“It was really a great concert with an uncommon program, new and interesting discoveries and everything played in the highest level.”

Olaf Wegener, Project leader of the Support Program of Contemporary Music (German Musical Council)

“Concerts of this kind, marked by its originality and embarked on the path of adventure, worthy of all praise.”

Arturo Reverter, Scherzo

“I welcome the foundation of this ensemble since people who are working in early and contemporary music look further, beyond conventions and the norm. At the end our hearing is expanded.”

Alberto Bernal, composer and sound artist

About Us

Continuum XXI – Historical Instruments Ensemble for Early and Contemporary Music

To create new repertoire for historical instruments. To understand tradition and move towards the avant-garde. To work with current composers and artists from other disciplines. To rediscover historical instruments and push them to their limits. To question and understand the current human being in all its facets. These are some of the goals when we make Early and Contemporary Music in Continuum XXI.

      Alberto Arroyo | Artistic Director of Continuum XXI

Since its foundation the ensemble has combined contemporary repertoire with Middle Age, Baroque and Renaissance works in its concerts throughout Europe. With its original scoring of recorder, baroque violin, viola da gamba and harpsischord, it has premiered pieces of different aesthetics and formats (electronics, video, poetry, improvisation), showing a wide palette of expressive possibilities of the ensemble. Continuum XXI has also premiered several works originally written for historical instruments. This is the case of the composers Peter Ablinger, Raphaël Cendo, José M. Sánchez-Verdú, Alberto Bernal, Helga Arias, Sergio Blardony, Manuel J. Sánchez or Sandra Lanuza.

Continuum XXI has been part of the “Contemporary Music Support Program” of the German Musical Council (Deutscher Musikrat, Förderprojekte Zeitgenössische Musik) as a young and innovative initiative, which refers to our ensemble in the following terms: “It was a great concert with an uncommon program, new and interesting discoveries and all played to a very high level.”

Continuum XXI has won the Cesar-Etopia Labs 2020 residency and published the interdisciplinary work Continuum XXI: TRACES with visual artist and composer Joan Gómez Alemany. The ensemble has also been interviewed in RNE (Musica Viva) or in the online magazine SulPonticello and selected for the prestigious Libro de Oro de la Música Española (Melómano). At present, the ensemble works closely with renowned composers, of whom it is going to perform world premieres in Germany, Portugal, Spain and other European countries. In addition, Continuum XXI collaborates with artists from other disciplines, such as the theater group “theatrale subversion” in their programs Ritual Reloaded or Music of the extremes.

The ensemble has received the support of important institutions such as the Ernst von Siemens Musikstiftung, Deutscher Musikrat, Musikfonds, Kulturstiftung des Freistaates Sachsen, Sparkasse Dresden, Klangnetzt Dresden, ETOPIA-Cesar Residency, SLUB Dresden, Kühlhaus Berlin, etc.

Review in the magazine Scherzo | Continuum XXI, behind Scelsi’s shadow (Spanish).

Interview in the online magazine SulPonticello | Continuum XXI: feedback between past and present (Spanish).

Interview in the Spanish radio show Música viva (RNE): Classical music vs contemporary music (Spanish).


Adrián Pineda

Baroque violin


My reference pieces are:
Early Music: Sonate in D Major K.511 by Scarlatti.
Contemporary MusicMelancholia for baroque violin by José M. Sánchez-Verdú.

My motivation in CXXI:
My goal is to have a broad perspective of what music is as a whole, thus achieving an inclusive vision of all the possibilities that we have available to be contemporary musicians with all the baggage of history in our favour.

Moisés Maroto



My reference pieces are:
Early Music: Overture-Suite TWV 55:a2 by G. P. Telemann for recorder and orchestra.
Contemporary Music: Gesti by L. Berio.

My motivation in CXXI:
My purpose with Continuum XXI is double: on the one hand my personal wish is that the recorder gains importance and perspective in the future as an instrument, that is, that its importance and versatility are shown as they were during its golden age; their technical possibilities in favor of the contemporary composition that the instrument has and that is how it consolidates more in the present. The second thing that motivates me is to show a musical idea of a project that is so different, beautiful and functional, as well as breaking stereotypes and pigeonholing of historical instruments.

Ekaterina Gorynina

Viola da gamba


My reference pieces are:
Early Music: Pieces de viole by M. Maraice for viola da gamba and basso continuo.
Contemporary Music: Mouvement (-vor der Erstarrung) by H.Lachenmann for ensemble.

My motivation in CXXI:
As a viola da gamba player, my passion is to bring to life the rich and fascinating sound world of this historic instrument.

My goal is to establish the viola da gamba as an instrument that plays an important role in both early and contemporary music. The close collaboration with my colleagues of the ensemble Continuum XXI allows us to explore new sound worlds and develop innovative interpretations to excite and inspire audiences with our music.

Darío Tamayo

Harpsichord & Organ


My reference pieces are:
Early Music: English Suite n. 6 in D minor, BWV 811 by J.S. Bach
Contemporary Music: Two pieces for Harpsichord, H. 244 by Bohuslav Martinů

My motivation in CXXI:
To reclaim the validity of the acoustic resources offered by period instruments for the
avant-garde musical creation and to emphasize the conceptual convergences existing
between Baroque repertoire and several Contemporary trends.

Paula Pinero



My reference pieces are:
Early Music: Marche pour la cérémonie des Turcs by Jean-Baptiste Lully.
Contemporary Music Toucher by Vinko Globokar.

My motivation in CXXI:
I have always been fascinated by the union of opposites in art. This idea is something that the uniqueness of Continuum XXI represents very well. As part of the ensemble, I am interested in exploring the use of percussion in early music under a contemporary perspective, as well as contributing to the creation of new repertoire for historical instruments, exploring the multiple possibilities that ancient percussion offers.

Alberto Arroyo

Artistic director

My reference pieces are:
Early Music: Trio Sonata HWV 392 by G.F. Händel.
Contemporary MusicContinuum, by G. Ligeti

My motivation in CXXI:
I wish that Continuum XXI establishes its scoring as standard instrumentation and breaks the historical discontinuity that exists in the repertoire written for historical instruments. That in the future to compose for recorder or harpsichord is as common as to do it for modern flute and piano. Or flute and video. To search beyond conventions and offer new expressive possibilities to current composers.


From its initial core, the CXXI scoring expands and collaborates with musicians and artists from other disciplines:

Ismael Campanero


AuditivVokal Dresden

Ensemble vocal

Vocal ensemble


Joan Gómez Alemany

Artista visual y compositor

Visual artist and composer

Bildender Künstler & Komponist

teatrale subversion




Ferdinand Vicončaij




Amarilis Dueñas

Viola da gamba, violoncello

Pablo González




Sandra Lanuza




Anton Kuznetsov

Visual and sound design







You can discover all our musical projects here:

Alle unsere musikalischen Projekte können Sie hier entdecken:

Puedes descubrir todos nuestros proyectos musicales aquí:


In Media you will find a photo gallery and some videos of the ensemble:

Unter Medien finden Sie eine Fotogalerie und einige Videos des Ensembles:

En Media encontrarás una galería de fotos y algunos vídeos del ensemble:




If you would like to collaborate with our work, you can donate here:

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Si te animas a colaborar con nuestro trabajo puedes donar aquí:




And for any questions you can contact us from Contact:

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