Course director, music theory class, medieval ensemble
frame drums and percussion
Dr. Mauricio Molina is a historical musicologist and early music performer dedicated to the reconstruction of 12th- and 13th-century music. He holds a Historical Performance degree from The Mannes College of Music (New York) and a musicology Ph. D. degree from the City University of New York Graduate Center. He teaches medieval music at the “Cerverí de Girona Performance Program” of the Conservatory of Girona (Catalonia, Spain), lectures in the musicology and historical performance program at the ESMUC (Escola Superior de Música de Catalunya), and is professor or music and medieval studies at the Fundació Cat University Abroad Program in Barcelona. He is the author of Frame Drums in the Medieval Iberian Peninsula (Reichenberger 2010), a book that received the Nicholas Besseraboff Prize of the American Musical Instrument Society as the most distinguished book-length work on organology of 2010. Mauricio is also the director of the medieval music ensembles Magister Petrus and Sendebar.
Juan Carlos Asensio Palacios studied Chant and liturgical music in the Escolanía de Santa Cruz del Valle de los Caídos and in the Real Conservatorio Superior de Música de Madrid where he later specialized in musicology and choir direction. He is the director of the ensemble Schola Antiqua, and has published several specialized articles along with transcriptions of the Madrid Codex, the Las Huelgas Codex, an a monograph regarding Gregorian Chant for Alianza publishing house. Until 2009 Juan Carlos was Professor of Gregorian Chant and Musical Paleography in the Conservatorio Superior de Música de Salamanca. Presently, he is professor of Medieval Music History, Notation, Codicology, and Liturgical Chants in the Escola Superior de Música of Catalonia (ESMUC), as well as a collaborator of the Atêlier de Paléographie Musicale of the Solesmes Abbey. He is also member of the Consiglio Direttivo of the AISCGre (Associazione Internazionale Studi di Canto Gregoriano), and editor of the publication Estudios Gregorianos.
Portative organ, Ars Nova Program, assistant director
Cristina Alís Raurich is a historical keyboard player, researcher, and medieval music specialist. She first studied piano with Irina Pochekina and Stanislav Pochekin (
Singing, officium in mane, choral program
José Pizarro is considered at the present one of the most important early music tenors in Europe. He studied with Aldo Baldin, Mark Tucker, Iain Burnside and the German mezzosoprano Ingeborg Danz. Because of his interest in choral conducting, José also studied with Manuel Cabero, Martin Schmidt y Eric Ericson. He is a member of the early music groups Magister Petrus, Collegium Vocale Gent (Bèlgica), and Los Músicos de Su Alteza. He also performs regularly with groups such as Akadêmia, Arsys, Armoniosi Concerti, Cappella Amsterdam, El Concierto Español, La Chapelle Royale, Capella de Ministrers, La Capilla Real de Madrid, Conductus Ensemble, La Colombina, Capilla Peñaflorida, l’Ensemble Jacques Moderne, Música Ficta and The Orchestra of the Age of Enlightenment. As a soloist he has participated in the premiere in Barcelona of the cantata Der Lindberghflug of Kurt Weill and he has been praised for his performances in the role of the Evangelist in the Passions of J.S. Bach.
Citole, lute, guitern
Pepe Morales Luna is a specialist in both medieval and oriental plucked string instruments. His interest in Sufi music and traditional and classical music from the Near East, prompted him to study plucked string instruments in Morocco, Greece and Turkey. After entering the world of medieval music with the ensemble Sendebar, he studied medieval performance practice at the Cerverí de Girona Program of the Conservatory of Girona. His work focuses on the rigorous reconstruction of playing techniques of the citole and the lute from the Romanesque and Gothic periods. He has collaborated with various important oriental music performers and groups including the the Algerian singer Neila Benbey, the Iranian tar player Parham Nassehpoor, and Persian classical music group Barbod. As a medieval music performer he is a principal member of the medieval music ensembles Magister Petrus and Sendebar.
Claire Piganiol is a harp and recorder player who specializes in repertoires ranging from the Middle Ages to the 18th century. She studied recorder and modern harp in the Conservatoire de la Vallée de Chevreuse near Paris (France). During this time she also discovered historical harps and decided to focus on their study. Her fascination with these instruments led her to conduct specialized studies in Milan, Toulouse, and Basel, where she obtained a Master in early harps in 2012. She also obtained a Master degree in harp and recorder at the Musikhochschule Trossingen in a program—directed by Kees Boeke—dedicated to the study of Medieval and Renaissance music. Furthermore, Claire also studied history and musicology in Universités Panthéon-Sorbonne and Paris-Sorbonne where she conducted research on iconography and the reconstruction of playing techniques for her instruments. She collaborates with different early music ensembles both in France as well as abroad. These groups include the ensemble Roselis, Tetraktys, Gilles Binchois, Isabella, I Ragazzari, and Celacanto among others.
Alejandro Tonatiuh Hernandez studied modern violin at the Conservatorio Nacional de México, historical violins at the Escola Superior de Música de Catalunya (Barcelona) and musicology at the Universidad Autónoma de Barcelona. His interest in medieval repertoires and bowed string instruments from this period prompted him to form and direct in Mexico the medieval music ensemble Musica Enquiriadis, and to cooperate with the groups Sendebar and Magister Petrus (USA-Spain). Alejandro has also developed solo programs recreating the practice of the minstrels who sang and accompanied themselves at the same time with the vielle. This is in response to his interest in the reconstruction of the medieval song repertoire as recorded in many historical sources. For this type of reconstruction he received an early music award in 2001 from the Conservatory of Mexico. He has participated in seminars on ars nova and ars subtilior directed by Pedro Memelsdorff at the ESMUC and has studied 12th- and 13th-century performance practice withDr. Mauricio Molina in the Conservatory of Girona.