The practice of singing from copies of the original manuscripts, which is a special feature of the Ensemble, has quite specific consequences for the interpretation of the music. The old forms of notation - such as the neumatic notation of the chorale, the modal notation of the Notre-Dame organa, and mensural notation - employ a great number of symbols indicating that melodic ornamentation is to take place. In order to give this feature the emphasis it deserves, Vox Nostra favors a slow, flowing style of performance in an appropriately restrained tempo. The vocal sound which results is rich in overtones, and fills the entire room; it allows the archaic and pure intervals of this music to be fully appreciated, and ensures that the complex weaving of the individual voices is clearly audible. In addition to the original manuscripts, treatises on music from the 13th-16th centuries also provide information regarding tempo, ornamentation and the practice of solo performance of the chants.

The members of Vox Nostra have sung with the most esteemed medieval and vocal ensembles in Europe, as well as pursued extensive scholarship in the fields of musicology, medieval paleography, and theology.

The music of Vox Nostra combines expressive musicality and academic curiosity. The repertoire ranges from Gregorian chant to Italian lauds, from early polyphonic compositions from St. Martial (Aquitaine) and Notre-Dame (Paris) to the richly polyphonic compositions of the Renaissance.

In addition to early music, Vox Nostra sings contemporary music, experimenting with vocal color and micro-intervals.

Vox Nostra are:
Amy Green
Ellen Hünigen
Susanne Wilsdorf
Werner Blau
Till Schulze
Burkard Wehner - artistic director

You can find out more about Vox Nostra on their website.

"They sang with great expression, richly ornamenting the song with micro-intervals, and maintaining a uniform vocal color, despite the individuality of the different voices... The artistic potential of the group is immense, only five singers conjured an entire panorama of the spiritual epoch of the Cathedrals".
(Artur Bielecki: Music Magazine Ruch Muzyczny Nr. 10 / 2009, Wroclaw, Poland)

Assumpta est Maria

Vocal music of the Cathedral Notre-Dame de Paris in the year 1200