From Seville to Isfahan

With the great master of the Spanish Renaissance, a truly golden age of polyphony came to light. They knew how to incorporate in a mainly French and Flemish context the tracks left by the Moores and Muslim cultures, so present in medieval Spain.

With Fahmi Alqhai, one of the greatest virtuoso of viola da gamba, and his Accademia del Piacere, an important ensemble of the Spanish early music, Constantinople started a musical journey between Iberian cultures and those from Perse and Central Asia, rediscovering music with sumptuous colours and a rare aesthetical richness.

With the great master of the Spanish Renaissance, a truly golden age of polyphony came to light. They knew how to incorporate in a mainly French and Flemish context the tracks left by the Moores and Muslim cultures, so present in medieval Spain.

With Fahmi Alqhai, one of the greatest virtuoso of viola da gamba, and his Accademia del Piacere, an important ensemble of the Spanish early music, Constantinople started a musical journey between Iberian cultures and those from Perse and Central Asia, rediscovering music with sumptuous colours and a rare aesthetical richness.

With the great master of the Spanish Renaissance, a truly golden age of polyphony came to light. They knew how to incorporate in a mainly French and Flemish context the tracks left by the Moores and Muslim cultures, so present in medieval Spain.

With Fahmi Alqhai, one of the greatest virtuoso of viola da gamba, and his Accademia del Piacere, an important ensemble of the Spanish early music, Constantinople started a musical journey between Iberian cultures and those from Perse and Central Asia, rediscovering music with sumptuous colours and a rare aesthetical richness.

With the great master of the Spanish Renaissance, a truly golden age of polyphony came to light. They knew how to incorporate in a mainly French and Flemish context the tracks left by the Moores and Muslim cultures, so present in medieval Spain.

With Fahmi Alqhai, one of the greatest virtuoso of viola da gamba, and his Accademia del Piacere, an important ensemble of the Spanish early music, Constantinople started a musical journey between Iberian cultures and those from Perse and Central Asia, rediscovering music with sumptuous colours and a rare aesthetical richness.

With the great master of the Spanish Renaissance, a truly golden age of polyphony came to light. They knew how to incorporate in a mainly French and Flemish context the tracks left by the Moores and Muslim cultures, so present in medieval Spain.

With Fahmi Alqhai, one of the greatest virtuoso of viola da gamba, and his Accademia del Piacere, an important ensemble of the Spanish early music, Constantinople started a musical journey between Iberian cultures and those from Perse and Central Asia, rediscovering music with sumptuous colours and a rare aesthetical richness.

With the great master of the Spanish Renaissance, a truly golden age of polyphony came to light. They knew how to incorporate in a mainly French and Flemish context the tracks left by the Moores and Muslim cultures, so present in medieval Spain.

With Fahmi Alqhai, one of the greatest virtuoso of viola da gamba, and his Accademia del Piacere, an important ensemble of the Spanish early music, Constantinople started a musical journey between Iberian cultures and those from Perse and Central Asia, rediscovering music with sumptuous colours and a rare aesthetical richness.

With the great master of the Spanish Renaissance, a truly golden age of polyphony came to light. They knew how to incorporate in a mainly French and Flemish context the tracks left by the Moores and Muslim cultures, so present in medieval Spain.

With Fahmi Alqhai, one of the greatest virtuoso of viola da gamba, and his Accademia del Piacere, an important ensemble of the Spanish early music, Constantinople started a musical journey between Iberian cultures and those from Perse and Central Asia, rediscovering music with sumptuous colours and a rare aesthetical richness.