微光古樂集

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音樂節節目總覽與購票請滑至下方

2026年，台灣將迎來一次空前且具歷史性意義的國際古樂盛事—《微光國際古樂節：西班牙400年》， 這場音樂節主軸聚焦西班牙帝國在1626年登陸福爾摩沙
（現台灣）並建立了聖薩爾瓦多城（基隆和平島）及日後在淡水建立聖多明哥城（淡水紅毛城），這是西班牙在亞洲最東端的殖民據點，卻長期被歷史所忽略。

微光古樂集以此為契機，透過獨特的「六感」策展主軸，從觸覺、聽覺、視覺、嗅覺、味覺及靈覺等層面，重現並重新詮釋這段歷史，讓當代觀眾能跨越四百年時空，深刻感受大航海歷史與現代世界的連結，並藉此機會隆重密集的推出西班牙1400-1700間的文藝復興和巴洛克古樂。

本音樂節不將殖民歷史視為單一敘事中心，而是以西班牙音樂作為一個橫跨歐洲、地中海、中東與東亞的世界性文化節點。微光藉此展開一種跨地域、跨文化的聲音策展，重新思考十七世紀全球音樂如何在不同文明之間被同時實踐與理解。 在此脈絡下，策展同時關注十七世紀台灣漢人聚落與明末清初的音樂文化，並透過烏德琴與絲弦琵琶的對話，建構一條世界音樂發展的路徑，讓不同文化在歷史的同一瞬間中相遇、共鳴。

連接歐洲、地中海、非洲與大洋航線的西班牙，其音樂與樂器的發展在歷史上扮演了關鍵角色。從中世紀與文藝復興時期的舞曲節奏、和聲語彙與器樂技法出發，這些元素經由宮廷、教會與海上貿易網絡，深刻影響了歐洲音樂的形成與演變。即使到了巴赫的時代，乃至今日的拉丁美洲音樂、搖滾與流行音樂之中，西班牙古樂的節奏感、和聲張力與身體性，依然以不同形式潛藏其間，構成一條橫跨數世紀的音樂暗流。

這將是台灣有史以來最密集的古樂活動系列，和西班牙古樂的濃縮精華。 本次古樂節首次將的「六感」體驗作為策展主軸之一，於三月展開「聽覺」系列，聚焦西班牙時代最重要的“文藝復興大聲管樂隊Alta Capella"，同時邀請嗩吶演奏家-黃雅農、透過講座與現場示範，探索西班牙時期台灣漢人嗩吶音樂遺產與東西方雙簧樂器的對話，
「聽覺」系列主軸特邀西班牙國寶級的古樂團—大使古樂團(Capella de Ministrers)合作，透過《西班牙古調La Spagna》及《1400大航海序章》等在國家演奏廳重磅音樂會，生動再現大航海時代西班牙帝國的聲音景觀，展示歐洲文藝復興音樂如何從哥倫布時代，隨著帝國擴張傳播至全球，除台北外，並將會西班牙四百年前登錄的基隆演藝廳演出！

此外，為了預備三月底西班牙大使古樂團的演出，維奧爾琴與提琴的撥弦樂器祖先—比維拉琴（Vihuela）首次來台現身， 特別安排由北藝大琵琶助理教授—蘇筠涵，和北藝大傳統音樂學系兼任助理教授—Alban Couëffé舉行「明末清初」的絲弦琵琶與烏德琴(Oud)專場， 彰顯絲路及海路音樂文化交流的歷史意義，並參考歐洲的古樂復興運動，如何考究復興亞洲的古樂。

在聆聽之外，西班牙時代實質文獻考古的部分也不遑多讓，微光將邀請清華大學歷史副教授—李毓中，中研院兼任研究員—翁佳音、著有《艾爾摩莎的瑪利亞》的基隆文史工作者—曹銘宗，帶來西班牙時代的台灣史、傳說和歷史故事，讓我們更認識在這片土地下的歷史脈絡。 四月古樂節將迎來「視覺和觸覺」主軸，特邀東西縱橫記藝、暢銷書作家、節目主持人—Junie Wang、藝術史學者—鄭治桂，以西班牙黃金時代繪畫與宮廷音樂場景等主題，講解委拉茲奎茲(Diego Velázquez)與畫家—格雷科 el greco 透過專業講座探討視覺藝術如何反映帝國意識形態及文化傳播。

