Incas y Conquistadores La Chacana & Pierre Hamon

• Anonymous: Cancionero de la Colombina:
• 1 Anonymous: Cancionero de la Colombina: Propiñán de Melyor 01:23
• Bologna MS Q. 18:
• 2 Anonymous: Bologna MS Q. 18: La Spagna 01:44
• Juan del Encina (1468 - 1529): Cancionero de Palacio:
• 3 Encina: Cancionero de Palacio: Ay triste que vengo 02:40
• Louis Capeille, Bor Zuljan (b. 1969): Diferencias sobre "Guárdame las vacas":
• 4 Capeille, Zuljan: Diferencias sobre "Guárdame las vacas" 03:12
• Anonymous: Cancionero de la Colombina:
• 5 Anonymous: Cancionero de la Colombina: Los hombres con gran plazer 02:02
• Francisco de la Torre (1460 - 1507): Cancionero de Palacio:
• 6 Torre: Cancionero de Palacio: La Spagna (Danza Alta) 02:04
• Pierre Hamon (1530 - 1569): Sami Wichay:
• 7 Hamon: Sami Wichay 04:11
• Kuisi Ritual:
• 8 Hamon: Kuisi Ritual 03:08
• Ofrenda Nazca:
• 9 Hamon: Ofrenda Nazca 04:22
• Ananda Brandão, Pierre Hamon: Nazca Ritual:
• 10 Brandão, Hamon: Nazca Ritual 02:34
• Pierre Hamon: Ofrenda a Abya Yala:
• 11 Hamon: Ofrenda a Abya Yala 04:08
• Baltasar Jaime Martínez Compañón (1737 - 1797): Trujillo del Perú:
• 12 Compañón: Trujillo del Perú: Tonada de el Chimo 02:40
• 13 Compañón: Trujillo del Perú: Tonada La Lata 01:49
• 14 Compañón: Trujillo del Perú: Cachua Al nacimiento de Christo Nuestro Señor 02:12
• Anonymous: Llanto:
• 15 Anonymous: Llanto 02:13
• Baltasar Jaime Martínez Compañón: Trujillo del Perú:
• 16 Compañón: Trujillo del Perú: Lanchas para baylar 03:35
• Anonymous: Tristezas me depara:
• 17 Anonymous: Tristezas me depara 04:27
• Sicuriada Conima:
• 18 Anonymous: Sicuriada Conima 02:01
• Aa, sumak kančakčhaska:
• 19 Anonymous: Aa, sumak kančakčhaska 01:14
• El Baile del Inca y Oración para la Madre Tierra:
• 20 Anonymous: El Baile del Inca y Oración para la Madre Tierra 02:36
• Ripusakme:
• 21 Anonymous: Ripusakme 02:08
• Juan Pérez de Bocanegra (1560 - 1645): Ritual Formulario e Institución de Curas:
• 22 Bocanegra: Ritual Formulario e Institución de Curas: Hanacpachap cussicuinin 03:27
• Total Runtime 59:50

Info zu Incas y Conquistadores

To bring his animated film project Pachamama to life, a project that began almost 15 years ago, Argentine Juan Antin teamed up with French producer Didier Brunner (Kirikou, Azur et Azmar, Ernest et Célestine, Le grand Méchant Renard, etc.).

For the music of his film, Juan Antin wanted something powerful and present, as rich and distinctive as the graphics and colors of his drawings, rich in symbols and cultural roots combining the pre-Columbian and Andean worlds and the sound of Renaissance instruments that existed at the time of the Conquista.

He was about to give up on his musical dream, which seemed increasingly utopian in Europe and even more so in the world of film conventions, when he met Pierre Hamon, an “extraordinary” musician, a specialist in early music, but also passionate about pre-Columbian instruments and the world of Native American civilizations and cultures. An improviser, but with no real experience in composition, let alone film music, Hamon agreed to take up the challenge, and the two immediately hit it off: Juan was enthusiastic about the melodies and aesthetic directions proposed by Pierre and managed to convince the production team to take a chance on this adventure. The result of this long and fruitful collaboration is a magnificent animated film, Pachamama, in which music plays a fundamental and original role.

