05. April 2010

Klangraum Krems Minoritenkirche

Lux Feminae Hesperion XXI

Hesperion XXI: Jordi Savall (direction, fidel, lirone, rebab); Montserrat Figueras (voice, guitar); Begona Olavide (voice, Baroque dulcimer); Pierre Hamon (lute), Dimitri Psonis (percussion, santour, oud)

“And on the seventh day God finished his work which he had made ... And God blessed the seventh day and sanctified it ...” (Genesis 2). “Seven are the weathers, the seas, the skies and the days of creation, and this holiness can also be found in music and literature”, says Catalan singer Montserrat Figueras and sings of the seven perspectives of the women of old Hisperia, the Western lands illuminated by the evening star: songs of mystique, sensuality, motherhood, love, mourning, celebration, and wisdom. In “Lux Feminae” the voices of Figueras and Begoña Olavide as well as Jordi Savall’s and the ensemble Herspèrion XXI’s instrumental accompaniment brighten the female spirituality and mental world as it has been passed on in the occidental music from the Middle Ages to the Renaissance.

“Femina Antiqua”: In the tradition of the Sibyl song—the archaic singing of the divining priest of the ancient world that lived on in the Christian tradition—the apocalyptic prophecies are being carried into a cosmos pulsating in great intervals by the melodics and harmonics of music. “Femina Mistica”: A silent prayer in the convent Santa María la Real de la Huelgas, this singing echoes as a Marian ode into our times, telling of utmost femininity. “Femina Nova”: The singing of the newly awakened women’s self-confidence of the 12th century, expressed through the poetry and songs of the trobairitz, the female troubadours. “Femina Amans”: Songs of love in a time in Andalusia when Christian, Muslim and Jewish cultures were peacefully living side by side; songs about the woman as a mystery of protection, beauty and sensuality. “Femina Mater”: A cradle song for the most sung-about woman, Mary, Mother of God, and Sophia, the wise one, sung in the melody of “Soleta I verge estich” from the 16th century. “Femina Ludica”: Medieval, secular dance songs, popular tunes that tell of the dark beauty of the woman in the Song of Songs as well as of the bright wonder of the rose without thorns. “Femina Gemens”: The Saeta, originally a medieval elegy, lives on as a Christian Easter song expressing Mary’s sorrows at the cross. Imago Dei fades away in the dark spheres of mourning the loss of beloved ones and in the memory of light that lets nothing fall into oblivion.

ALBA (instr.) / Anónimo (Castellón / Bereber)

FLAVIT AUSTER / Codex de la Huegas (s XIII)
POLORUM REGINA / Llibre Vermell de Montserrat (s XIII)

AN´PNIMO / Al-Andalus (s XIII)
YUL-YUL  / Al-Shûshtari de Guadíx
A CHANTAR M'ER DE SO Q'IEU NO VOLDRIA / La Comtessa de Dia (ca. 1200

LAMENTO DE TRISTANO (instr.) / Anónimo (Trecento)

ONDAS DO MAR / Martin Codax (s XIII)
SOLETA SO JO ACI / Bartomeu Cárceres

SOLETA I VERGE ESTIC / Bartomeu Cárceres
MMA GAR / Berceuse Amazig

LA REINA XERIFA MORA (instr.) / Anónimo (Sefardí)

YO ME SOY LA MORENICA / Anónimo (Villancico)

HERMOZA MUCHACHICA (instr.) / Anónimo Sefardi


SAETA ANTIGUA / Anónimo (Andalous)

With kind support of

Freunde der KM.jpg

© Phillipe Roca

© Phillipe Roca