在四月底以「觸覺」為主軸，更會邀請2023年《文藝復興宮廷舞宴》來台造成轟動的文藝復興舞蹈家—奧贊.卡拉格茲(Ozan Karagöz)帶來連續多天的西班牙文藝復興舞蹈工作坊和西班牙複音音樂合唱工作坊，並在最後一天舉行文藝復興舞會。 同時再古樂理論實踐上，大下詩央將會帶來《歐提茲(Diego Ortiz)頑固低音與減值變奏工作坊》和與木笛家—邱聖芳，《La Folia佛利亞》 古樂工作坊，以「觸感」來實作古樂。

五月「嗅覺＆味覺」主軸則從大航海時代香料與飲食文化切入，特邀食色天然香料研究所與神奇海獅兩位飲食和歷史專家，探索大航海時代的食材、香料與美食如何影響現代台灣西餐傳統，並將歷史上的食材演變化作味蕾的感官記憶。 月初將由旅法大鍵琴家—阮秀慈於國家演奏廳帶來 《1700.史卡拉第》的大鍵琴獨奏會，聆聽大鍵琴技藝的巔峰獨奏之作。

五月底「嗅覺＆味覺」的關鍵演出，將會在台北生技園區多功能演藝廳，微光將特邀墨西哥古樂團/文藝復興低音管家—Melodie Michel與韓國Musica ex Machina古樂團，三團共演，帶來拉丁美洲-墨西哥、玻利維亞的西班牙/原木民/黑人的歡快古樂，見證南美中音樂如何淺移默化受西班牙的影響。 演出涵蓋中南美中古樂發展的講座，和一日的《文藝復興低音管(Dulcian）工作坊》 ，並預示六月「靈覺」主題，從墨西哥-阿卡普科(Acapulco)的西班牙大帆船，如何載著聖母像，航向馬尼拉、再航向北台灣的基隆。

六月將來到（第六感）最後「靈覺」的主題，以宗教音樂與信仰聲響為核心，邀請西班牙重要歷史管風琴家/萊昂國立音樂院管風琴教授—Jorge Garcia將首度在台灣國家音樂廳演奏全台唯一的法蘭德斯風格巴洛克大型管風琴，演奏科瑞亞·德·阿羅索的正好於1626年出版的伊比利鍵盤大作—《管風琴學院Facultad Orgánica》，呈現台灣首次具歷史考據意義的管風琴音樂會。

此外，也將與比利時無盡古樂團(InAlto)以文藝復興角號、古長號、古低音管、蕭姆管、大管風琴和歐洲/菲律賓/香港的聲樂家，跨國合作最大型的閉幕音樂會《惡魔岬的餘燼》，並邀請台灣當代作曲家趙菁文以古樂器創作新作品，以聖母瑪利亞與媽祖為海上守護神的主題，音樂考究自馬尼拉西班牙教區館藏的文藝復興手抄本樂譜，包括德普列(Josquin Desprez)等多位法蘭德斯文藝復興作曲大師的大型彌撒曲，為台灣首次的文藝復興盛宴！

重新詮釋西班牙堡壘—聖薩爾瓦多城毀滅後的記憶，與信仰的連結。
本古樂節在於彰顯台灣在國際古樂領域的主體性與專業深度，透過這次音樂節，微光古樂集期望建立一個獨特且具國際高度的藝術策展典範，不僅讓歷史復活於感官之中，更將台灣的歷史位置與文化主體帶入全球古樂地圖，展現前所未有的文化自信與專業視野。

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The Gleam International Early Music Festival: Spain 400 (1626-2026)

In 2026, Taiwan will host an unprecedented and historically significant international early music event:
The Gleam International Early Music Festival: Spain 400

The festival commemorates the year 1626, when the Spanish Empire landed on Formosa (present-day Taiwan) and established Fort San Salvador on Heping Island in Keelung, followed by Fort Santo Domingo in Tamsui (today’s Fort San Domingo). These sites marked Spain’s easternmost colonial outposts in Asia—chapters of global history that have long remained overlooked.

