The Wandering Bard (a.k.a. TWB Ensemble) merges qualities of early music with the everlasting tradition of storytelling. Inspired by the traditions of bards, the ensemble performs their repertoire accompanied by a narrative that ties the beginning of the concert to the end.

The ensemble shapes their arrangements from a historically informed, yet unique approach, in order to blend music from each of their album to form for an uninterrupted experience.

Ricardo Alves Pereira’s concept of musical narratives has found a natural home in these performances. Written by him, the narratives told in between the pieces bind individual works together, building an arch over the whole performance. This unique performance technique captures the audience to be part of the tales they tell, some historical and some mythological.

As well as being appreciated highly by the early music society, the TWB Ensemble also succeed at bringing the troubadour experience back to younger audience; a lot of listeners that otherwise would not encounter this 600 to 800 year old music are part of the ensemble’s listener profile due to the ensemble’s mythological approach to this wonderful and highly regarded music via their carefully treated arrangements and authentic approach to the magic of the old eras.

The Wandering Bard’s two founding members Esin Yardimli Alves Pereira and Ricardo Alves Pereira create collaborations with each concert set. Their repertory includes pieces from well known early music composers and anonymous contributors of 13th to 18th century who created the basis of western traditional and classical music. The arrangements they perform are unique to TWB ensemble, yet with loyalty to the era the music was written kept intact. 

TWB Ensemble have been invited to perform in numerous venues and festivals in the UK, Spain, Portugal and the Netherlands. With all musical arrangements done by the ensemble, the group also gave workshops for arrangement making and forming musical narratives to a selection of choirs which they performed with.

The ensemble has a selection of recordings that can be heard in all major music streaming platforms.

Early Music

Latest Release

Leyriath, The Song of Lumino
Vihuela Works by L.Narvaez & A. Mudarra and Monteverdi’s Ritornello From L’Orfeo

Vielle: Esin Yardimli Alves Pereira
Narration/Vihuela: Ricardo Alves Pereira
Percussion: Nina Loureiro

After the success of their previous release, TWB Ensemble presents yet another legend from the “Manuscripts of Leyriath”, which can be musically experienced through the music from Renaissance Iberia, as well as listened in a storytelling style by the end of the album.

“The Song of Lumino” tells of companionship, magic, beauty and most importantly, power of music; what it can bring, as much as take away.

“What a magical evening The Wandering Bard gave us at our intimate venue in Brighton! This unusual and talented ensemble seem to have been purpose-made for Bom-Bane’s. Their exquisite blend of folk, early music and story-telling delighted our spellbound audience who wouldn’t let them leave without encores of their natural virtuosity, and demanded I ask them back! Which of course I did…”

Jane Bom Bane (Bom-Bane’s Concert Venue)


Venus the vielle & Tiger Eye Vihuela

Venus the Vielle & Tiger Eye Vihuela

TWB ensemble performs on instruments that follow the exact details of historical instruments build to perform late medieval and renaissance repertoire, which were crafted by Orlando Trindade.

Orlando Trindade has dedicated himself to the construction and restoration of stringed instruments, with a special interest in early music instruments. Since 2000, he has studied and collaborated with musicians, researchers, musicologists and other luthiers, always with the aim of carrying out the best possible work in the field of the historical reconstitution of this heritage.

The instruments that Esin and Ricardo play with have been funded by a successful GoFundMe campaign the TWB Ensemble had initiated. Below are the names of the donors that believed in The Wandering Bard, and contributed to the funding of the instruments used by the musicians. We are ever grateful;

Fiona Johnson, Paula Alves, Bob Ahern, Mert Susur, Bahadır Noyan Coşkun, Kevin Anrich, T G, Sevil F, Ines Anonymous, Pedro Filipe, Ege Yardimli, Isabel Do Vale, Ali Kemal Yardımlı, Seyhan Has Yardimli, Metehan Köktürk, Ece Şermet, Ana Margarida Vieira Sousa, Ferran Bertomeu Castells, Alison Mitchell, Alessandro Valcepina, Michael Strain, Iván Nogueira, Annette Boyne, David Grimes, Toothfairy, Damla Us, Erica Johnson, Shirley Johnson, Keren Em, Nicholas Grimes, John Mansbridge, Tomaz Alves, Clara Silva, Maria Lurdes Alves Castanheira, Carlos Pereira, Bengi Yardımlı, Isabel Martinez, Sara Pera, Glynis Johnson, Silver J. Bosch

