Patrizia Bovi – canto, arpa, tromba medievale
Goffredo Degli Esposti – double flute, cornamuse, flauto diritto
Gabriele Russo – viola, ribec, medieval tromba
Enea Sorini – vocals, tamburelli, naccharoni
After playing for many years in Assisi’s Calendimaggio, Patrizia Bovi, Adolfo Broegg, Goffredo Degli Esposti and Gabriele Russo decided to found the Ensemble Micrologus, in 1984. Up to now, they have created more than twenty different shows and some theatre representations, that they performed in Italy, France, Germany, Austria, Hungary, Czech Republic, Spain, Portugal, Holland, Belgium, Switzerland, Slovenia, Poland and Japan. This is their first visit to Ireland.
They are also involved in the activities of the Art, Music and Show Laboratory of Assisi, where they hold courses and workshops that originated several sacred dramas and sacred representations. In the ‘80s they took part to the works of the Centro Studi Ars Nova of Certaldo, where they had the opportunity to share their knowledge with the most outstanding European musicologists.
The musicians of the Ensemble Micrologus utilise faithful copies of ancient instruments (thanks to the permanent collaboration of expert instrument makers) and also accurate costumes and sets in their theatre representations; each year, they propose to the public one or two new performances around specific topics alternating sacred and profane music (from the 12th to the 15th centuries), as well as a few commissions from several European festivals.
CRUX VOCAL ENSEMBLE with guest musician NATALIA MC GOUGH, saxophone
Director: Paul Mc Gough
CRUX Vocal Ensemble was founded by Paul McGough early in 2006 in Dublin, Ireland to perform a combination of ancient and contemporary music in the dramatic architectural and acoustic settings they were customarily designed for.
Crux enjoys a residency at St. Patrick’s Cathedral, one of Dublin’s most ancient, sacred buildings. The ensemble often features two groups, one specialising in polyphony, the other in earlier chant and organum. Through the interplay of the two groups, both spatial and musical, costumed and candle-bearing, a narrative of Europe’s – and Ireland’s – choral music is portrayed, from earliest times to the current day.
Paul McGough, director
Paul McGough, baritone, was born in Mullingar, County Westmeath where he was awarded a music scholarship to study at the Schola Cantorum of St. Finian’s College, later graduating with an MA (Dub) in Music from Trinity College, Dublin. Paul’s singing experience ranges from ancient music to contemporary repertoire, the former an area of particular interest for him. As a member of groups such as Chamber Choir Ireland, Anúna, St. Patrick’s Cathedral, Dublin, the international show Celtic Woman, Resurgam and many more, Paul has performed around the globe on stages large and small. He also performs much around Ireland with his national champion vocal quartet ‘4 in a Bar’ and directs the Early music group Crux Vocal Ensemble.
Natalia McGough is a classical saxophonist based in Dublin who holds prize-winning performance MAs from the Royal Academy of Music in Denmark and the prestigious Academy of Music in Katowice, Poland. She is a member of the Irish Defence Forces No. 1 Military Band, the Hot House Big Band, the jazzy Sax Sisters Quartet and the award-winning band Pink Champagne. In demand as a club sax player, she is the resident musician at Bad Bobs, Temple Bar, Dublin
THE GREGORY WALKERS
Laoise O’Brien (recorders), Malachy Robinson (viols), Eamon Sweeney (baroque guitar, lute)
A ‘Gregory’ was the name of a wig worn in the 16th century, said to have been invented by a barber named Gregory. A lute, viol, or fiddle was part of the furniture of a barber’s shop in the era and his customers, while waiting for a hair cut or a minor operation, would amuse themselves on the instruments provided.
The Gregory Walkers comprises some of Ireland’s most respected musicians. They are experienced in delivering performances suitable for the whole family and have done so for Ardee Baroque Festival, Kilkenny Arts Festival, Music Generation, The ARK Children’s Cultural Centre, National Museum of Ireland and others.
Malachy Robinson, bass viol
Malachy Robinson (violone) had his early music education from his dad Andrew Robinson, Ireland’s viola da gamba crusader. He is a prize-winning graduate of London’s Guildhall School of Music and holds a Masters degree in Historical Musicology from the University of London. He has appeared with period-performance groups the Irish Baroque Orchestra, the Academy of Ancient Music, the OAE, the Sixteen and the English Concert; he has also founded some of his own, Trio Quattro and Armoniosa. He is principal double-bassist with the Irish Chamber Orchestra and is a founder member of Dublin’s Crash Ensemble and Louth’s EQ Ensemble. His Robinson Panoramic Quartet is a new take on the string quartet medium and the quintet Lunfardia gives a contemporary virtuosic twist to South-American folk musics. His violone playing has been described by the Irish Times as demonstrating a “remarkable lyrical dexterity”. He likes to write songs and to sing them.
Laoise O’Brien, recorders
Laoise O’Brien (recorders) has a growing reputation as a virtuosic performer and imaginative concert programmer and has been commended in the Irish Times for her ‘mesmerising skill’. Laoise studied recorder at the Conservatorium van Amsterdam and holds a Masters in Performance & Musicology from NUI Maynooth.
In repertoire from the 12th to the 18th centuries she has appeared with the Irish Baroque Orchestra, Camerata Kilkenny and the Irish Consort, as well as international ensembles such as the Royal Wind Music, Amsterdam. She has released two albums conceived in collaboration with artist Lorna Donlon, How Happy for the Little Birds and Sonnets for the Cradle (assisted by the Arts Council of Ireland) which have had global radio exposure. Sonnets for the Cradle was the subject of a radio feature on RTE Lyric FM which won an award at the 2013 New York Festivals International Radio Awards. Laoise is particularly passionate about education and raising the profile of the recorder in Ireland. She lectures at the DIT Conservatory of Music and Drama where she teaches students from the age of seven up to post-graduate level.