Taking this moment as its point of departure, The Gleam Ensemble presents a large-scale, interdisciplinary festival built around a unique “Six Senses” curatorial framework—touch, hearing, sight, smell, taste, and spiritual perception. Through these sensory dimensions, the festival reinterprets and reanimates early modern history, allowing contemporary audiences to traverse four centuries and to experience how the Age of Exploration continues to resonate within the modern world.
At the same time, the festival offers one of the most concentrated presentations ever staged in Taiwan of Spanish Renaissance and Baroque music (c. 1400–1700).

Beyond Colonial Narratives: A Global Curatorial Vision

Rather than treating colonial history as a single or dominant narrative, the festival approaches Spanish music as a global cultural node, one that connected Europe, the Mediterranean, the Middle East, East Asia, and the maritime world. Through this lens, The Gleam Ensemble proposes a transregional and cross-cultural soundscape, rethinking how 17th-century music was simultaneously practiced, transformed, and understood across different civilizations.

Within this framework, the curatorial vision also turns toward 17th-century Han Chinese settlements in Taiwan and the musical cultures of the late Ming and early Qing periods. Through a dialogue between the oud and the silk-string pipa, the festival traces a global pathway of musical development, allowing diverse cultures to encounter one another within the same historical moment, coexisting and resonating, rather than replacing one another.

Spain as a Musical Crossroads

Situated at the intersection of Europe, the Mediterranean, Africa, and the great oceanic trade routes, Spain played a pivotal role in the development of musical languages and instruments that profoundly shaped European, and ultimately global music history.
From medieval and Renaissance dance rhythms, harmonic vocabularies, and instrumental techniques, these musical elements circulated through courts, churches, and maritime networks, deeply influencing the formation of European art music. Even in the age of J.S. Bach, and extending into Latin American traditions, rock, and popular music today, the rhythmic vitality, harmonic tension, and physicality of Spanish early music continue to surface in transformed yet recognizable forms—an undercurrent flowing across centuries.

This festival will be the most intensive early music series ever presented in Taiwan, and a concentrated panorama of Spanish early music at its finest.

Festival Structure: The Six Senses

March – Hearing

The festival opens with the “Hearing” series, focusing on one of the most emblematic soundscapes of the Spanish Renaissance: the Alta Capella, the powerful wind ensembles of shawms and sackbuts that shaped public, ceremonial, and sacred soundscapes.
Alongside this, Taiwanese suona virtuoso Huang Ya-Nung will be invited for lectures and live demonstrations, exploring the musical heritage of suona practices in Han Chinese communities during the Spanish period, and examining the dialogue between Eastern and Western double-reed traditions.

A centerpiece of the series is the collaboration with Spain’s nationally revered early music ensemble Capella de Ministrers, presenting major concerts such as La Spagna: Ancient Iberian Grounds and 1400 – The Prologue of the Age of Exploration at the National Concert Hall in Taipei. These performances vividly reconstruct the sonic landscapes of the Age of Exploration, demonstrating how Renaissance music traveled globally from the era of Columbus onward.
In addition to Taipei, Capella de Ministrers will also perform in Keelung, returning Spanish early music to the very site where it first arrived in Taiwan four centuries ago.

To prepare for these performances, the festival will introduce the vihuela—the plucked ancestor of the viol and guitar, to Taiwan for the first time. A special concert-dialogue will be presented by Su Yun-Han, Assistant Professor of Pipa at Taipei National University of the Arts, and Alban Couëffé, Adjunct Assistant Professor in the Department of Traditional Music, featuring a focused exploration of late Ming–early Qing silk-string pipa and the oud. This program highlights both land-based and maritime Silk Road exchanges, while reflecting on how Europe’s early music revival can inform approaches to reconstructing Asian early music traditions.

