The musicians approach the little-known repertoire of the 16th- and early 17th-century from various perspectives, confronting the current standards of the Early Music stage with the rich cultural background of their continents of origin. The group’s areas of activity are always backed up with historically informed research, not merely covering the performance practice, but also delving into the broader socio-historical and artistic contexts. Interest in such areas as literature, fine arts, royal studies, or historical pedagogy enriches the musical creation of Vox Præterita, at the same time not concealing practical elements of contemporary music-making from their sight.

Ensemble Vox Præterita strives to display their profound passion for Early Music and to present it in a universally engaging fashion, which has been appreciated by listeners at festivals and concerts in Switzerland, the Netherlands, and Central Europe. Creative instrumentation and dynamic casts within the ensemble allow for a unique interaction between the musicians and the structure of the repertoire, emphasizing the most characteristic and idiomatic features of repertoire that is mostly difficult to access for musicians of the mainstream within the so-called Historically Informed Performance Practice in the field of early music. Committed to excellence, the four musicians gladly welcome new opportunities of interactions with international audiences to expand their interest in the music of the Renaissance and early Baroque eras.

The ensemble’s concerts are performed in the Venetian pitch “mezzo punto” (a=465Hz).