“To me the performance of medieval music is an act of love, the love of making a contribution to humankind. It consists in sharing compiled knowledge from the perspective of an artistic mind”
My aim is to approach medieval music and its context to any sort of public. Hence my motto: The beauty is when one realises that every little step in the acquisition of knowledge transforms our image of what medieval music is to us.
I grow up in a family of artists surrounded by fine arts, music, and literature. Since a child I wanted to be musician, a will that brought me to study in Barcelona, The Hague, and Basel. Nowadays I live between Basel and Barcelona and dedicate most of my time to medieval music. As a performer I am part of various ensembles of medieval, renaissance, and other styles. As a soloist I perform around Europe and America.
The sound of medieval organs is forged by modulating wind pressure through bellows: their expressive possibilities are immense. Flexibility and precision are essential for the performer of historical organs. I consider portative and positive organs as wind instruments instead of keyboard instruments.
The reconstruction of sound is fundamental to me, we are faced to a wide choice of aesthetics. The artist explores the sonority of the instrument and lets it speak as if it were a medium between the public and the instrument.
Instruments I play
Each instrument is a door to a unique universe of sound
Portative organ of the 13th century
The first world reconstruction of this model of portative organ (2014), following a musicological research of written sources and iconography. Some unique features of this instrument are: light and small size, a strap to hang, copper pipes, diatonic keyboard, sharp and loud sound.
Portative of the 14th-15th century
This portative is the most common model of the second half of the 14th century and the 15th century. It is performed mostly on the lap and has a bellow with huge capacity of air. Some of their characteristics are: to be performed on the lap, chromatic keyboard, big bellow, mild and velvet sound.
Positive organ of the 15th century
The positive organ requires at least two persons to perform it. One plays with both hands on the keyboard and a second person actions the bellows. This model is done after a painting of Hugo van der Goes of 1480 (organ maker: Walter Chinaglia).
The clavicimbalum is a small string keyboard instrument that lived its gold era in the 14th and 15th century. Most reconstructed models are follow Arnaut de Zwolle’s design (15th century).
This upright type of string keyboard instrument is an exception in the field of medieval keyboards since one exemplar survived to our days. The original one is at the Royal College of Music (London), dates back to 1480 and is of South German provenience.
This instrument doesn’t need any presentation. Although Cristina prioritizes her career as medieval performer, she hasn’t forgotten the piano solo and chamber repertoire and still performs in public every now and then.
I am a regular member of a number of ensembles. Each of these ensembles dedicate to concrete repertoires. For example Magister Petrus (dir. Mauricio Molina) reconstructs music of the 12th and 13th centuries. The singularity of this ensemble is that it is one of the few existing groups that makes use of instrument reconstructions of this period.
Another ensemble is La Douce Semblance (dir. Brice Duisit) which is focusing on 14th-century French monody. I also perform in duo-format with several colleagues like Maria de Mingo (citole), Raúl Lacilla (musa, frestel), Mauricio Molina (percussion), Julien Ferrando (medieval keyboards), Katarina Ster (voice), Quim Lecina (actor). In addition, I collaborate with existing ensembles: Ars Choralis Coeln, Donnafugata, La camera delle lacrime, Scola Metensis, Ensemble Trecanum, etc.