In what is set to be a career-defining opportunity for Graindelavoix, Glossa’s Antwerp-based ensemble, along with its director Björn Schmelzer, is joining forces with choreographer Anne Teresa de Keersmaeker and her company Rosas for a new music and dance production Cesena which will have its world première performance at this year’s Festival d’Avignon in France. On July 16 the medieval Cour d’honneur of the Palais des Papes – the meeting point of the Old and New Papal Palaces – will provide the setting at the time of 4.30am for an interpretation in sound and movement of the rhythmically and harmonically complex 14th century musical repertory known as the Ars subtilior (strongly associated with the Papal Court in Avignon). [read more...]

For the ensemble Graindelavoix’s fifth recording for Glossa, Cecus, Björn Schmelzer has gathered together musicians from Spain, Estonia, the UK, France and Belgium to complete a triptych of recordings presenting an alternative view of performance practice from across a century of Franco-Flemish polyphony. After Joye and La Magdalene, Cecus focuses on music by Alexander Agricola and his contemporaries and concerns itself with music associated with blind players (notably two fiddlers from Bruges) and memory and commemoration (laments on the deaths of Agricola and Johannes Ockeghem) coming from the chapel of Philippe le Beau and Juana of Castile. [read more...]

Con el que es sólo su tercer trabajo discográfico, Björn Schmelzer y Graindelavoix acaban de conseguir un premio doble en la ceremonia de los Klara-Muziekprijzen, celebrada a principios de noviembre en el país natal del grupo, Bélgica.

Poissance d’amours –editado por Glossa– ha sido seleccionado por el jurado de la emisora de música clásica Klara como la mejor producción realizada en Flandes en este año 2008, mientras que los oyentes de la cadena le han otorgado el premio del público.[leer más...]

“Making these old, broken stones sing is a wonderful experience”

Following Caput and Joye you are now turning to another area of the medieval musical world. What has inspired you to consider 13th-century Brabant?

After trying to show two important 15th-century composers in a different musical light, I thought it would be interesting to do a programme which is more geographical yet at the same time more “virtual”: one based only on musical remnants, traces and ruins. In this way we might try and create the sound world of an entire region: rather than producing portraits one would be able to paint full landscapes of scenes hitherto lost and in need of being invented anew. [read more...]