Von links nach rechts: Amy Farnell, Henry van Engen, Matthieu Romanens, Ivo Haun, Silas Bischoff, Catherine Motuz, Ian Harrison, Parvati Maeder, Caroline Sordia, Robert Hernandez, Federico Sepúlveda, Clément Gester, Annelise Ellars, Nathan Julius,  Julia Marty, Arthur Wilkens, Kimon Barakos, Elizabeth Sommers.

January 30th

Reopening Gaffurius' Libroni Motets in Milan

At the end of the 15th century, Milan was one of the most remarkable musical centers in Europe. The court orchestra of the Sforza dukes offered an international environment in which German and, above all, French-Flemish singers and composers thrived. During this time, the cathedral chapel was entrusted to Franchinus Gaffurius (1451-1522; 500th anniversary of death), a leading theorist and maestro di cappella, who reformed the discipline of the choir and supervised the production of four large polyphonic manuscripts, the so-called «Libroni». As part of a prestigious research project by the Schola Cantorum Basiliensis, the Libroni were re-examined as the only source for the polyphonic Milanese music repertoire of this time. Her music includes the famous Motetti missales by Compère and Weerbeke (impressive motet suites performed during the Mass in the presence of the Duke), works by Gaffurius himself (including a praise motet for Ludovico "il Moro" Sforza) and by Josquin.

The concert program is based on 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.

Musical direction: Federico Sepúlveda - vocals | Catherine Motuz - trombone | Ivo Haun - vocals | Agnese Pavanello - Research
Selected students and alumni of the Schola Cantorum
For ReRenaissance: Tabea Schwartz

«Un niño nos es naçido»  – Villancicos for the Advent season

Loving, hoping, suffering ... drinking ... and believing. During the Renaissance, the Villancico developed into one of the most popular genres of polyphonic music on the Iberian Peninsula. Towards the end of the epoch, in the late 16th century, both the secular and the spiritual Villancicos became increasingly popular here as well as in the Latin American colonies. Our program heralds Advent with Christmas Villancicos from the Cancionero de Upsala (1556) and spiritual Villanescas from Francisco Guerrero (1589). Secular Villancicos in Spanish and Portuguese by Juan del Encina, Luis Milan, Mateo Flecha el Viejo, Cristóbal de Morales and others complete the program and show the great diversity of this genre.

Ivo Haun – Voice, Lute; Musical director
Florencia Menconi – Voice
Giovanna Baviera – Viol, Voice
Elam Rotem – Voice, Harpsichord
Félix Verry – Renaissance Violin
Maria Ferré – Vihuela, Renaissance Guitar

Director for ReRenaissance: Marc Lewon

Maria Ferré
Maria Ferré

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Ivo Florencia von unten cut 2 gut
Ivo Florencia von unten cut 2 gut

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Giovanna Baviera, Elam Rotem, Ivo Haun, Florncia Mencoi
Giovanna Baviera, Elam Rotem, Ivo Haun, Florncia Mencoi

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31. October 2021
​Chantez gayement – 

From Geneva Genf to Basel: (Singalong-)Concert for Reformation Day

Note: Special Concert time: 18:15. There will not be a livestream, but the concert will be recorded.

​Parody, contrafactum, imitation, transformation - in the Renaissance, originality was not as desirable a quality in an artist as a proficiency in imitatation, reusing the models created by previous generations. With this in mind, ReRenaissance presents in October a selection of psalms from the Geneva Psalter which reflect this propensity, circulating from one composer to another, from one poet to the next, and providing a setting in which the workshop participants help shape this modern interpretation of early music.

Jean-Christophe Groffe – Voice; Musical director

Doron Schleifer, David Munderloh, Matthieu Romanens – Voice

Olivier Wyrwas – Table organ

Co-director: Tabea Schwartz

ReRen Workshop Choir 

The Audience (four Psalms)

26. September 2021               

Canziones para menestriles 

Music for Wind Band from Northern Spain

The Renaissance wind band was employed across Europe to lend gravitas and prestige to important events, and in theory, this was the purpose of the ministriles employed by the Duke of Lerma to play cornetto, trombones, and double reeds in church. But even though their sound would leave listeners in awe, their repertoire, drawn from “greatest hits” from Josquin to Marenzio, did not always convey the solemnity of the occasions to which they played. To the gentle Spanish Pange Lingua, the ministriles would add love songs ranging from melancholic to downright bawdy, as well as rollicking dance music and even a battaglia, complete with gunfire and war cries.

Catherine Motuz - Sackbut, Musical director | Catherine Haun - Cornetto | Ann Allen - Shawms | Susanna Defendi - Sackbut | Giovanni Graziadio - Dulcian | Co-Director Elizabeth Rumsey

29. August 2021               

Mundus mirabilis domini Amerbachii 

Basel and the Dialogue of Keyboards

The friendship between Ambrosius Kettenacker and the Amerbach family was the focus of ReRenaissance’s opening concert in June 2020. A year later, this trail will be followed again in order to pay tribute to Basel's significant musical legacy. When speaking of his connection with Kettenacker, Bonifacius Amerbach's musical affinities may literally have been in their infancy; this program delves instead into his own collection which accompanied him into adulthood. He was responsible for the compilation of an extensive manuscript, on the first page of which is written “Sum Bonifacij” (I am Bonifacius). The music in this concert, chosen from Amerbach's tablatures for keyboard and realised on clavicytherium, renaissance harpsichord and organ, offers an insight into the sound world of Basel, the international Humanist city.

