Claire Piganiol

Claire Piganiol discovered early harps as she was studying recorder and modern harp at the conservatoire of Orsay (France). Her fascination for these nowadays little-played instruments led her to musical studies in Milano, Toulouse and Basel, where she obtained a Master in early harps in 2012.  She studied more specifically the repertoires of the Middle Ages and the Renaissance in a specialized Master at the Musikhochschule Trossingen (Germany).

Academic studies in history and musicology gave her the opportunity to start research work on the forms and repertoires of these harps for which relatively few sources were handed down to us.

She plays repertoires from the Middle Ages to the 18th centuries, with incursions in contemporary music, and participates in several ensembles in France and abroad: Centre de musique baroque de Versailles, ensembles Roselis, Tetraktys, Gilles Binchois, Isabella, I Ragazzari, Intavolatura, Kesselberg…

Wishing to make early harps more easily available to present-day audiences and musicians, amateurs and professionals alike, she regularly teaches workshops dedicated to these instruments.

Ricardo Simian

The quest for the early music sounds, and in particular the cornetto (with which he fell in love thanks to a recording in the faraway Chile), has taken Ricardo from his mother town Santiago to the italian Milano and finally to the swiss Basel, collecting a bachelor degree and a specialized diploma in early music and recorder (within the „Civica Scuola di Musica di Milano“) and a masters degree in cornetto (within the „Schola Cantorum Basiliensis“) in the way.

Ricardo is an active performer, teacher and researcher and continues to expand his sound horizons through the study and development of recently rediscovered early instruments such as the tenor cornetto, the cornettino and the slide trumpet, as any active musician would have done at the time. Such research into the early baroque, renaissance and late medieval musical landscapes lead to the creation of the ensembles „Mandragora“ and „Gruppo Seicento“, of which Ricardo is a founder member. 

In 2013 Ricardo started a „3D printed instruments“ project which seeks to produce very accurate copies of original instruments in a modern and practical way. This effort, combined with his pedagogical work in Germany, Switzerland and Italy aims to contribute to the rediscovery of the ancient instruments sounds‘ to the new generations.

© Ensemble Celacanto 2014 - 2018