Thanks to its distinctive approach to medieval repertoire in a duet format, Imaginary Dances has become Eloqventia’s most innovative and characteristic project. The program offers a journey through the instrumental music of the Late Middle Ages through works performed exclusively with flute and percussion. Most of the repertoire comes from two fundamental collections of the period: the Chansonnier du Roi of Paris and the Italian Codex 29987 preserved in the library of the British Museum in London.

Because our current knowledge of medieval repertoire is limited, modern performers must approach it knowing that a degree of speculation is inevitable. Hence the title of the program: the dances are “imaginary” because they arise from the ensemble’s own creative imagination. They become free recreations of the brief melodic lines preserved in medieval codices, enriched through ornamentation and improvisation grounded in musicological research.

In collaboration with the Medieval Week of Montblanc.

More than five hundred years ago, the Basque navigator Juan Sebastián Elkano embarked on the expedition initially led by Ferdinand Magellan in search of the Spice Islands. The journey culminated in the first circumnavigation of the globe, a milestone that forever transformed the understanding of our planet and the course of world history.
This concert invites us to rediscover that world and its era from a contemporary perspective, with Elkano as the captain of a sonic journey from Europe to America through Asia and the Near East, guided by the music of Euskal Barrokensemble and the spoken word of Jordi Boixaderas.

Euskal Barrokensemble returns here to its origins as an ensemble, reminding us that global connection lies at the essence of our humanity.

On the occasion of the 500th anniversary of the arrival of the Roma people in the Iberian Peninsula, violin virtuoso Tcha Limberger and the Budapest Gipsy Ensemble present a fascinating repertoire within the style known as magyar nóta.

Originating in early‑19th‑century Hungary, this music was initially composed by the nobility and performed mainly by Romungro (Hungarian Roma) musicians, who gradually made the style their own. Although not an ancient folk tradition, these pieces—today in danger of disappearing—feature airy harmonies and extremely free tempos that demand great technical mastery and interpretive sensitivity.

An evening dedicated to the expressive power of the European Baroque. Les Musiciennes du Concert des Nations—an orchestra composed entirely of outstanding female musicians inspired by the performers of the Ospedale della Pietà in Venice—will be joined by Catalan soprano Núria Rial, internationally celebrated for her luminous voice and refined expressiveness in early music.

A co‑production of the Festival de Peralada and the Jordi Savall Festival.

Coinciding with the total solar eclipse that will cross the Iberian Peninsula this August, we will enjoy an intimate concert for theorbo and Baroque guitar revisiting Baroque arias by Handel, Purcell and Visée in delicate and evocative arrangements. The proposal combines virtuosity, early music and a unique sensory experience: witnessing the transformation of the sky while listening to soundscapes inspired by the past and by memory.

Essayist Ramón Andrés writes in the liner notes of the album: “…the resonance box of a theorbo can become a stage, hosting the voices that inhabit it and turning into a small portion of the universe living between the walls of carefully chosen wood.” This universe contained within the instrument—called by Baroque poets a “crystal fountain” and described by Góngora as a “swan of feathers”—becomes a metaphor for the ineffable: an instrument of nostalgia that reminds us that everything moves forward without pause.

Just as the Moon will completely cover the Sun for only a few moments, turning day into night for a brief instant.

We invite you to immerse yourself in the life and times of Nicolaus Copernicus, the Polish astronomer who, through irrefutable calculations, demonstrated heliocentrism and forever changed our understanding of the universe, shaking the foundations of Western thought. Music becomes the guiding thread of a narrative that transports us to the turbulent Europe of the Renaissance, marked by wars, religious reforms and profound political and cultural transformations.

Each work has been selected to correspond with a specific episode in the astronomer’s life. The program brings together composers such as Clément Janequin, Josquin des Prez and Heinrich Isaac, with special attention to Polish composers of the period and anonymous music of the Polish Renaissance recovered through meticulous archival research, including in the Vatican archives. The evening will also feature Hispanic influences with pieces from the Spanish repertoire of the time. The result will be a fascinating journey through time in which history, science and music come together—placing the Sun once again at the center of the universe, even at night.

