Recognized by the international press as one of the most interesting musicians in the field of early music thanks to her dynamism, her approach combining performances on antique keyboard instruments and research, Catalina Vicens is today one of the most versatile and sought-after performers of historical keyboard instruments, and among the most accredited teachers of her generation.
Because of her broad experience working with antique instruments ranging from the fifteenth century to the early nineteenth, she has been invited to play some of the oldest instruments in the world, such as the oldest playable harpsichord still in existence (Anonymous, Naples, c. 1525) at the National Music Museum in the United States (the recording of the performance, "Il cembalo di Partenope," was later awarded the Diapason d'Or), the 15th-century Gothic organ of St. Andreas in Ostönnen, Germany (c. 1425), one of the best-preserved organs of the Late Middle Ages, and instruments from a considerable number of prestigious collections in the United Kingdom, Europe, Japan, and the United States. Vicens is also recognized for her knowledge of medieval and Renaissance keyboard instruments: she works alongside specialist makers of antique instruments to build new prototypes based on historical sources, and partners with multiple composers to breathe new life into historic instruments.
Currently the artistic director and curator of the San Colombano Museum - Tagliavini Collection in Bologna, Italy, she is Guest Professor for Harpsichord and researcher at the Royal Conservatory of Brussels, Belgium. She has been invited as Visiting Professor of Harpsichord at the Oberlin Conservatory in the United States (2019), and to give masterclasses at the Longy School of Music in Cambridge and the Flint Collection of antique harpsichords, in the United States; at the Horniman Museum in the United Kingdom; at the University of the Arts in Berlin and the Folkwang University of the Arts in Essen, Germany; at the Gothenburg International Organ Academy, Sweden; and at the University of St Andrews Summer Organ Week in Scotland. She also teaches at the Lunenburg Academy of Early Music in Canada, the Early Music Course at Burg Fürsteneck, and in 2011 founded International Portative Organ Days in Germany.
Vicens, who has also been invited as a juror in several international competitions (such as the Jurow International Harpsichord Competition, the Mechelen Harpsichord Competition, the Dulwich Historical Keyboard Competition and the Wanda Landowska Harpsichord Competition in Poznań, Nordem Early Music Competition), regularly performs and records as an ensemble musician of medieval, Renaissance, Baroque and contemporary music in Europe and North America.
In 2013, she founded the ensemble Servir Antico, with which she aims to shed light on the lesser-known repertoire and intellectual legacy of the humanistic period, with the exploration of music and texts ranging from the 13th to the 16th century, using the concert stage to share with listeners the voices of these visionary artists of the past, and with the intention of amplifying new voices.
Vicens studied modern piano at the Music Institute of the Pontifical Catholic University of Chile, harpsichord at the Curtis Institute of Music in Philadelphia, the Musikhochschule in Freiburg and the Schola Cantorum Basiliensis (obtaining here for the first time ever a Master Degree in medieval keyboard instruments as well); and contemporary music performance with historical instruments at the Hochschule für Musik of the Basel Music Academy. She is currently a doctoral candidate at the University of Leiden in the Netherlands, at the Orpheus Institute Ghent.
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