Musikalische Leckerbissen

— Konzertreihe alter Musik —

Mexikanische musikalische Leckerbissen

Mexikanisches Duo präsentiert die Rezeption europäischer Musik in der Neuen Welt.

Freitag 23. August 2015 19:00 — Altes Rathaus (Innenhof), Radnická 8, 602 00 Brno, Tschechische Republik.

Perséfone (MX)


Son tradicional de Tehuantepec La llorona
Andrea Falconieri (cca. 1585 – 1656) La suave melodia y su corrente   (Il primo libro di Canzone, Napoli 1650)
Corriente dicha la Mota, echa para Don Pedro dela Mota
Corriente dicha la Cuella
AnonymLanchas para Baylar   (Códice Martinez Compañón)
Robert de Visée (cca. 1655 – cca. 1733) Tanzsuite für Theorbe a-Moll
Prelude — Allemande — Gavotte — Chaconne
Robert de Visée (cca. 1655 – cca. 1733) Tanzsuite für Violine und Basso Continuo   (Pièces de theorbe mises en partition, Paris 1716)
Allemande — Courante — Gige — Pastorale — Chaconne
Son huasteco tradicional La petenera
Johann Heinrich Schmelzer (cca. 1623 – 1680) Sonata Quinta c-Moll für Violine und Basso Continuo
Son Jarocho tradicional El buscapies
Ignazio Albertini (cca. 1644 – 1685) Sonata terza h-Moll für Violine und Basso Continuo
Giovanni Stefano Carbonelli (1691? – 1772?) Sonata seconda d-Moll für Violine und Basso Continuo
Foto: Daniel Ortega García

Über das Programm

The current programme is mainly composed of European music from the Baroque period, accompanied by traditional melodies of Mexico, and one piece from the Peruvian codex Martinez Compañón.

The traditional tunes are a direct legacy of the cultural crossbreeding between Europe and the pre-Hispanic civilizations. The evangelization of the natives was the way in which the Spanish conquest was realized; one of the most important and useful tools for this process of evangelization was precisely the music. Through the music, the friars managed to penetrate the everyday life, the mentality and the religion of the indigeneous people.

Together with the modal and tonal music, the Spaniards brought new instruments, such as plucked ones. From them were derived many species of guitars that still are used today in different regions of Mexico to play traditional tunes (“sones”). Generally speaking, these tunes are characterized by being based on a harmonic sequence that is repeated all the time, over which a dance develops, the proper melody for each tune, together with musical and poetical improvisations (“versos”).

The first piece in the programme is a Mexican song in the idiom of the Zapotec language, very gentle and quiet, called The Crying Woman (La llorona). It is followed by a soft Italian melody. Subsequently we have included a dance, taken from a Peruvian manuscript; it precedes a suite of French dances. These examples show the connections and also the differences between the European and American dances and melodies.

We then present two sonatas for violin, belonging to the stylus phantasticus, each preceded by a traditional tune from a different region. Finally the latest work in the programme: a sonata by Giovanni Stefano Carbonelli, a pupil of Corelli.


The Perséfone ensemble was formed in 2013 with the intention to perform music from the baroque period and to create a platform for collaboration with artists from other disciplines.

The young members of this ensemble have specialized in historically informed performance, both through practice, research, and assistance from university departments with renowned teachers and performers, both Mexican and foreign, and to that end playing replicas of music instruments used in the Baroque. In addition, they have developed their professional experience by collaborating with various Mexican ensembles.

Their identity and stage appearance enables a very particular amalgamation of sound, whose artistic offering is based on a profound sensibility for the interpretation of baroque music, paying special attention and interest to the way the audience perceives it, and generating an artistic creation, which together allows them to break cultural paradigms.

The colouring, freshness, discipline and hard work of Perséfone illuminate the scene, achieving not only to unveil the baroque, but also to create an audience whose taste follows this ensemble, which seeks to bring its work to large and small cities, giving people who have no access to such concerts an opportunity to get acquainted with this Mexican approach to early music, with the freedom to share their experience with the ensemble members, fulfilling their ultimate commitment in life: the music.

