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CONCIERTO BARROCO MESTIZO

 

Como era en un principio (as it was in the beginning) is the process and result of weaving bridges between cultures, genres, sounds and epochs. Since 2009, early music specialists and Colombian and Venezuelan traditional musicians have come together to create a unique sound. 
The communion of different musical languages and trajectories while interpreting the music of the past, results in new bridges between Spain and Latin America, our history, the "academia", our heritage and our traditions. 
The repertoire of this "mestizo baroque concert" gathers the Spanish, indigenous and African music from the colonial past, all of them still very present in Latin-American traditional music. Baroque music as a living and authentic part of our history.

 

Vocals, Musical direction / Ana María Fonseca

Baroque guitar, theorbo / Juan Camilo Araoz
Bandola llanera, tiple / Juan Miguel Sossa
Cuatro / Gabriel Borrero

Percussion / Felipe Aljure

 

 
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MIRA COMO BAILAS

by Como era en un principio

COMO ERA EN UN PRINCIPIO (As It was in the begining) is more than a mere musical project. It is the process and result of weaving bridges between cultures, styles, sounds and epochs. Back in 2009, in Bogotá, there took place a uniquely sounding gathering between members of Ensamble Sinsonte—one of the most renowned bands in the New Colombian Music scene, whose mission is to employ traditional instruments from the Plains region to perform compositions and arrangements with a taste for improvisation and urban music—and the Musicantes duo—dedicated to the exploration of baroque or early music, using the harpsichord, voice, lute and baroque guitar.

This union was born to bring about something that almost never happens: to overcome mutual prejudices, breaking through the thick glass of their academic fish bowl, and freeing themselves from the preoccupation to define musical styles in a strict sense. In COMO ERA EN UN PRINCIPIO baroque and popular contemporary musical expressions crossbreed, join and become confronted or blended in a sort of back and forth dialog.

This album is made out of music from the early Iberian baroque and from the Colonial period in America. It explores the transference to American territory of the European musical practices—with their Arab, Franco-Flemish and Italian influences—and their instruction to, and transformation while in contact with, native Americans and African slaves. This was music abundant in free or captive people, nuns and priests, revelers and dancers, played in the dance hall and in church, in the atrium or in the town square, in the theater or in the streets, and sometimes in the beaches of Cartagena or those of Lima, the jungles and plains where the Jesuits arrived, the Andean or Mexican plateaus, the tropical lands, and the local woods in which the new instruments, derived from the guitar, the harp or the vihuela, were built.

The ambiguity, in the best meaning of the word, of the music performed by COMO ERA EN UN PRINCIPIO makes it difficult to label. Plainly Baroque is inexact. American Baroque gives a better idea, but doesn’t improve its precision. Mestizo (mixed) Baroque is more exact, in so far as it is less delimited. Cross fertilizations knocked over and stirred everything, and some of that remains in the wonderful musical libraries of México, Puebla, Lima and Bogotá. Much of it made it to the Argentinian and Bolivian jungles and even more was composed there. But most of that, with very few exceptions, is church music, or very close to such practice. So where did all the other music go? Where is that which was played in the family living room, in the street carnival, in the courtyard of the haciendas, in the dances and soirées?

Such is the path of COMO ERA EN UN PRINCIPIO: obstinate in recreating—while guided by their intuition, using with their voice and instruments—sounds from the past which develop into movement.

RICARDO ROZENTAL

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CAMERATA DE BOGOTÁ

 
 

Camerata de Bogota is founded with the lead of musicians Ana Maria Fonseca y Juan Camilo Araoz; they are specialized in historical performance and after almost a decade studying in Europe they return to Colombia and decided to initiate this project with focus in the pedagogic-musical aspect for young musicians interested in an approach to the Baroque and Renassaince repertoire. This project will bring new spaces where they can develop their artistic quality in a creative and dedicated environment. 
For many years, Ana Maria and Juan Camilo gave shape to this idea of continuing to broadcast the value of this music in young musicians and the general public in Colombia, creating opportunities to enjoy it and live it.
The project began to become a reality in the second half of 2018, with results that had surpass the expectations by far. The ensemble has already performed in several occasions throughout the city with many different repertoires: Madrigals and Italian music from the seiccento, music from the Bolivian Missions, Italian religious music and Baroque and Renaissance Christmas repertoire; as well as the participation of two international guest: the Bolivian violinist and flautist Miguel Angel Guzman and the French baroque trumpetist Julia Boucaut.
The Camerata de Bogota has been in concert at Fabio Lozano auditorium of the Jorge Tadeo Lozano University, the Teresa Cuervo auditorium of the National Musseum of Colombia, the Bogota Major Seminary, the headquarters of the Youth Symphony Orchestra and the Villa Mayor Theater. 
Currently, the project counts with almost 30 musicians between singers and instrumentist; all of them students from several universities in Bogota.