Born as a student project while Carlos Naranjo (lute / theorb) and Alberto Campanero (Viola da gamba / baroque cello) were pursuing their higher studies in The ‘Real Conservatorio Superior de Música de Madrid’ (RCSMM), The Antycke is consolidated as a professional group a Once these studies are completed, and closing his final training with the inclusion of Dulcinea Juárez (soprano / lute / baroque guitar).
Being a young group although of experienced musicians, it had its premiere at the ‘Casa natal de Lope de Vega’ (2014) with singular success among the audience.
Currently they focus their work on the concern to rescue and transfer to the public a global and fresh vision of historical music, through the scores and original instruments of their time such as the Baroque cello, the viola da gamba, the Renaissance lute, the guitar baroque, theorbo and percussion, in a range that includes music written between the Renaissance (15th-16th century) and the Baroque (17th-18th century).
The Antycke is an exciting journey where the past returns to our present with all its mystery, beauty and splendor.
As for the instrumental part, my first contact with early music was in the 3rd grade of guitar, a pavana from Milan entered the repertoire and became my favorite. The definitive crush was with Narvaez’s “song of the emperor”. It would be several years before I decided to return to the conservatory to fully immerse myself with plucked string instruments, and since then the interest and passion for this period have only grown.
Web: http://www.dulcineajuarez.com/
Alberto Campanero (viola da gamba / cello baroque):
I started my cello studies in Madrid, where I later specialized in baroque cello and viola de gamba at the Conservatorio Superior de Música in the same city. I did several specialization courses with Jaap Ter Linden, María de Macedo, Itziar Atutxa, José Vázquez, Wieland Kuijken, Gaetano Nasillo and Ventura Rico among others. I regularly collaborate with groups like Ars Combinatoria, Orquesta Neotonarte, Barrock´n Roll, L’estro armonico, Esquivel, Academia del Capricho, L´Albana and the baroque orchestra of Arturo Soria.
I have participated in various music festivals, among which are the Pyrenees Early Music Festival, the Monteleón Festival, the Chamber Festival of the Cerezales Foundation, Los veranos de la villa or the Madrid Sacred Music Festival.
I started with early music at the professional conservatory Arturo Soria, where I collaborated with the department of early music playing the baroque cello, both in the orchestra and in the chamber groups. At first I was enrolled as a student, but I continued for several years as a hobby while doing the higher grade.
It soon became the style I liked the most and where I had the most activity. So I decided to study at the conservatory and start playing the viola too, an instrument that had always fascinated me with its sound and repertoire. At this stage I started playing with other groups and I met Carlos and Dulcinea.
Carlos Naranjo (Renaissance lute / Theorba):
I started my studies at the ‘Las Palmas de Gran Canaria Conservatory’, where I obtained a professional degree in the specialty of classical guitar, finally obtaining a higher degree in RCSMM in the specialty of ‘Plucked string instruments of the Renaissance and Baroque’
I have been founder and co-director of various formations, acting as lute player and continuator (theorbo). As a member of the group ‘Ars Cum Musicis’ I have been awarded the ‘Best Baroque Group’ award given in 2009 at the National Auditorium, by the ‘Miguel Ángel Colmenero’ Foundation.
My artistic career focuses on concerts both as a soloist and in chamber and orchestra groups: ‘The Antycke’, ‘Orquesta Arturo Soria’, ‘Ars Cum Musicis’, ‘Ars Combinatoria’, ‘Orquesta del RCSMM’, among others. In the field of composition and / or other projects, I have carried out both works related to musical activity, as well as others in the field of professional literature (http://carlnasacervantes21.blogspot.com.es/)
Regarding my beginnings in historical music, these date back to my last year of middle grade in Las Palmas G.C. My teacher at the time (Carlos Oramas), was very passionate about early music and encouraged me in the practice of this repertoire. It happened that, almost providentially, a luthier (Alexander Hopkins), was passing through the city and installed his workshop in the conservatory.
