The modern voice of memory

Innsbrucker Festwochen der Alten Musik 2019 © Felix Pirker, Ana Caballero

“Seconda Prat!ca Ensemble is a music group specializing in performing ancient music for modern ears.
We chose the name Seconda Prat!ca because we believe there are always new ways to approach the past, finding its modern voice and rediscovering its memory.

The ensemble’s main goal is to bridge the gaps between performers and audience, revitalizing western musical heritage by bringing it back to a shared living experience. We achieve this through a continuous mixing of media, performance, research and musical excellence.”

Founded in 2012 by international musicians gathered in The Netherlands for their studies, and directed by Nuno Atalaia and Jonatan Alvarado, Seconda Prat!ca has become one of the leading ensembles of the new generation of early music performers.

From 2013 to 2017, Seconda Pratica was a beneficiary of the Eeemerging project (Emerging European Ensembles) supporting young early music ensembles within the framework of the Creative Europe programme.

The ensemble has performed in some of the top European festivals, and has been featured in various news-editions (Voolskrant and Público), radio-broadcasters (Radio France, Antena2 and Opium 4) as well as television (CultureBox, RTP2 and RTVNH).

Their debut album, “Nova Europa” has been released in October 2016 with the Label Ambronay Editions.



The Hemony Ensemble is a small professional ensemble for renaissance music.
It specializes in Dutch music from the sixteenth and early seventeenth century.


Lyrical resonances of 16th century Portugal

“Lianor e a Fonte: Lyrical resonances of 16th century Portugal” is a program focused on the poetic output at the Portuguese court during the Renaissance, as kept not only in their own Cancioneiros but also scattered through Spanish collections. We aim to honor the singularity of Portuguese poetry and music beyond the common misconception of considering it a byproduct of Spanish literature. By studying the specificity of its tropes, its styles and overall sensibility, we seek to follow an approach in which the difference between both traditions and languages is acknowledge and explored, in order to better represent the undeniable influences between them. This short recital comprises a couple pieces from each thematic block of the program, and has been filmed and recorded in full takes, without any corrective editing whatsoever. The pronunciation used follows the research of Sofia Pedro in the field of 16th century Portuguese vernacular, applied also to the Castillian texts according to the hypothesis of Dr. Paul Teyssier.”