Sete Lágrimas
Diaspora
Sounds from the Old and the New World
Que’eu maneira de Proençal
King D. Dinis (1261-1325)
San Giuseppe e la Madonna
Traditional (Italy, Lombardy)
Oiga el que ignora
Filipe da Madre de Deus (1626-?)
Senhora del mundo
Vilancico anon. (16th c.)
Ecco l'alba
Tomaso Cecchini (1583-1644)
Variation on Seguiriya
Traditional (Andaluzija/Juan de la Fuente)
Menina você que tem
Lundun (18th-19th c.)
Pues que veros
Filipe Faria (1976) and Sérgio Peixoto (1974) on 16th c. poem (anon.)
Bastiana
Traditional (Macao, China)
Mai fali é
Traditional (Timor)
Sarambeque de Abreu
(s. XVII)
Amor loco
Filipe Faria and Sérgio Peixoto on 16th c. poem (anon.)
A força de cretcheu
Eugénio Tavares (1867-1930)
Takeda no komoriuta
Traditional (Japan)
Dos estrellas le siguen
Manuel Machado (1590-1646)
Meu bem bê à bá
Traditional (Idanha-a-Nova)
Tarantela
Anon. (Codex Coimbra, MM97)
Founded in Lisbon, in 1999, by Filipe Faria and Sérgio Peixoto, Sete Lágrimas ECMC – Early and Contemporary Music Consort – takes its name from the innovative collection of dances by the renaissance composer John Dowland that were published by John Windet in 1604, when the composer was employed as lutenist to Christian IV of Denmark. Focused on dialogues between Early and Contemporary Music – and erudite music with centuries-old traditions –, Sete Lágrimas brings together musicians from different musical backgrounds around conceptual projects fuelled both by original musicological research and innovative, irreverent and creative processes centred on sounds, instrumentation and memories of Early Music. In these projects, it is possible to identify dialogues between erudite and popular music, between Early and Contemporary Music, and between the age-old Portuguese Diaspora of the Discoveries and the Mediterranean Latin axis. These dialogues are converted into sound through a faithful reading of the performative principles of Early Music and a distinctive approach to the defining elements of folk music and jazz. Sete Lágrimas regularly invites guest musicians working in different areas of Early Music, folk, jazz and world-music. To date, these musicians have included the Gulbenkian Choir (Portugal), María Cristina Kiehr (Argentina), Zsuzsi Tóth (Hungary), Ana Quintans (Portugal), Mayra Andrade (Cape Verde), António Zambujo (Portugal), Adufeiras de Monsanto (Portugal), CRAMOL (Portugal), Tainá (Brasil), Carolina Deslandes (Portugal) and Ana Moura (Portugal). Since its first days, the consort has maintained an intense performance schedule, playing hundreds of concerts around Europe and Asia, with a discography of 15 titles the consort is considered by critics as one of the most relevant and innovative European projects in the field of Early Music. Internationally, mention must be made of the reviews of the recordings and concerts published in the International Record Review, Doce Notas, Aftonbladet, Novinky, Opera PLUS, Svenska Dagbladet, Lute News, Goldberg etc. and the inclusion on the playlists of classical radio stations in several European countries. Since 2003, Sete Lágrimas have been sponsored by the Ministry of Culture Portuguese Government) and the Directorate General for the Arts, and, since 2012, by the Municipality of Idanha-a-Nova – UNESCO Creative City of Music. The consort is represented and published by Arte das Musas.