondas do mar de Vigo, O flowing waves of Vigo’s bay, de tal nova oyr such news as this to hear, se vistes meu amigo? Have you seen my love who is gone away? los pares que esperaven the elders who had waited E ai Deus! Se verrá cedo? Ah God, will he soon come to me? de les tenebres exir! so long to leave their gloom! La missa volen dir A mass they then began to sing, Ondas do mar levado, O waves, fair waves of the swelling sea, do la, sol fa, re mi. doh lah, soh fah, ray me. se vistes meu amado? Have you seen my lover, woe is me? Ara que n’és hora Now at last the time has come, E ai Deus! Se verrá cedo? Ah God, will he soon come to me? si voleu venir. come witness if you will.

Se vistes meu amigo, Have you seen my love for whom I sigh, Cantem tots en est dia Let us sing upon this day o por que eu sospiro? And sorrowing weep incessantly? molt devotament, devoutly of one accord, E ai Deus! Se verrá cedo? Ah God, will he soon come to me? lloant la verge Maria praising the Virgin Mary y son fill omnipotent, and her son, who is Lord of all, Se vistes meu amado, Have you seen my lover for whom away, que’ns dó tal sentiment that he may give us steadfast hearts o por que ei gran coidado? I sorrowing grieve by night and day? que’ns porte a bona fi. to follow his good path. E ai Deus! Se verrá cedo? Ah God, will he soon come to me? Ara que n’és hora Now at last the time has come, si voleu venir. come witness if you will.

Soleta só jo ací Here I Am, and All Alone Villancico: Bartomeu Cárceres Amazigh Lullaby Morocco Soleta só jo ací, Here I am, and all alone, si voleu que us vaja obrir if you want, I’ll let you in, I met my big brother, ara que n’es hora, for now is our chance, Sleep si voleu venir. if you want to come in. and he asked me: What are carrying on your back? Mon marit és de fora. My husband’s away. I answered: the moon. On?: a Montalvá, Where? In Montalban. demà bé serà migjorn He’ll return tomorrow, The moon is very sad. abans que no tornarà. but not before noon. I asked her: Where is happiness? E jo que ho sabia pla, I knew it full well, and she answered: que tostemps ho fa així, for he’s set in his ways. Happiness is with others. ara que n’es hora, So now is our chance, si voleu venir. if you want to come in. I carried the moon on my back, and I walked and I wept. Moon, you are hungry, Soleta y Verge Estich All Alone and a Virgin Am I you are sleepy, Villancet: Bartomeu Cárceres all of nature shivers with cold.

Soleta y verge estich All alone and a virgin am I I met Sleep, si’m voleu veure parir. to see me delivered of a child. and he asked me Ara que n’és hora, Now at last the time has come, what I carried on my back. si voleu venir. come witness if you will. I answered that I carried nothing but the moon, Soleta en esta nit, All alone upon this night, and he said: só verge y mare a virgin-mother am I, Rock her to sleep, rock her to sleep. parint Déu infinit. delivered of God infinite, y sent ell lo meu pare, who is my father divine, també vostre, e yo mare as also yours, and I your mother, que glória us dó sense fi. may He give you glory eternal. (Please turn the page quietly.)