Historical Research & Archaeology

Beyond performance, the festival places strong emphasis on historical documentation and archaeology. Invited speakers include Dr. Lee Yu-Chung (Associate Professor of History, National Tsing Hua University), Dr. Weng Chia-Yin(Academia Sinica), and Keelung historian Tsao Ming-Tsung, author of Maria of Hermosa. Through lectures and storytelling, they will illuminate the Spanish period in Taiwan, its legends, archival traces, and buried histories beneath contemporary landscapes.

April – Sight & Touch

April centers on “Sight and Touch”, featuring cultural writer and media host Junie Wang, and art historian Cheng Chih-Kuei, who will examine Spanish Golden Age painting and courtly musical imagery. Through lectures on artists such as Diego Velázquez and El Greco, these sessions explore how visual art reflected imperial ideology, ceremony, and cultural transmission.

Later in April, Turkish Renaissance dance specialist Ozan Karagöz, whose 2023 Renaissance Court Ball caused a sensation in Taiwan, will return to lead multi-day Spanish Renaissance dance workshops, polyphonic choral workshops, and a culminating Renaissance ball.
Parallel to this, violinist Shio Ohshita will lead workshops on Diego Ortiz’s basso ostinato and diminution techniques, alongside recorder virtuoso Chiu Sheng-Fang in a La Folia workshop—approaching early music through tactile, embodied practice.

May – Smell & Taste

May’s “Smell & Taste” theme explores the Age of Exploration through spices, food, and culinary memory. In collaboration with the Institute of Natural Spices and historian “The Amazing Sea Lion”, lectures will trace how global trade routes shaped ingredients, cuisines, and modern Western food traditions in Taiwan—transforming historical materials into sensory experience.
Early May features a major harpsichord recital at the National Concert Hall by France-based Taiwanese harpsichordist Juan Hsiu-Tzu, presenting Scarlatti 1700, a program devoted to the summit of Iberian keyboard virtuosity.

At the end of May, a landmark performance will take place at the Taipei Nangang Biotechnology Park, bringing together Melodie Michel (Mexico), Musica ex Machina (Korea), and The Gleam Ensemble. This concert presents vibrant early music from colonial Mexico, Bolivia, and Latin America, revealing how Spanish music intertwined with Indigenous and African traditions. The program is accompanied by lectures on Latin American early music and a one-day Renaissance Dulcian Workshop, leading into June’s spiritual theme.

June – Spiritual Perception (The Sixth Sense)

The festival culminates in June with the theme of “Spiritual Perception”, focusing on sacred music and devotional soundscapes.
Spanish organist and professor at the Conservatory of León, Jorge García, will make his Taiwan debut at the National Concert Hall, performing on Taiwan’s only large Flemish-style Baroque organ. The program centers on Francisco Correa de Arauxo’s Facultad Orgánica, published in 1626, offering Taiwan its first historically grounded organ concert of this scale.

The closing concert, Embers of Devil’s Cape, is a large-scale international collaboration with Belgian ensemble InAlto, featuring cornetts, sackbuts, dulcians, shawms, organ, and vocalists from Europe, the Philippines, and Hong Kong. The program draws on Renaissance manuscripts from Spanish ecclesiastical archives in Manila, including works by Josquin Desprez and other Flemish masters. Taiwanese composer Chao Ching-Wen has been commissioned to write a new work for period instruments, connecting the Virgin Mary and Mazu as maritime protectors. This concert reimagines the destruction of Fort San Salvador and the spiritual memory that followed.

Conclusion

The Gleam International Early Music Festival: Spain 400 asserts Taiwan’s artistic agency and professional depth within the global early music landscape. Through this festival, The Gleam Ensemble aims to establish a distinctive, internationally resonant curatorial model, one in which history is not merely revived, but reactivated through the senses, and Taiwan’s cultural position is firmly inscribed within the global map of early music.

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2026 微光國際古樂節
西班牙.四百年節目總覽

The Gleam International Early Music Festival 2026
Spain 400: Complete Program Overview

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