Foto: Ana Karen Guillén de la Rosa

Ana Karen Guillén de la Rosa

Born in Mexico City, where she began her musical studies at age 8 at the National Conservatory of Music. Later, in 2000, she joined the Children’s Sector at Chiapas University of Science and Arts of (UNICACH). From 2002 to 2007 she was a member of the Youth Symphony Orchestra of Chiapas, until in August 2007 she entered the propaedeutic level of the National School of Music of the National Autonomous University of Mexico (UNAM).

She has participated in master classes for baroque violin with Olivier Briand (France), Ilia Korol (Russia), Ewa Chmielewska, Dorota Hosnowska (Poland), Manfredo Kraemer (Argentina), Sandi Swartz, Rebecca Huber, Evan Few, Brian Dean (USA), and Fabio Biondi (Italy). She also attended courses in chamber music and in the interpretation of music with Mary Diez Canedo, Luisa Durón, Eunice Padilla, Norma Garcia and Eloy Cruz.

Foto: Abraham Gómez Orozco

She has been member of the following ensembles: Novum Antiqua Música, directed by Raul Moncada; Capilla Virreinal de la Nueva España, which appeared in various national festivals; the Baroque Ensemble of the University of the Cloister of Sister Juana (UCSJ), with which she travelled in 2014 to Dallas, USA, to represent Mexico and perform Novohispanic music.

Currently she is preparing to conclude her studies at the Faculty of Music of the National Autonomous University of Mexico (UNAM), while also being an integral part of the following Early Music ensembles: Concentus Music Antiqua performing in the city of Puebla and at the festival of the National Museum of the Viceroyalty (MNV), Concierto Barroco with whom she has recorded two CDs supported by the National Council for Culture and Arts (CONACULTA), Capella Barroca de México led by Horacio Franco, and La Parténope baroque orchestra directed by Olivier Briand with which she toured France in 2014.

Abraham Gómez Orozco

A native of Santo Domingo, Tehuantepec, Oaxaca. He began his musical studies in classical guitar at the Casa de la Cultura Oaxaqueña under the tutelage of Jose Manuel Vidal, while also attending the School of Fine Arts at the Benito Juárez Autonomous University of Oaxaca, taking classes with prof. Fidel Torres.

He has attended courses in modern guitar with David Russell (Scotland), Pavel Steidl (Czech Republic), Massimo Gatta (Italy), Pablo Garibay, Carlos Larrauri (Mexico) and Susanne Shoeppe (Germany), and in theorbo and baroque guitar with Thomas Boysen (Norway), Joachim Held (Germany), Xavier Diaz-Latorre (Spain) and Hugo Rhodes (Mexico).

He attended master classes for chamber music with Olvier Briand (France), Anabelle Luis, Violaine Cochard (France), Paulina van Laarhoven (Netherlands), Marduk Serrano, Maria Diez-Canedo, Eunice Padilla, Luisa Durón, Eloy Cruz, Norma Garcia (Mexico).

He was an active participant in the guitar festivals of the cities Pachuca, Paracho, Chihuahua and Colima.

He is member of the early music ensembles Orphenica Lyra and Concierto Barroco, with which he recorded two CDs and toured the states of Queretaro and Jalisco with the project Concierto a Máscaras (evenings with masques, baroque music and literature). He has performed in venues such as Casa del Lago cultural centre, the San Carlos National Museum, the National Museum of Anthropology and History, the National Art Museum (MUNAL), and Sarah and Ernest Butler School of Music at the University of Texas.

Currently he continues his studies at the Faculty of Music of the UNAM under the chair of prof. Eloy Cruz, dedicated to the interpretation of Baroque music on historical instruments such as archlute, baroque guitar for continuo realizations, with his main instrument being the theorbo.

Wir danken

Das Konzert findet mit finanzieller Unterstützung des tschechischen Kultusministeriums und der Statutarstadt Brünn (Brno) statt.

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