In homage to Pau Casals on the 150th anniversary of his birth, the great cellist Christophe Coin presents an intimate concert featuring two of Johann Sebastian Bach’s Suites for solo cello—masterpieces of the repertoire that Casals famously revived and championed. The evening will also include three short Italian works that dialogue with Bach and evoke the Mediterranean dimension of the instrument.

Part of the Pau Casals Year 2026–2027.

Seven female musicians from different countries in Africa and the Near East, together with the performance of the renowned actress Sílvia Bel, pay tribute to women as an essential force in history and in life. Often made invisible yet always present, women have played a fundamental and decisive role both in major historical events and in the small but essential matters of everyday life. Since the earliest civilizations, women have exercised power, governance and resistance, proving that leadership depends not on gender but on courage and vision. And beyond thrones and battles, their importance is rooted in the transmission of life, culture, knowledge and ways of understanding the world.

Their voices have sustained peoples and kept communities alive: work, craftsmanship, care for loved ones and agriculture have been accompanied by melodies that embody collective memory, emotions and values. Women have sung at every stage of life—at birth, in love, in mourning and in hope—becoming a source of patience, resilience and action throughout time. This concert, therefore, is not merely a performance but a celebration of this feminine memory and creativity: an invitation to listen to a history that still beats strongly today.

A girl named Matilda has heard people in her town say that one of her friends—an elderly woman who is somewhat peculiar—is a witch. She does not understand why they say so and decides to ask her directly. The woman, whose name is Mileva (Einstein), instead of answering, asks Matilda whether she knows what a witch is. They then consult The Book of Witches and speak about Artemisia (Gentileschi), who does not perform magic with a wand but with paintbrushes; Mae (Jamison), who does not fly on a broom but can fly even higher in her rocket; and Greta (Thunberg), who not only predicts the future but wants to change it. And if all of them are witches, who would not want to be one as well?

This family performance is a journey among paintbrushes, stars and our planet—a small story about great women in history, in which music by G. P. Telemann, W. Pistorius and D. Ortiz will be accompanied by the voice of a narrator and the hands and drawings of an illustrator.

A co-production of the Festival de Música Antiga dels Pirineus and the Jordi Savall Festival.

A teacher of organists and an international promoter of the Iberian repertoire, an indefatigable concert performer with a career spanning more than seventy years, Montserrat Torrent has been a key figure in the renewal of early music performance in our country and around the world. This concert pays tribute to her with a program combining solo performances by Montserrat Torrent and Juan de la Rubia—one of her most celebrated and renowned pupils—with a duet piece: *Two Pieces for Mechanical Organ* by L. van Beethoven (1770–1827). Held as part of the organist’s centenary celebrations, the concert offers an opportunity to understand the evolution of a school of performance and to witness how Montserrat Torrent’s legacy remains alive and constantly evolving.

This year the Festival presents the world premiere of Lumen tenebrae, a work by composer Bernat Vivancos written especially for this edition and inspired by the solar eclipse of August 12, 2026. Without mentioning it explicitly, the piece engages with this extraordinary phenomenon from a symbolic and spiritual dimension: the light that emerges from darkness, the brightness that inhabits the very heart of shadow.

With a Latin title—drawn from the opening verses of Genesis (1:1–10 and 14–18)—the work evokes the primordial moment of creation, when light was separated from darkness and the cosmos acquired order and meaning. Vivancos constructs an a cappella sonic architecture for eight voices, exploring the contrast between density and transparency, shadow and radiance, silence and expansion.

The Jove Capella Reial de Catalunya, conducted by Lluís Vilamajó, will take on the challenge of this new score conceived specifically for their sound and artistic sensibility. The program will be completed with polyphonic motets by Tomás Luis de Victoria, Cristóbal de Morales and other masters of the Hispanic Renaissance, establishing a bridge between tradition and contemporary creation.

This concert is the result of this year’s artistic residency at the Jordi Savall Festival: a work-in-progress that brings together musicians Mireia Peñalver and Santiago Gervasoni with circus artist Oriol Borràs, who is also trained in electronic music and astrophysics.