The idea behind this small ensemble program is obviously not to recreate the original soundtrack, but to evoke the roots of the “wonderful and enchanting” sound universe of Pachamama, combining historical music from the period or preceding the Conquista, music that was a source of inspiration, sometimes obvious, such as the cantus firmus theme “La Spagna,” sometimes only spiritual and distant, the “magical” universe of pre-Columbian instruments, the first sources of syncretic colonial music (Father Martinez Companion's Trujillo codex), the first collections of traditional Andean music, and finally a small suite adapted and improvised from themes from the original Pachamama music.

The natural voice and percussive fervor of Ananda Brandao, who was the revelation of the recording of the film's theme song, brings a freshness derived from contemporary music and jazz (drums, percussion, vocals) will join the lutes, guitars, and Renaissance harp of the wonderful musicians Bor Zuljan (“the lute incarnate”, as a recent France-Musique program dedicated to him was titled) and Louis Capeille, with the magnificent voice and musicality of Clémence Niclas and the breath of Pierre Hamon.

Pierre Hamon, Renaissance, Andean, and pre-Columbian flutes & conductor
Ananda Brandaõ, vocals and percussion
Clémence Niclas, vocals and flutes
Bor Zuljan, Spanish Renaissance lute and Renaissance guitar
Louis Capeille, Renaissance and traditional South American harp

La Chacana
More than ten years ago, Pierre Hamon’s tireless quest to explore humanity’s fundamental gestures and sounds, as well as the origins of music, led him to the soundscapes of pre-Columbian civilizations and Native American traditions. This journey was enriched by pivotal encounters and fruitful exchanges with musicians, researchers, ethnomusicologists, and archaeomusicologists, as well as with the Argentine filmmaker Juan Antin.

In search of a composer capable of integrating into his writing an imagination inspired by both Inca music and Spanish Renaissance music, Juan Antin entrusted him with composing the original score for his animated feature film Pachamama (nominated for a César Award in 2019). This musical creation, acclaimed by international film critics, marked a decisive turning point.

It was by returning to the source of inspiration for this film music that the ensemble La Chacana was born. Its ambition is to introduce the public, in a lively and sensitive way, to musical worlds that appear distant: on the one hand, the polyphony of the Iberian Renaissance; and, on the other, the soundscapes of pre-Hispanic civilizations, based on profoundly different acoustic and spiritual concepts. The ensemble also explores hybrid musical forms resulting from the encounter between Europeans and Indigenous peoples.

The name “La Chacana” refers to a very ancient sacred symbol of Andean civilization, closely linked to the Inca and pre-Inca cultures of the Andes mountain range. This Andean cross embodies a worldview that is both cosmological and spiritual. True to this heritage, the ensemble offers an approach that is historically informed by the repertoires of the Iberian Renaissance and the earliest collections of ancient music from South America and Mesoamerica. It combines this with the traditional practice of Andean instruments, as well as a vibrant creative process, fueled by imagination, centered on pre-Hispanic soundscapes.

Pierre Hamon
Since the 1980s, as a recorder player, in the development of early music in France, particularly medieval music (member of the Gilles Binchois ensemble, founder and co-director of Alla Francesca until 2019, initiator of critically acclaimed projects and recordings dedicated to the works of Guillaume de Machaut...),

Pierre Hamon has maintained a close and ongoing collaboration with Jordi Savall since 1995. To deepen his exploration of early music, he took a keen interest in the traditional music of Europe and then of other cultures. In 1998, he became a disciple of Pandit Hariprasad Chaurasia, a grand master of Hindustani music and the Bansuri flute; his perpetual search for the fundamental gestures and sounds of humanity then led him to the fascinating world of pre-Columbian flutes and civilizations and Native American traditions, in connection with nature and birdsong. He has performed on every continent and in the world’s greatest concert halls, from the Berlin Philharmonie to Carnegie Hall in New York...

Many of his recordings have been acclaimed and awarded by international critics (Diapason d’Or of the Year, nomination for the Victoires de la Musique...).

In 1994, he was invited to serve as a professor for the creation of France’s first recorder class at the Conservatoire National Supérieur de Musique, a position he held until 2023. He is regularly invited to give masterclasses by leading early music institutions, such as the Scola Cantorum Basiliensis, the H.E.M. in Geneva, the conservatories in Amsterdam and Vienna, and the Royal College of Music in London...

He is the composer and arranger of the original music for the animated film PACHAMAMA (2018), nominated for a César Award in 2019, as well as for the animated short film “Jehanne” by Atam Rasho. More recently, he has been invited as a composer to work on several documentaries, including “L’École de tous les possibles” by Anne Gautier.

Booklet für Incas y Conquistadores