Let yourself be swept up by the David Doružka Trio & Tiburtina Ensemble into an astonishing dialogue between mediaeval music from the Huelgas Codex and contemporary jazz. Improvisation is the guiding principle in this remarkable programme based on the story of the Apocalypse: both western European music of the 13th century and jazz reveal themselves to be open and without boundaries, full of opportunities and cross-pollinations.
In the mid-14th century, the plague had already killed a third of the population of Europe. Those like Guillaume de Machaut who could not flee from the plague epidemic hid in their houses and put their hope in spiritual protection from the flagellants, who processed through the city singing and scourging themselves. Their powerful, monophonic songs and other, polyphonic vocal works are bound to capture your imagination.
Enjoy a festival menu before the evening concerts at AMUZ during Laus Polyphoniae. You can also enjoy a simple lunch in the foyer before and after any of the Laus Polyphoniae afternoon concerts held at AMUZ. Concert tickets are not included in the meal prices stated.
STARTER, choice of:
Courgette, pesto and mascarpone soup
Quinoa, smoked salmon and hummus salad topped with roasted almonds
MAIN COURSE, choice of:
Thai chicken and vegetable curry with jasmine rice
Grilled cod fillet with mousseline sauce, parsnip mash and leek
Warm salad with roasted sweet potato, goats cheese, cherry tomatoes and balsamic vinegar crème
Advance reservation required.
ClubMediéval travels between Bruges and Italy with music from the Gruuthuse manuscript and the Codex Reina. Scintillating ars nova works have been selected from more than 200 secular sounds in Italian and French found in the Codex Reina. The Gruuthuse manuscript, the oldest collection of worldly Middle Dutch songs, reflects the vibrant, cosmopolitan character of Bruges at the time, as a world-class city.
Paul Van Nevel rummaged through libraries in Oxford, Cambridge, Durham, Worcester, York and London, discovering countless impressive manuscripts of motets and secular songs. Steeped in local tradition, this music has a very specific character of its own partly due to its abundant use of thirds but it is unfortunately less well-known than continental music.
Niels Berentsens musicological research has shown that there was considerable improvisation, even in polyphonic music. His fascinating talk is illustrated with live excerpts by the Diskantores ensemble.