Peregrinatio is the second part of the trilogy Ramon Llull: lúltim pelegrinatge.The music of this album will accompany the first Ramon Llull's travels outside the territories of the Crown of Aragon and Majorca. After his years of learning and his failed experience of founding the Monastery of Miramar, Llull personally will take the reins of the project and since 1287 we will find him traveling around the Mediterranean to present their missionary projects to Kings and Popes: the first trips draws musical scene of Llull s visit to Paris and music that move us to Genoa, where he plans to sail to Tunisia.
Capella de Ministrers is an early and medieval music ensemble formed in 1987 in Valencia, Spain by its director, the Valencian musicologist Carles Magraner. Capella de Ministrers is recovering the musical heritage from an astounding and up-to-date perspective:early music combined with the latest technology. This first album of the trilogy dedicated to Ramon Llull , "Conversion, study and contemplation," illustrates the youth of Ramon Llull, devoted to sensual pleasures to profane love and the cultivation of the troubadour lyric, seen through the prism of the convert who has left the vanities of the world.
Amarcord is a popular male vocal ensemble devoted largely to Medieval- and Renaissance-era music. The group also sings works by contemporary composers and performs arrangements of songs from various periods. Amarcord is an unusual ensemble in that it consists of just five singers who sing a cappella. There are two tenors, one baritone, and two basses. The sound is quite individual, imparting a mellow, somewhat Romantic approach to the vocal style, with the two tenor voices often singing the lead parts.
The music of the 12th century poet and composer Hildegard von Bingen continues to exert a spell on the modern imagination, and not just among those who are (rightly) eager to seize on her as an early feminist icon. The chant melodies, rendered here with heartfelt elegance by the women’s chorus Vajra Voices under the direction of Karen R. Clark, are striking in both their shapeliness and the spiritual fervor that runs through them. To a modern listener, accustomed to hearing melodic lines combined in contrapuntal mesh or harmonic byplay, the spareness of these textures - even with the deft accompaniment of Shira Kammen on the vielle (a bowed string instrument) and medieval harp - can make them seem attenuated. But listen more closely, and Hildegard’s careful attentiveness to the liturgical texts, with all their implications, becomes ever more affecting.