Corina Marti and Sofija Grgur – Clavicytherium, Harpsichord and Organ

Organisation: Tabea Schwartz

ReRen Videoblog August 21
Grace Newcombe and Eva Hamberger. Film: Mara Winter

Gothic Organ by Walter
Chinaglia, Como. Read more.

For a video on this reconstruction,
click here.

Sofija Grgur

Corina Marti 

Sunday 25. July 2021

Ite, sospiri ...

The poetic voice of Serafino von Aquila (1466–1500)

Devoted follower of Petrarca and friend of Josquin des Prez, the poet and musician Serafino Aquilano was a luminary of his day, and his work was published for decades after his death. Yet with his legacy comes a certain melancholy; while his words and music can be found in collections made close to his lifetime, his fame was for the ephemeral art of improvisation. Even so, enough of his poetry and music survives to justify his fame and allow us a window into this flourishing Renaissance art. The common instruments of the time – harp, lute, viola – are the perfect accompaniment to 15th-century Strambotti and Barzellette, and a glimpse of the Italian humanists’ reverence for an Antique perspective is possible through the ethereal sound of the wire-strung Cetra and silver tone of the bowed Lira.

Jacob Lawrence – Voice, Lira

Marc Lewon – Lute, Cetra

Masako Art – Harp

Elizabeth Rumsey – Viola d'arco, Lira; Director

Free entry - Collection

New rules: You can come without registering first :) 

(Masks are still required)

27. June 2021

Happy Birthday, Henry!

Princely music for his 530th birthday.

Famous as a king and notorious as a husband, Henry VIII (28.6.1491–28.1.1547) was an avid music-lover throughout his life. This is reflected in the extensive inventory of his possessions, which was drawn up shortly after his death in 1547. Well over a hundred instruments are included. The manuscript British Library Add. 31922 is also one of the musical treasures preserved from that time, and through it we can form an impression of what music was made in the king's apartments, set apart from the politics and the marital crises; some of the pieces are even ascribed to "Kynge H. VIII" himself. With these and other favourite songs of the king, we congratulate him on the eve of his 530th birthday: Happy Birthday, Henry!

Tessa Roos – Voice | Grace Newcombe – Voice, Clavisimbalum | Emma-Lisa Roux Lute, Voice

Claire Piganiol – Harp, Recorder | Elizabeth Rumsey - Viola d'arco, Recorder

Tabea Schwartz – Recorder, Viola d'arco; Director

30. May 2021

Concert and Open livestream 17:15 & 19:15 CET
Misura, Memoria, Aiere, Mayniera

Guglielmo Ebreo (*1420):

The legacy of the Italian

dance masters

Guglielmo Ebreo was born in Pesaro just over 600 years ago. Together with his teacher Domenico da Piacenza, he is now considered one of the most important dance masters of the 15th century. In this culture of dance, the movement of the body is understood as being a mirror of the soul. To practice this art one needs «Misura», the consensus between music and movement, «Memoria», the attentive observation and internalization of sequences, «Aiere», the precision and skill in the execution, and «Mayniera», the artistic elaboration of the steps. Three musicians and three dancers create a program that reflects the inner grace of an entire era in dance and music.


Martin Meier and Christian Tanner – Dance

Félix Verry – Fiddle

Silke Gwendolyn Schulze - Wind instruments, percussion

Marc Lewon – String instruments; Musical director

Véronique Daniels - Dance; Artistic director

25. April 2021

Concert and Open livestream 17:15 & 19:15 CET

Pren de bon cuer

Chansons for Renaissance flute consort

from the prints of P. Attaignant (1533)

In 1536 a small treasure from Paris arrived in Basel, in the luggage of the Swiss theologian, educator and lexicographer Johannes Fries: a fingering chart for the flute, noted down by Fries himself. Perhaps he had learned the instrument in Paris, and perhaps he had already mastered it before his trip back home in Switzerland. In any case, he must have known the prints of the Parisian Pierre Attaignant, because as a music-lover and connoisseur it could not have escaped him that Attaignant had intended his chanson collection from 1533 for recorders and flutes. The delicate and expressive sound of the Renaissance flute consort and the melancholy chansons of his contemporaries seem to have left a lasting impression on Fries and to have accompanied him well beyond his trip to France.


Johanna Bartz – Renaissance flute; Musical director

Mara Winter – Renaissance flute

Tommaso Simonetta – Renaissance flute

Francesca Grilletto – Renaissance flute

Rui Stähelin – Lute

Marc Lewon – Organisation

Video blog from Mara Winter
Livestream April 25th Pren de bon cuer
Teaser Pren de bon cuer

28. März 2021 Livestream (available online until 25. April 19:15) 


«One hundred songs» that changed the world.

Summer 1501: Basel is the eleventh canton to join the Swiss Confederation, and over in Italy a new musical age has begun. In Venice, Ottaviano Petrucci published a collection of polyphonic vocal and instrumental music under the title «Harmonice Musices Odhecaton», which literally translates as «One hundred songs of harmonious music». This marked the beginning of a secret revolution, as Petrucci presented his first work using movable type to create a new form of printed music. Henceforth, in addition to manuscripts, these more easily reproducible prints would determine the history of transmission of music. Reason enough, surely, to present a selection of the almost one hundred «songs» by well-known composers such as Josquin, Ockeghem and Obrecht - music that, thanks to its accessibility, defines some of the greatest hits of its era.

Doron Schleifer – Voice

Ryosuke Sakamoto – Lute, Viola d’arco

Elizabeth Rumsey – Viola d’arco

Tabea Schwartz – Recorder, Viola d’arco; Director

 Article from Simon Bordier Baz 25. März 2021