18 CAL PERFORMANCES CAL PERFORMANCES 19 TEXTS AND TRANSLATIONS ABOUT THE ARTISTS

La Guirnalda de Rosas una Matica de Ruda A Garland of Roses, a Sprig of Rue n a n t i q u i t y , Hesperia was the name given to include Cansós de Trobairitz, El Llibre Vermell de Anónimo sefardí (Sofia) Anonymous Sephardic (Rhodes) Ithe two most westerly peninsulas in Europe: the Montserrat, Diáspora Sefardí, Música napolitana, Italian and the Iberian peninsulas. In Classical Música en el tiempo de Cervantes, El Barroco Español Una matica de ruda, A sprig of flowers Greek, Hesperio was used to refer to a person orig- and Ostinato, their monographic albums devoted to una matica de flor, A sprig of rue, hija mia mi querida Oh daughter dearest, inating from either of the two peninsulas, and it Gabrieli, Frescobaldi, Scheidt, Lawes, Cabanilles, dime a mí quén te la dio. Who gave them to you? was also the name given to the planet Venus when François Couperin and J. S. Bach, as well as its Me la dio un mancevico From a young man I had them it appeared in the western sky at night. recent recordings of the music of Ferrabosco and que de mí se namoró. Who loves me true. United by a common goal—the study and music in the age of Queen Isabella I of Castile, of- interpretation of ancient music according to fer the most eloquent testimony to the wealth of Hija mia mi querida, Oh daughter dearest, new, modern criteria—and fascinated by the im- possibilities offered by Hespèrion XXI. no te echés a la perdicion. Let this not ruin you. mense richness of the Hispanic and European Hespèrion XXI is represented in North Más vale un mal marido Better a wretched husband musical repertoire before 1800, in 1974 Jordi America by Aaron Concert Artists, Inc., 331 West que un mancebo de amor Than a young lover true. mancebo de amor, la mi madre A young lover, mother, Savall, Montserrat Figueras, Lorenzo Alpert and 57th Street, New York, New York 10019. la mançana y el buen limon. Is apples and fresh lemon. founded the ensemble Hespèrion XX. In its 36 years of existence, the group has, in Montserrat Figueras (voice, cithara) is an out- collaboration with other outstanding performers, standing performer in a vast vocal repertoire which Saeta Antigua rescued numerous works from oblivion, thus con- spans the Medieval, Renaissance and Baroque Anónimo (Andalucía) Anonymous (Andalusia) tributing to a major reappraisal of the fundamental periods. She was born in to a family of aspects of the Medieval, Renaissance and Baroque music lovers. From a very early age, she worked ¡Ay! No hay precedente Alas! For such a sight as this repertoires. From its inception, Hespèrion XX has with Enric Gispert and Ars Musicæ, studied sing- No hay precedente de lo que veis. no eyes did ever see. carried out an intense schedule of concert perfor- ing with Jordi Albareda, and took theater cours- ¡Ay! Hacia el calvario Alas! He goes to Calvary, mances and appears regularly at important inter- es. In 1966, she began her study of early singing camina con el rostro demacrado. his face all sunken in. national music festivals. techniques, from the troubadours to the Baroque, At the beginning of the new millennium, developing a highly individual approach which Una cruz de penitencia sobre sus hombros. A cross of penance weighing on his back. Hespèrion XX continued to be a frontline tool for draws directly on original sources, both historical musical research. In 2000, reflecting the advent of and traditional, and is unfettered by the influences the new century, the group changed its name to of the post-Romantic school. In 1967, she joined Hespèrion XXI. The ensemble has been character- Jordi Savall as an artistic and life partner in a rela- ized by its eclectic approach to the process of artis- tionship that has proved particularly fruitful in a tic decision-making: as 21st-century musicians, its range of teaching, research and creative activities. members’ objectives are grounded in the search for Working together has enabled them to revive early a dynamic synthesis of musical expression, stylistic performing styles, featuring both great fidelity to and historical research and creative imagination. historical sources and a remarkable creative and ex- The fascinating task of reconstructing the rich exu- pressive potential that has influenced the develop- berance of music from other ages, specifically mu- ment of the entire early-music movement. sic composed from the 10th to the 18th centuries, In 1968, Ms. Figueras pursued her musi- has breathed new life into current musical think- cal training in Basel, Switzerland, under Kurt ing. Thanks to the energy and passionate vocation Widmer, Andrea von Rahm and Thomas Binkley of its members, Hespèrion XXI has conquered the at the Schola Cantorum Basiliensis and the new Europe of nations and extracted the precious Musikakademie. In the 1970s, Ms. Figueras rose ore of its musical traditions. It has toured and har- to eminence as one of a generation of musicians vested the music of Europe, the Middle and Far who realised that vocal music before 1800 required East, and the New World. The group’s recordings a new technical and stylistic approach capable of and live performances have enabled audiences to restoring to the beauty and emotion of the voice, rediscover Sepharad through its interpretation of that most human of all forms of expression, the Judeo-Christian songs, Golden Age , the necessary balance between singing and declama- madrigals of Monteverdi and the Creole villancicos tion, with an emphasis on the poetic and spiritual of Latin America. All of the group’s CDs, which dimension of the text.