Eamon Sweeney, early guitars
Eamon Sweeney (guitar) was awarded the first musicology PhD to be accredited by DIT Conservatory of Music and Drama. His doctoral thesis, The Guitar and its role as an accompanying instrument in seventeenth – and early eighteenth-century France, investigated the five-course guitar’s role as a continuo instrument in the court of Louis XIV, a hitherto unexplored area of French baroque music and early guitar performance practice. Eamon has lectured and given seminars on Baroque guitar performance at Dublin, Dundee and Bath International Guitar Festivals as well as for DIT and UCD. Eamon received his BMus (1st Class) in Guitar Performance from Trinity College, Dublin and DIT Conservatory of Music and Drama and has since performed on stage, radio and television, both as a solo artist and with various ensembles including the National Symphony Orchestra, RTE Concert Orchestra and Opera Theatre Company. Eamon teaches music with Co Wicklow VEC and is part of the duo Tonos (with Roisin O’Grady) who perform music of the 17th century.
Temenos, n. Ancient Greek Hist.
A piece of ground surrounding or adjacent to a temple; a sacred enclosure or precinct
Laoise O’Brien (recorders) and Paul Roe (clarinets), are musicians who enjoy unearthing old music and advancing new music respectively. Together they are exploring soundscapes, examining the shared features of their instruments, and discovering the commonality of their distant and distinctive repertoire.
From 12th century pilgrim songs to newly composed works, Temenos investigate how place and memory have influenced music over the centuries. Their current project, Time Place Memory is inspired by the work of the artist, George Vaughan.
Laoise O’Brien, recorders (biography above – also performing with The Gregory Walkers)
Paul Roe, clarinets
Paul Roe is a musician with particular interests in performance, education and coachng/mentoring. He has a PhD in Performance Practice from the University of York, a Masters Degree in Community Music from the University of Limerick and is a Fellow of Trinity College, London. He has an Advanced Diploma in Executive Coaching and as a member of the International Coaching Federation he works with a wide range of individuals as coach/mentor. He is a performer (clarinet and bass clarinet) of international repute and was Associate Principal Clarinet of the National Symphony Orchestra of Ireland from 1987-2000. He has been a member of Concorde Contemporary Music Ensemble since 1989 and has given solo, ensemble and orchestral performances throughout Europe, Asia and America.
Paul has performed with many distinguished musicians and ensembles including, Con Tempo String Quartet (Romania/Ireland), Crash Ensemble (Ireland), George Lewis (Trombone-USA), Harry Sparnaay (Bass Clarinet-Holland), Garth Knox (Viola-France), Lenneke Ruiten (Soprano-Holland) and Finghin Collins (Piano-Ireland). He is a member of several chamber music groups, with whom he plays a wide range of music from classical to contemporary repertoire. In recent years he has performed with these groups in Chicago, Atlanta, Vilnius, Paris, Rotterdam, York, London, Barcelona, Ljubljana, Bratislava and Riga. He is a keen advocate for the composition and performance of contemporary music and as a member of Concorde regularly performs new music both nationally and internationally. In 2008 Paul received a Fulbright Scholars award to study Klezmer performance at Mannes College of Music, New York, where he worked with the internationally acclaimed clarinettist David Krakauer.
Paul’s career profile in music is broad based with ongoing commitments in performance, teaching, examining and community music. He is a member of the teaching staff at the Royal Irish Academy of Music in Dublin and the Dublin Institute of Technology Conservatory of Music and Drama. He also works in the area of collaborative arts practice for a variety of organizations including Dublin City Council, Music Network, the National Youth Orchestra and the Arts Council of Ireland.
Paul’s career is distinguished by an ongoing interest in creative development. He has a variety of performance and education projects developing on a continuous basis with support regularly provided by the Arts Council of Ireland. Paul is Ireland’s National Chairperson for the International Clarinet Association for whom he regularly writes music reviews.
PREHISTORIC MUSIC IRELAND
Simon O’Dwyer, horns / Maria Cullen O’Dwyer, horns and bodhran
Simon O’Dwyer and Maria Cullen O’Dwyer have participated many times at the Galway Early Music Festival, giving talks, concerts, soundscape art, and providing music for theatrical events. These events are always very popular, as the exotic early Irish horns are fascinating and physically big! Besides the prehistoric bronze horns, Simon and Maria also show reproductions of medieval horns and other medieval instruments that have been found in recent excavations.
Prehistoric Music Ireland was established in the late 1980s, when an experimental reconstruction of a Bronze Age horn led to the establishment of the world’s first institution dedicated to the study, reproduction and exploration of prehistoric musical instruments. Initially Prehistoric Music Ireland concentrated on the great family of cast horns from the Irish Late Bronze Age. It was important to develop the skills required to allow the casting of new examples of these fine complex instruments. In the early 1990s, Prehistoric Music Ireland in collaboration with the Dublin Art Foundry succeeded in making accurate reproductions of a number of horns from around Ireland. Techniques were developed which allowed for horns to be made at commercially viable rates which made possible the first proliferation of Irish bronze horns in 3,000 years. Through the ‘90s, Prehistoric Music Ireland continued to expand the research and development of instruments. Recordings were made of original horns, which are in the Museums of Dublin and Belfast.
Prehistoric Music Ireland’s ongoing research has led to a blossoming of understanding of a variety of previously silent instruments ranging from wooden pipes, bronze horns, bone whistles, war trumpas and early reed horns. Continuing experiments with playing methods have revealed a hidden world of sound and vision. Creations that are made possible in a recording studio such as multiple horn sounds or overtone generation hint at future musical composition, which will become possible as more players become proficient.