MUSICAL BELONGINGS II lautten compagney BERLIN trifft indigene Musik aus Lateinamerika

The richness of the European Baroque is inconceivable without the colonization of South America. 500 years later, contemporary indigenous music, Quechua rap, electroacoustic music and early music of European tradition now 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 guests are Renata Flores (Peru) with two musicians from the Quechua tradition and the composer Ana María Romano Gómez (Colombia), who is developing a new composition especially for the project.

The starting point for the joint research of the lautten compagney BERLIN with the South American musicians is the hymn "Hanacpachap cussicuinin" printed in 1631, which ends with the call "Huaciascaita!", "You heavens, hear us!". This is the oldest testimony of a printed musical piece in Quechua. According to tradition, the piece was written by an anonymous indigenous student of the Franciscan friar Juan Pérez Bocanegra. As a hybrid, the piece is open to multiple interpretations. 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. Renata Flores' raps give a contemporary answer to the historical documents of the so-called "Jesuit Baroque".

In her electroacoustic commissioned composition,Ana María Romano Gómez will deal with the phonogram archive of the Humboldt Forum and question the functions of a colonially motivated sound recording of the world. She is considered the Quechua Rap Queen from Peru. She comes 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.

Renata Flores

She 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 in her composition "Creación de la tierra" already in the early seventies.

lautten compagney BERLIN

The lautten compagney BERLIN under the direction of Wolfgang Katschner is one of the most renowned orchestras of early music. Over the past 39 years since its founding in 1984, it has delighted music lovers* all over the world. In the fall of 2019, it was awarded the OPUS Klassik as Ensemble of the Year. With concerts, opera performances and crossover projects, it sets unique musical accents. The ensemble is one of the few independent producers of music theater projects in Germany. For its unusual and innovative programs, 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 approximately 100 concerts per year. The last major non-European tours took the group to ten cities in China in 2019 and to Bogotá in Colombia in the fall of 2021. At the Dresden Semperoper, the lautten compagney recently celebrated the acclaimed premiere of Monteverdi's "L'Orfeo" as the first guest ensemble in the house's recent history.

The lautten compagney cultivates musical traditions as an important part of its program 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 very well 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 thus inspired by new ideas, musical boundaries disappear.

Wolfgang Katschner

A lutenist by training, Wolfgang Katschner founded the lautten compagney BERLIN together with Hans-Werner Apel in 1984, the centerpiece of his multifaceted work as a musician, organizer 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 programs stands for the conviction that "early" music is just as modern as the music written later and, once one steps out of the self-imposed isolation as a musician of "early" music, can be combined with more modern repertoire in an extremely profitable way for musicians and audiences alike. For some years now, Wolfgang Katschner has also successfully appeared 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 Staatstheater Nuremberg: "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 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.

More info: Price: 16 € / reduced 8 €. 18.00 Introduction. Duration: 90 min. No language skills required. Hall 2, ground floor. Belongs to: Musical Belongings