20 CAL PERFORMANCES CAL PERFORMANCES 21 ABOUT THE ARTISTS ABOUT THE ARTISTS

Montserrat Figueras performs regularly at the the ensembles Hespèrion XXI, La Capella Reial de Voci and Ensamble Fitzwilliam. He has often been important festivals of Europe, America and the Far Catalunya and . He be- invited by Jordi Savall to perform with Hespèrion East. The more than 70 CDs she has made have gan his music studies as a singer in the children’s XXI and Les Concert des Nations. received many awards, such as the Grand Prix de choir in Igualada (Catalonia), his hometown, and In 1989, together with Brigitte Lesne and l’Académie du Disque Français, Edison Klasik, went on to learn the cello. He then started teach- Emmanuel Bonnardot, he founded the ensemble Grand Prix de la Nouvelle Académie du Disque ing himself the viola da gamba and early music, Alla Francesca, with which he made recordings and Grand Prix de l’Académie Charles Cros, and and moved on to advanced studies at the Schola and performed all around the world. Because of his nominations in 2001 and 2002 for a Grammy Cantorum Basilensis in Switzerland. interest in all types of music, Mr. Hamon experi- Award. In 2003, the French government conferred He has recorded more than 170 CDs and has ments with traditional sounds and extra-European on Ms. Figueras the honorary title of Officier de received many awards, such as Officier de l’Ordre instruments, broadening his musical range with l’Ordre des Arts et des Lettres. Her latest record, des Arts et Lettres (1988), Honorary Member of the double flutes of Rajasthan, the association be- Lux Feminæ (Alia Vox, 2006), devoted to the musi- the Konzerthaus in Vienna (1999), Doctor Honoris tween flute and drum, and different kinds of bag- cal universe of Hispanic women during the Middle Causa at the Université Catholique de Louvain pipes. These experiences are the result of mean the Ages and the Renaissance, has met with unquali- (2000) and the Universitat de Barcelona (2006), collaborations with musicians from such nations fied praise from critics at home and abroad. Victoire de la Musique for his professional career as Pakistan, Brazil and China. His instrumental In 2008, Montserrat Figueras was appointed (2002), and the Honorary Prize of the Deustchen arsenal is wide and diverse, comprising Medieval, an Artist for Peace in the Goodwill Ambassador’s Schallplattenkritik (2003), among others, and has Renaissance and Baroque flutes, as well as other tra- program of UNESCO. also won various Midem Classical Awards (1999, ditional instruments. He is teacher of flûte à bec at 2000, 2003, 2004, 2005, 2006 and 2008). His the Conservatoire National Supérieur de Musique double CD, Don Quijote de la Mancha, Romances et de Danse in Lyon, and is often invited to teach y Músicas (Alia Vox), was among the five nominees flûte à bec at the Schola Cantorum Basiliensis. for the 2006 Grammy Awards in the early music category. One of his latest records, the book/CD Dimitri Psonis (oud, santur, morisca) began his Jérusalem, La Ville des deux Paix: La Paix céleste musical studies in Athens. He specialized in mu- et la Paix terrestre, has been awarded the 2009 sical analysis, harmony, counterpoint, Byzantine Orhphée d’Or de l’Académie du Disque Lyrique music and such traditional Greek instruments as 2008 and the Caecilia 2008 “best CD of the year,” santur, oud, tzurás and tambura. He later moved as chosen by the press. This book/CD’s most recent to Madrid, where he obtained the highest de- prize is the 2010 Midem Classical Award. In 2009, gree of percussion and musical pedagogy in the Mr. Savall was awarded with the Händelpreis der High Conservatoire there. He also studied in the Stadt Halle (Germany) and received the National Conservatoire of Amsterdam, and has collaborated Prize of Music, given by the National Council of with many different ensembles. Culture and Arts from the Catalan government. He founded the groups Krusta, Acroma and In 2008, he was appointed an Artist for the P’An-Ku, and he has accompanied numerous Peace in the Goodwill Ambassador’s program of singers and instrumentalists, including Elefthería UNESCO. In 2009, he was appointed once again Arvanitaki, Maria del Mar Bonet, Eliseo Parra and Ambassador of the European Year of Creativity Javier Paxariño. In recent years, Mr. Psonis has and Innovation by the European Union. devoted himself to the study and the interpreta- tion of classic Ottoman music and to the popular

Vico Chamalas Pierre Hamon (ney, gaita, flutes) is not only rec- music of Greece and Turkey. He has made nu- One of the most multifariously gifted musicians of ognized as an eminent flute player, but also as a merous CD recordings and collaborated on sev- his generation, Jordi Savall (rebab, lira da gamba) Medieval music specialist. He attended classes eral soundtrack films and theater works. In 1997, has had a career as a concert performer, teacher, re- with Walter Van Hauw in Amsterdam, beginning founded the ensemble Metamorphosis, which has searcher and creator of new projects, both musical his professional career with Guillaume de Machaut performed at the most important Spanish festivals. and cultural, making him one of the principal ar- and the Ensemble Gilles Binchois. He has also He currently collaborates in early music with the chitects of the current revaluation of historical mu- played with such renowned international groups as Limoges Baroque Orchestra, Speculum, Mudejar sic. Together with Montserrat Figueras, he founded Les Arts Florissants, Il Seminario Musicale, A Sei and Hespèrion XXI.

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