MUSICAL BELONGINGS II
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| 16 € / reduced 8 € |
| 18.00 Introduction |
| Duration: 90 min |
| No language skills required |
| Ground Floor, Hall 2 |
| Part of: Musical Belongings |
The wealth of the European Baroque is inconceivable without the colonisation of South America. 500 years later, contemporary indigenous music, Quechua rap, electroacoustic music and early music of European tradition meet in the partially reconstructed baroque palace. The second concert project in the MUSICAL BELONGINGS series invites musicians from the Andean regions of Peru and Colombia to an extraordinary musical encounter with the lautten compagney BERLIN, the renowned chamber orchestra for early music and beyond.
The guests are rap singer Renata Flores from Peru with two musicians from the Quechua tradition: Anthony Córdova und Pedro Alca with flutes of the Andes (Quena, Sampoña und Quenachos). The composer Ana María Romano G. (Colombia) is developing a new composition especially for the project.
Trailer Musical Belongings I
The starting point for the lautten compagney BERLIN’s joint research with the South American musicians is the hymn “Hanacpachap cussicuinin”, printed in 1631, which ends with the call “Huaciascaita!” – “heavens, listen to us!” This is the oldest record of a printed piece of music in Quechua. According to tradition, the piece was written by an indigenous student of the Franciscan friar Juan Pérez Bocanegra. As a hybrid, the piece can be interpreted in many ways. It testifies to Christian missionary zeal and the import of Spanish vocal polyphony to Peru, but at the same time the indigenous ritual and musical culture of the Quechua appropriates the European tradition and reinterprets the Catholic cult of the Virgin Mary into the Quechua’s vision of the cosmos.
At 6 p. m. there will be a musical introduction in the main foyer and afterwards the musicians from Colombia and Peru and the lautten compagney will be available for questions.
Renata Flores’ raps provide a contemporary response to the historical documents of the so-called “Jesuit Baroque”. In her electroacoustic commissioned composition, Ana María Romano G. will deal with the Humboldt Forum’s phonogram archive and interrogate the functions of a colonially motivated sound capturing of the world.
Programme
Hanaq pachap cussicuinin – Spritual Hymn in Quechua (Lima, Peru, 1631)
Carnaval de Tambobamba – Quechua song for the rainy season (Tambobama, Peru, ca 1850, exact date unknown)
Ave Maria for double choir– Tomás Luis de Victoria (Rome/Madrid, 1572)
Tijeras – Quechua Rap / Renata Flores feat. lautten compagney (Ayacucho, 2018)*
Music from the Codex Martínez Compañón I (Trujillo, Peru, 1782-1785)
– El Tuppamaro de Caxamarca, Tonadas sobre la muerte del Inca Atahualpa
– Cachua la Despedida de Guamachuco
– Tonada: El Diamante, de Chachapoias
San Sabeya Gugurumbe – Mateo Flecha el Viejo (Madrid, 1581)
María Parado de Bellido – Quechua Rap / Renata Flores feat. lautten compagney (Ayacucho, 2021)*
Aqui no hay nada que entender / There’s nothing here to understand – for electro acoustics, hiphop, live instruments / Ana María Romano G. (Bogota, 2012, new version 2023)*
Cumbees – Santiago de Murcia (Madrid, ca 1700, passed down in the Codex Saldívar)
Desvelado Dueño mio – Tomás de Torrejón y Velasco (Lima, Peru, ca 1700)
Music from the Codex Martínez Compañón II (Trujillo, Peru, 1782-1785)
– Tonada del Chimo – Anónimo (Trujillo, Peru, ca 1700)
– Lanchas para baylar – Anónimo (Trujillo, Peru, ca 1700)
*Arrangements: Bo Wiget
Vaya de Xacara Nueva – José de San Juan (Madrid, ca 1730)
arrumacos entre una hoja y una nube, recuerdos de una piedra / Nuzzles Between a Leaf and a Cloud, Memories of a Stone – Ana María Romano G. feat. lautten compagney (Bogotá/Berlin, 2023, premiere)
Francisca Pizzaro – Quechua Rap / Renata Flores feat. lautten compagney (Ayacucho, 2021)*
Juntos Sonamos Mejor – Quechua Rap / Renata Flores feat. lautten compagney (Ayacucho, 2022)*
Ay Andar, Andar – Juan de Araujo (Lima, Peru, ca 1680)
Rita Puma Justo – Quechua Rap / Renata Flores feat. lautten compagney (Ayacucho, 2021)*
*Arrangements: Bo Wiget
Renata Flores is considered the Quechua Rap Queen from Peru. She originates from a musical family, studied Quechua and is now one of the country‘s best-known voices as a political and musical ambassador for indigenous communities.
