Understanding the philosophy, the art, the artistic representation and economic of Gelmirez time, helps us to perceive its contex. Know where it comes from and what we have left of it. The twelfth century is the replica of modern Europe, never as at that time the definition of european unity comes close to today. Or aleast try. This conception of globalization made Europe, under the religious concept, unite and above all, common, unique beyond disputes.The XIIth century imposes important sociocultural changes, the maturation of the feudal order, expanding the already growing contact with the Islamic and Byzantine cibilizations. Cities are a focus of development for the new social class –the bourgeoisie- also linked to the reputation of the artistic, intellectual and religious milieu.
The universality of the sacred repertoire is in its capacity to be explainable and understood. this is why it is transcendental. With this project we can give practical answers to questioners of the intellectual mission scene in europe in the time of Gelmirez. Allowing them to reproduce the image of minstrel cleric in the execution of sacred works, accompanied by musical instruments and dances, although it was also widely represented.
- O século de Xelmírez not only brings us closer to a group of musical instruments made with historicist an archeological criteria, it also allow us to study interpretation techniques and their possible use to accompany sacred songs written by cleric; open space for the debate of questions: if this sacred accompanied by intruments, taking into account the wide number of sculptural representation.
- For the study of the socio- cultural context of Galicia during the archbishopric of Gelmirez, we have support criteria of the Arantxa Fernández Crespo, galician chatedra director in Facultad de Artes y Letras, Universidad de la Habana.
• Period covered:1100–1180
• Composers: Fulbert of Chartres (960-1028), Albertus Parisiensis (fl. 1146-1177) Aymeric Picaud (XIIth century) Magister Gauterius de Castello Rainardi.Others are anonymous.
• Objects: 5 instruments reconstructed.
ICONOGRAPHICAL EVIDENCE : CARVINGS, PAINTINGS & SCULPTURE.
Catedral de Santiago de Compostela, Pórtico de la Gloria.ca.1180
Fachada de las Platerias, David jugando la giga.ca.1150
• Salón de Sı́nodo, Palacio de Gelmı́rez, s.XII
• Pórtico de Saint Sernin de Toulouse, s.XII
•Mosteiro San Lorenzo de Carboeiro, s.XII
• Signo de Diego de Gelmı́rez-1100-1136-Museo español de antigüedades,Tomo 5, pag.248–1873.
• Diego Gelmı́rez ante Fruela Alfonso y Pedro Muñiz. Manuscrito Tumbo de Toxosoutos, ca.1289-Archivo Histórico Nacional, Madrid, CODICES, L.1002 Monasterio de los Santos Xustos y Pastor de San Xusto de Toxosoutos (Lousame, A Coruña).
This project aims to find support for the reproduction of a group of musical instruments documented in sculptural fountains in Santiago de Compostela during the 12th and 13th centuries, through a specialized artisan luthier.
The result of the project will be the recording of a promotional and educational CD that will contain a musical repertoire around the century of Don Diego de Gelmírez, archbishop of Santiago.
The reproduction of the instruments will allow the interpreters of the Lauda ensemble to undertake other projects for the reconstruction of music in the north of the peninsula.