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               L'ENSEMBLE TRECANUM voyage en France : LUXEUIL-les-Bains, BOURGOGNE, ORLEANAIS, POITOU, SAINTONGE * * * * *  LUXEUIL, concert, abbatiale 7 juillet 17 h * * * PARAY-le-Monial, concert, basilique 8 juillet 20 h 30 * * * AUTUN, participation à une veillée mariale, cathédrale 9 juillet 20 h * * * ST-CYR-en-Val (près d'ORLEANS), église 10 juillet 20 h 30 * * * CHAUVIGNY, concert, collégiale 11 juillet 20 h 30 * * * AULNAY-de-Saintonge, concert, église romane 12 juillet 20 h 30 * * * TALMONT-sur-Gironde, concert, église Ste-Radegonde 13 juillet 20 h 30 * * *

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Why ?

A musical choice

The choice of the voice, the choice of the proclaimed Word, the choice of a vocal music born in the oral tradition ...

The musical “gregorian” art (gregorian, old-roman, beneventan, wisigothic, cistercian, dominican ..) is often the exact opposite of the modern musical habits. This music was born in the West in the early centuries of our era ; the gregorian chant took root in the spiritual and vocal mediterranean traditions of the Antiquity.

L’ensemble Trecanum is interested in the musical works born from Gregorian (tropes, sequences, proses, early songs of pilgrimage ...) and in the other christian songs of the western tradition.

The “gregorian” repertoire later become “plain-chant”, never stopped inspiring the musical creation of innumerable works up until now. It is therefore true to say that it is the source of the western music. We also have the opportunity to put it in perspective with the contemporary musical creation.

Fundamental need for authenticity

To approach this spiritual and musical inheritance without a priori, respecting the sources and at the same time with intellectual modesty...

To study the signs of the oldest manuscripts allows a conscious and adequate interpretation of the Gregorian Chant. The gregorian semiology is unavoidable for every musician who will sing Gregorian Chant with an authentic approach.

The symbiosis of the sound and the stone

The Ensemble Trecanum took the part of binding closely the music and the architecture, thus privileging the space and sacral dimension of the song. This is why the Ensemble TRECANUM privileges performance in adapted sites, which can be prestigious basilicas or abbeychurches, but also small romanic churches of villages or mountains which, often quasi-deserted, wait until their vaults resound again.