Ana María Romano G.works with electroacoustic music, live instruments and field recordings. As a researcher, she has done a lot of work with Jacqueline Nova, the great pioneer of Latin American music, who collaborated with indigenous women musicians as early as the 1970s in her composition “Creación de la tierra”.
He studied at the Escuela Nacional del Folklore José María Arguedas from 2012 and graduated in 2017 as a professional quena player and music educator. He is proficient in various musical instruments, including the sampona and the different keys of the quena (Andean flute). He performs in different groups and festivals.
The lautten compagney BERLIN under the direction of Wolfgang Katschner is one of the most renowned early music orchestras. In the 39 years since its founding in 1984, it has delighted music lovers all over the world. In autumn 2019, it was awarded the OPUS Klassik as Ensemble of the Year. It sets unique musical accents with concerts, opera performances and crossover projects. The ensemble is one of the few independent producers of music theatre projects in Germany. For its unusual and innovative programmes, it is appreciated by audiences as well as national and international critics. In addition to its performances in Berlin, the lautten compagney tours Germany, Europe and the world with about 100 concerts a year. The last major non-European tours took them to ten cities in China in 2019 and to Bogotá in Colombia in autumn 2021. The lautten compagney recently performed the acclaimed premiere of Monteverdi’s “L’Orfeo” at the Semperoper in Dresden, the first guest ensemble to do so in the opera house’s recent history.
The lautten compagney cultivates musical traditions as an important part of its programme spectrum with great repertoire works. Wolfgang Katschner and his ensemble are not only curious about music, but also about new ways of presenting it in concert. The lautten compagney has found its own individual platform for experimentation with the :lounge format, among others. Here it demonstrates that early music and contemporary music can indeed be combined. In the :lounge, live sampling and sounds enrich the timbres of the baroque instruments and offer space for surprising improvisations. When old works are inspired by new ideas in this way, musical boundaries disappear.
A lutenist by training, Wolfgang Katschner founded the lautten compagney BERLIN together with Hans-Werner Apel in 1984, the centrepiece of his multifaceted work as a musician, organiser and researcher in the sound worlds of “early music”.
On CDs, Wolfgang Katschner and his ensemble present themselves as border crossers; alongside world premiere recordings of operas such as “Didone abbandonata” are unusual combinations of composers: Philipp Glass and Tarquinio Merula (“Timeless”), Heinrich Schütz and Friedrich Hollaender (“War & Peace”) and Heinrich Ignaz Franz Biber and Astor Piazzolla (“Misterio”). Each of these programmes stands for the conviction that “early” music is just as modern as music written later and, once one steps out of one’s self-imposed isolation as a musician of “early” music, can be combined with modern repertoire in an extremely profitable way for musicians and audiences alike.
For some years now, Wolfgang Katschner has also been successfully appearing as a guest conductor at German opera houses. In 2012-2016 he was musical director of the Winter in Schwetzingen; after guest appearances in Bonn (Handel’s “Rinaldo” and “Giulio Cesare”) and Oldenburg (Hasse’s “Siroe”), he was responsible for several opera productions at the Nuremberg State Theatre: “Il ritorno d’Ulisse in patria”, “Serse”, “La Calisto” and “Bajazet”. Most recently, Katschner conducted Monteverdi’s “L’Orfeo” at the Semperoper Dresden.
Wolfgang Katschner is also increasingly involved in the training of young artists. He was a guest professor at the Hanns Eisler Academy of Music in Berlin, at the Sing-Fest in Hong Kong, artist in residence at BarockVokal in Mainz and worked with singers at the Franz Liszt Academy of Music in Weimar in 2018 and 2019.
Contributors
Renata Flores – Quechua Rap
Anthony Córdova – Quena, Sampoña, Quenachos, Charango
Pedro Alca – Quena, Sampoña, Quenachos
Ana María Romano G. – Composition, Sound installation
June Telletxea – Soprano
Amélie Saadia – Mezzo soprano
Amin Kachabia – Tenor
Elías Arranz – Baritone
Wolfgang Katschner – Musical director
Christian Filips – Music dramaturge
lautten compagney BERLIN
Andreas Pfaff, Javier Aguilar Bruno — Violin
Martin Bolterauer — Zink
Martin Ripper — Recorder
Ulrike Paetz — Viola
Bo Wiget — Violoncello
Annette Rheinfurth — Contrabass
Till Krause — Trombone
Wolfgang Katschner, Hans-Werner Apel, Thor-Harald Johnsen — Lute
Daniel Trumbull — Harpsichord
Peter Bauer, Lucas Rauch — Percussion