Origin and composition
Currende was founded in 1974 by Erik Van Nevel and started its existence as 'Capella Currende'. It later operated under different names, such as 'Currende Consort' and 'Capella Sancti Michaelis', but currently only the name 'Currende' is used. The name refers to the medieval begging students who went singing door-to-door on holidays. The ensemble was - and is still - composed of a group of carefully selected singers, usually four to eight, varying according to the needs. If the music requires it, the singer group is supplemented with specialized instrumentalists.
The Belgian ensemble Currende can hardly be accommodated in one category. As is known, the ensemble is a great advocate of Franco-Flemish polyphony. Through a sophisticated and original programming, it tries to revive this extremely valuable Flemish musical heritage. In this context, we refer to the - in 2019 six-year series - @Missam, in the Saint Peter's Church in Leuven, where eight times a year a polyphonic mass is performed in its 'functional environment'. More than forty-five marvelous masses have already been removed from oblivion in this way. But with equally great inspiration, Currende also lives out in the music of the centuries that followed, going from the early baroque of Schütz and Monteverdi,
to the high baroque of Handel and Bach. As an example, we would like to present the CD Italian Music in the Low Countries, with music by, among others, Francesco Mancini (1672-1737), whose manuscripts are in the Malines Episcopal Archive. Again partly Flemish heritage. One more example is the project English Highlights, a program that combines polyphony with baroque and was received with great enthusiasm. Moreover, new compositions are regularly on the program, albeit always in combination with early music.
A special sense of language makes the performances transparent and clear, and where necessary also very rhetorical. Currende always tries to show the music in an infectious and convincing way. The singers are all professionals, but must be able to start every project with enthusiastic youthfulness. High demands are placed on reading skills, intonation and vocal discipline, with the ultimate aim of achieving the highest possible musical end result. That, together with the pursuit of a very pure intonation, makes the sound of Currende very recognizable.
A Currende concert never is just a list of works. Each composition is weighted on its intensity, length, occupation, tone and atmosphere.
Only then will a well-considered sequence be tested against the correct timing of a concert. Usually a seamless transition from one work to another is sought. The intention is not only to create a great tension, but also to hold the attention of the listener until after the final chord. And in the end make every concert a unique experience.
Currende realized numerous recordings for the VRT, the NOS, WDR, France Musique and during concert tours in Italy, Germany, Japan, Sweden, the Netherlands, France, Israel, Spain and Portugal. Other orchestras also regularly called on the choir: 'Anima Aeterna' under the direction of Jos Van Immerseel, 'La Petite Bande' under the direction of Sigiswald Kuijken, 'Concerto Köln' under the direction of René Jacobs, 'Concerto' 91 'Amsterdam and' Il Giardino Armonico 'led by Giovanni Antonini.
Currende has a very extensive discography of more than fifty CDs, several of which received excellent press reviews. The Psalms and the Magnificat by João Lourenço Rebelo (Et'cetera KTC1568), for example, and the Christmas vespers by Claudio Monteverdi (Eufoda 1352) were praised in the international press; the Rebelo recording even got five stars in the Goldberg magazine. View Currendes full CD archive in this regard.