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Every last Sunday
of the month

One hour of Renaissance music in the Basel Historical Museum Barfüsserkirche

«Reopening Gaffurius' Libroni»

30th January 2022, 18:15

Left to right: Ivo Haun, Catherine Motuz, Annelise Ellars, Silas Bischoff, Caroline Sordia, Parvati Maeder, Henry van Engen, Elizabeth Sommers, Clément Gester, Julia Marty, Kimon Barakos, Matthieu Romanens, Nathan Julius, Arthur Wilkens, Amy Farnell, Robert Hernandez, Federico Sepúlveda 

January 30th

Reopening Gaffurius' Libroni Motets in Milan

Towards the end of the 15th century, Milan was one of the most remarkable musical centres in Europe. The cosmopolitan court of the Sforza dukes provided their musicians with a working environment in which Italian, German, and above all, French-Flemish singers and composers thrived. At this time the music of the cathedral was under the direction of Franchinus Gaffurius (1451-1522; we commemmorate the 500th anniversary of his death). Gaffurius was a leading theorist and maestro di cappella, who was responsible for the production of four large manuscripts of polyphony, the so-called «Libroni». As part of a prestigious research project by the Schola Cantorum Basiliensis, the Libroni were re-examined, being the only source for this time of Milanese polyphony. They contain the famous Motetti missales by Compère and Weerbeke (impressive motet cycles which were performed during the mass in the presence of the Duke), works by Gaffurius himself (including a motet in praise of Ludovico "il Moro" Sforza) and by Josquin.

The concert program is a cooperation between ReRenaissance and the Schola Cantorum Basiliensis and combines the result of meticulous interdisciplinary research with a musical experience of early modern Milan.

Federico Sepúlveda – Musical director:, voice | Catherine Motuz - trombone | Ivo Haun - voice | Agnese Pavanello - Research

Students of the Schola Cantorum | For ReRenaissance: Tabea Schwartz

Ivo Haun – Gesang, Catherine Motuz – Posaune, Agnese Pavanello – Forschung, Federico Sepúlveda – Gesang, 
Studierende der Schola Cantorum Basiliensis: Kimon Barakos, Silas Bischoff, Annelise Ellars, Amy Farnell, Robert Hernandez, Nathan Julius, Parvati Maeder, Julia Marty, Matthieu Romanens, Elizabeth Sommers, Caroline Sordia,  Henry van Engen und Arthur Wilkens – Gesang und Instrumente, Clément Gester (Zink)
Ian Harrison – Pommer | ReRenaissance: Tabea Schwartz

Liebe Gäste: Es gilt nach BAG 2G (Geimpft oder Genesen) und Maskenpflicht. Bitte Zertifikat mit QR und Personalausweis beim, Eingang vorweisen. Danke!


About ReRenaissance

Since the inaugural concert in June 2020, ReRenaissance has brought Renaissance music into focus with a concert every month. Each programme is a premiere, and takes place on the last Sunday of the month in the historical centre of the city, in the Basel Historical Museum’s Barfüsserkirche. Introductory video blogs, interviews, a regular column from David Fallows, and a rich selection of background information and research accompany this out-of-the-ordinary music.

Renaissance music is itself experiencing a kind of renaissance here: music that has been handed down in manuscripts and prints will be heard again, on rarely-heard instruments such as the rebec, shawm, clavisimbalum, cornetto or Grossgeige. Each programme has a very specific focus, be it a composer, manuscript, or idea, and the whole is conceived and planned by musicians and musicologists in close cooperation. Then the programmes are brought to life by specialist musicians from the Basel area, who are brought together to form these very specific ensembles.

In 2022, ReRenaissance will begin its third season. On one hand, the repertoire reflects the diversity of international styles in the sound of 15th and 16th century music. On the other hand, it is the goal of ReRenaissance to present regional musical treasures in their original context. The connection to Basel is highlighted itwice in 2022: a concert of lute music gives an insight into private musical life in Basel during the Renaissance; and in spring we present the inauguration of a Grossgeige, a type of viola da gamba which was first mentioned in Basel in 1511 and has been specially reconstructed for the concert series. Italian and Spanish motets, French chansons, Polish psalms and much more showcase the internationality of the Renaissance sound world.

One concert will be dedicated once again to the work of Ottaviano Petrucci, the first music printer; there will be another sing-along concert and another dance concert. The existing cooperation with the Paper Museum and the Historical Museum will be augmented in 2022 by cooperation with the Schola Cantorum Basiliensis in January and in November.

Concert series organized by the ReRenaissance association

The association is recognized as a nonprofit organization.

Concept, musical direction, and production:

Tabea Schwartz, Elizabeth Rumsey, Marc Lewon.

Development & Administration: Elisabeth Stähelin, Hannah Bächtold
Board of directors: Dr. Thomas Christ, Dr. Werner Baumann