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Musica Ficta

Early music occupies an important place in contemporary music, not as a mere historical or musicological curiosity, but as a real artistic and creative force. The pioneers of this rejuvenescence of our musical past have handed down the experience and know-how they acquired over the past decades to the next generations. Today, early music is taught at music academies all over the world. Graduates of these courses are contributing to the renewed interest in the movement, while instilling new life into it.

Though rooted in the past, the performance of this music depends on the sensibility of the contemporary artist. It is the music that speaks to us. It is the character and colours bestowed upon it by the musician that move us. This is why Musica Ficta places the performer at the centre of the creative process.

The expression musica ficta first appeared in theoretical treatises dating back to the 13thcentury and defined the performance rules related to accidental chromaticism in modal composition. However, these rules are nowhere to be found on the scores. It is up to the musician to apply them where necessary. In practice, specialists do not always agree, and so all that remains is choosing the performer, his personality. Who is right? Does the question really require an answer? It would seem that the question of what moves us or appeals to us is far more interesting and compelling.

Musica Ficta translates into its releases, with performers being chosen for their commitment and musical qualities for original artistic projects both in terms of the repertoire and its approach.

The collection presents an interpretation of early music within our contemporary context.

Bernard Mouton
Musica Ficta Musica Ficta Musica Ficta