I was fascinated both by the new aesthetic direction my career was taking, and by the circumstances as I was constantly surrounded by period instruments. In addition and it must be said, it seemed that everything responded to certain echoes of my childhood since at home Corelli, Bach, Vivaldi, etc. had always been heard. And I always had, from a very young age, a singular passion for everything historical apart from the musical. Almost at the same time, Juan Carlos de Mulder taught a course while I was finishing my degree, and encouraged me to do my superior in Madrid, which I carried out under the tutelage of Juan Nieto.
Web: http://carlosantycke.blogspot.com.es/
Being aware that it is a difficult repertoire since it has ceased to be part of everyday language, we try to solve this ‘break’ through a lively and modern attitude, without losing –or not missing- the original charm. Therefore, it could be said that our concert proposal is as pedagogical according to the program in use (always covering a period from XVI-XVII / XVIII), as an absolute reconciliation between the current audience, and a missing language that the audience can feel like your own, without woodworm or moth.
Dulcinea, Alberto, Carlos … it is a pleasure to be able to count on you in Cuerdas Pulsadas. Can you give us more details about how the approach to early music occurs in your respective professional careers?Dulcinea Juárez (singing / Renaissance lute / baroque guitar): I started my studies at the Vila-seca conservatory (classical guitar), while studying modern and lyrical singing. Already in Madrid, I perfected my singing studies at the “Teresa Berganza” with Victoria Manso. In the field of plucked string (lute / baroque guitar), I completed my studies at the “Moreno Torroba” conservatory with Pablo Zapico. In all specialties I obtained the professional title. I have been part of several vocal groups with which I have performed in Italy and Germany, and participated in festivals throughout Spain. Among other projects, I am the founder and composer of the rock group “Soundmakers” (winners of the Canya’n’roll contest in Tarragona), and of the Renaissance-Celtic group “Rara Avis”. In other aspects of my artistic career, I combine my musical activity with the acting, starring in the operetta “El Mikado” (Dagoll dagom), and various musicals (Queen, Spamalot, etc ..). I have also participated in several television series (Cuéntame, Amar es para siempre, Aída, etc …). I highlight among my last works “El Buscón” with Jacobo Dicenta, and as a musician and actress in recitals of texts from the Golden Century “Call me classic” by Liuba Cid. Currently I act as an alternate of the leading role in the musical “Cabaret” Regarding my beginnings with early music, from the first year of elementary grade I had contact with polyphonic pieces by Tomás Luís de victoria, Palestrina, Hispanic Baroque, etc., included in the repertoire of the choir of the conservatory and in summer seminars. I always felt an inclination for that period even though I didn’t specialize until years later, in the last singing courses.
As for the instrumental part, my first contact with early music was in the 3rd grade of guitar, a pavana from Milan entered the repertoire and became my favorite. The definitive crush was with Narvaez’s “song of the emperor”. It would be several years before I decided to return to the conservatory to fully immerse myself with plucked string instruments, and since then the interest and passion for this period have only grown.
Web: http://www.dulcineajuarez.com/
Alberto Campanero (viola da gamba / cello baroque):
I started my cello studies in Madrid, where I later specialized in baroque cello and viola de gamba at the Conservatorio Superior de Música in the same city. I did several specialization courses with Jaap Ter Linden, María de Macedo, Itziar Atutxa, José Vázquez, Wieland Kuijken, Gaetano Nasillo and Ventura Rico among others. I regularly collaborate with groups like Ars Combinatoria, Orquesta Neotonarte, Barrock´n Roll, L’estro armonico, Esquivel, Academia del Capricho, L´Albana and the baroque orchestra of Arturo Soria.
I have participated in various music festivals, among which are the Pyrenees Early Music Festival, the Monteleón Festival, the Chamber Festival of the Cerezales Foundation, Los veranos de la villa or the Madrid Sacred Music Festival.
I started with early music at the professional conservatory Arturo Soria, where I collaborated with the department of early music playing the baroque cello, both in the orchestra and in the chamber groups. At first I was enrolled as a student, but I continued for several years as a hobby while doing the higher grade.
It soon became the style I liked the most and where I had the most activity. So I decided to study at the conservatory and start playing the viola too, an instrument that had always fascinated me with its sound and repertoire. At this stage I started playing with other groups and I met Carlos and Dulcinea.
