Since the establishment of fixed musical chapels in all major churches in Spain in the last quarter of the 16th century, wind instruments such as cornetto, flute, sackbutt, and dulcian were most capital actors of any liturgical or festive date during the year. A century later, al the last quarter of 17th century, new musical aesthetics coming from Italy and France led to the introduction of so-called new instruments such as violins, flutes and oboes, and slowly the old-fashioned instruments fade out. One particular case, however, is the Bajón (Spanish name for dulcian) that continues to be played in the Spanish churches up to the early 20th century.
A broad new repertoire for Bajón has come to light in the last few years: highly demanding and virtuoso music, written for an instrument thought to be in decadence in the 18th century, including the cantatas for Bajón, voice and continuo by Juan Manuel De la Puente (1692-1753). The study and transcription of this new material will go along with the design and production of the instrument that matches the needs of this challenging repertoire. With the help of 3D-printing techniques we will be able to reproduce the characteristics of the remaining original instruments located in Spain, and acquire the tools that will allow us to reconstruct and perform this new and exciting repertoire.