The early music and historically informed performance of the duo—who have also explored contemporary repertoire and improvisation—will serve as a vehicle for exploring sound worlds beyond those of a conventional concert. The interdisciplinary element will play a central role, and the presence of Borràs—who has already developed performances inspired by the universe and celestial bodies—will be key in crossing territories rarely explored in classical music and suggesting entirely enriching experiences.

The Quartet Mosaïques, one of the most renowned string quartets today, invites us to an evening dedicated to the most brilliant essence of Classicism with a program built around two fundamental pillars: Joseph Haydn and Juan Crisóstomo Arriaga.

Of the former, the undisputed father of the string quartet, they have recorded interpretations widely praised by critics and recognized with several Gramophone Awards. Of the latter—a precocious and fascinating composer with a fully European aesthetic, often called the “Spanish Mozart”—we will discover a score that deserves to be reclaimed for its energy and sensitivity.

The Franco-British countertenor William Shelton—artist in residence at the Queen Elisabeth Music Chapel and part of the first generation of the Philippe Jaroussky Academy, described by critics as possessing “a resonant and warm voice of uncommon purity of emission”—and the Catalan soprano Elionor Martínez, selected by the European Concert Hall Organisation as a Rising Star for the 2026/27 season, whose delicacy and purity of timbre, elegance of phrasing and projection, and beauty of interpretation have been widely praised.

Two emerging stars who will join a formation that is an essential reference for understanding the evolution of music from the Middle Ages to the Baroque: Hespèrion XXI.

The program highlights the sound world of England in the 16th and early 17th centuries, establishing a dialogue between vocal and instrumental music through dances, songs and contrapuntal elaborations. With works by major composers alongside anonymous and popular pieces, we will immerse ourselves in the music of a time when domestic instrumental practice flourished among courtiers.

The meditative gravity of pavans, the lyrical intensity of songs and the rhythmic energy of galliards reveal a fully mature musical tradition of great expressive richness and remarkable communicative power.

Twelve months of the year, twelve miniatures combining lyricism, strength and introspection: Fanny Mendelssohn composed Das Jahr in 1841 on colored sheets of paper, accompanied them with short poems, and her husband—the painter Wilhelm Hensel, to whom the work was dedicated—completed them with twelve small illustrations.

Some suggest that each fragment represents a stage of life, evoking the fleeting nature of time; others see it as a retrospective diary of her stay in Italy.

In any case, it is a work originally conceived as interdisciplinary, revealing a clear artistic personality and a rich and imaginative pianistic language. In keeping with this spirit, the renowned Russian keyboard player Olga Pashchenko will bring these scores to life accompanied by actress Elena Tarrats, who will read poetry by Mireia Calafell, Blanca Llum Vidal, Greta Sibling and Anna Tobias: an intimate and evocative proposal in which sound and word intertwine to create a delicate and unique stage experience.

With a kora in his hands and a family legacy dating back to the 16th century, Momi Maiga has captivated audiences across Europe and established himself as one of the most distinctive voices of a new generation of West African artists.

An heir to the Cissokho lineage of griots, on this special occasion he will perform alongside his mother, Adama Cissokho, in a concert full of complicity, memory and emotion. Works from his latest album Kairo will not be missing—a celebration of cultural diversity and a testimony to the power of music to unite peoples and traditions, blending rhythms from his homeland and his adopted country with influences from jazz, classical music and flamenco.

“I have consciously taken on my profession as a traveler,” wrote a young Mendelssohn in the early 1830s when, barely in his twenties, he embarked on a long journey across Europe to discover the world, confront the modernity of his time and present his talent. From that life experience emerged the works featured in this program: an overture evoking the wild immensity of the Scottish coast—The Hebrides (“Fingal’s Cave”)—and two symphonies that contrast very different atmospheres and characters.

From the deep impression left on him by the northern lands to the brightness, energy and momentum of the south. From the ruins of the chapel of Holyrood in Edinburgh to the humor and joy of a Mediterranean society—vibrant and brilliant. The Scottish Symphony and the Italian Symphony speak of a musical journey that was also a journey of growth and discovery. With this same open and inquisitive spirit, Le Concert des Nations and maestro Jordi Savall will close this year’s festival beneath the sky and stars of Santes Creus.