Carlos Naranjo (Renaissance lute / Theorba):
I started my studies at the ‘Las Palmas de Gran Canaria Conservatory’, where I obtained a professional degree in the specialty of classical guitar, finally obtaining a higher degree in RCSMM in the specialty of ‘Plucked string instruments of the Renaissance and Baroque’
I have been founder and co-director of various formations, acting as lute player and continuator (theorbo). As a member of the group ‘Ars Cum Musicis’ I have been awarded the ‘Best Baroque Group’ award given in 2009 at the National Auditorium, by the ‘Miguel Ángel Colmenero’ Foundation.
My artistic career focuses on concerts both as a soloist and in chamber and orchestra groups: ‘The Antycke’, ‘Orquesta Arturo Soria’, ‘Ars Cum Musicis’, ‘Ars Combinatoria’, ‘Orquesta del RCSMM’, among others. In the field of composition and / or other projects, I have carried out both works related to musical activity, as well as others in the field of professional literature (http://carlnasacervantes21.blogspot.com.es/)
Regarding my beginnings in historical music, these date back to my last year of middle grade in Las Palmas G.C. My teacher at the time (Carlos Oramas), was very passionate about early music and encouraged me in the practice of this repertoire. It happened that, almost providentially, a luthier (Alexander Hopkins), was passing through the city and installed his workshop in the conservatory.
I was fascinated both by the new aesthetic direction my career was taking, and by the circumstances as I was constantly surrounded by period instruments. In addition and it must be said, it seemed that everything responded to certain echoes of my childhood since at home Corelli, Bach, Vivaldi, etc. had always been heard. And I always had, from a very young age, a singular passion for everything historical apart from the musical. Almost at the same time, Juan Carlos de Mulder taught a course while I was finishing my degree, and encouraged me to do my superior in Madrid, which I carried out under the tutelage of Juan Nieto.
Web: http://carlosantycke.blogspot.com.es/
How did you meet and what relationship unites you to become The Antycke?We met as students at the RCSMM (Carlos / Alberto), and after working both in camera groups according to academic environment and in specific semi-professional events, our own personal and professional evolution definitely united us in this project ‘The Antycke’. Although in the beginning the original formation was with Ángel Chirinos (sopranista), and with whom we hope to continue counting and we do not rule out future collaborations, we included Dulcinea Juárez as a stable member given her versatility when dedicating herself to both singing and plucked string.
What repertoire do you explore and what is your concert proposal?The repertoire we explore is mainly English-Elizabethan in the Renaissance part, and virtually the entire European scene in the Baroque part. Our concert proposal is above all, a fresher and less hieratic image (which unfortunately still suffer from many attitudes on stage, trying to give an exaggeratedly serious image that only fuels the topic of boredom towards the classic-historical).
Being aware that it is a difficult repertoire since it has ceased to be part of everyday language, we try to solve this ‘break’ through a lively and modern attitude, without losing –or not missing- the original charm. Therefore, it could be said that our concert proposal is as pedagogical according to the program in use (always covering a period from XVI-XVII / XVIII), as an absolute reconciliation between the current audience, and a missing language that the audience can feel like your own, without woodworm or moth.
What role does each member of The Antycke play in the group? What instruments do you usually play?Those previously expressed, that is, Dulcinea Juárez to the Renaissance song / lute / baroque guitar, Carlos Naranjo to the Renaissance lute / theorbo and Alberto Campanero to the viola da gamba / baroque cello, although we are thinking of including some percussion in some pieces. As a common link, I would say that we are all involved in the group’s own fresh and jovial attitude, an attitude in which we all participate with pedagogical comments and somewhat casual anecdotes.
What appointments do you have planned for the future?At the moment we are making an agenda for possible competitions, pedagogical appointments in schools, entertainment, festivals, etc. As teachers and / or with other ongoing projects, we dedicate everything we can to The Antycke, although it is undoubtedly one of our main projects and to which we dedicate the most care and work. Do not hesitate therefore, that you will be promptly informed of our activities. Thank you very much for the interview!