Venus the Vielle

This instrument was made from one single wood piece of Linden tree (aside from a few parts that use cherry tree) which was the common practice since the medieval era. During this period, the linden wood was commonly used to carve wooden sculptures and musical instruments. Its soft touch allowed artists and luthiers to sclupt the most incredible artifacts, that is why the three was known as the “sacrum lignum”, or the “sacred wood”.

Venus the Vielle is created based on various historical sources, though it mainly follows the model presented in the painting made by Giovanni Ambrogio Pedris; a painter that collaborated with Leonardo da Vinci to create this masterpiece.

If you look closely enough, you can see the similarities between the head pieces of the instruments in their teardrop form commonly found in medieval and renaissance era instruments; the C holes facing the inner part of the instrument; the sides of the sound box having the inwards curve and the presence of five strings on both of the instruments.

Angel in Green With a Vielle, by Ambrogio de Giovanni Pedris, c.1490

Tiger Eye Vihuela

There are only three known surviving vihuelas from the 16th century in the entire world. Orlando Trindade has reproduced to the tiniest detail one of these instruments, known as ‘Vihuela Chambure’.

Originally tagged as a classical guitar, this instrument was “re-discovered” in 1990, in the music instrument collection in the Cité de la Musique, after being moved from the old Conservatory museum in Paris. Further research on the instrument reached the conclusion that it was an instrument built for a musician of high performance level. In general, expensive instruments were made for wealthy amateurs, who invested in the beautiful decorations and not necessarily in the sound quality of the instrument.

The simplicity of its design and the carefully measured proportions of the vihuela chambure make it ideal to perform with the highest quality possible. Tiger Eye Vihuela got its name from the Tigerwood used on the sides and back of the instrument.

The gravur below belongs to the vihuela book titled “El Maestro” written by Luis Milan in 1536, and it shows Orpheus playing on a vihuela.

Orpheus Playing the Vihuela, Unknown Author, 1536

Listen Now


In this collection, historically informed interpretations of original arrangements of the ensemble stay loyal to the performance style of renaissance and medieval music.

TWB Ensemble’s 4th album, released on the 800th year celebration of the birth of King Alfonso X El Sabio, brings the audience to medieval times with Cantigas de Santa Maria which are attributed to the king himself, leading them to hear for the first time one of the Leyriath Legends.

Narrating the history through the perspectives of his six wives with repertoire attributed to King Henry VIII himself, with In Good Company With King Henry VIII, the TWB Ensemble leads the auidence to experience the passion, burden and beauty of the royal England.

“We have worked with TWB for over a year now and we love their approach to building a concert as one or two musical narratives. We found this idea particularly engaging in workshops, where you have time to explore the ideas behind a narrative. TWB have also been great in lockdown, giving us joy and musical energy in workshops over Zoom.”

Andrew Robinson (BREMF Community Choir Director)

Earlier Works


Earliest works of the ensemble were build on the idea of merging the qualities of classical and folk music, with the desire to reach out to audience that otherwise might not have heard the other side of the coin.

The Lady in Green is a narrative build upon light-hearted arrangements of music from Purcell and Dowland to tell the story of two young lovers needing to choose between what society expects them to do and what is their heart’s desire.

TWB Ensemble’s first album reflects their love for folk music with a magical tale created by Ricardo Alves Pereira, centered around most known tunes of the British Isles performed with a traditional approach on modern instruments.

“These artists are the medieval musicians of the 21st century”

La Voz de Galicia (28/07/2019)

The Wandering Bard's Approach to Their Music

The Why and The How

The Wandering Bard ensemble began their journey with a goal and as it happens to all long lasting establishments, the goal evolved as the ensemble evolved.

The goal was simple; making their music high quality and sophisticated, yet approachable and appreciable.

Earliest works of the ensemble were built on the idea of merging the qualities of classical and folk music, with the desire to reach out to audiences that otherwise might not have heard the other side of the coin. This meant that the ensemble would approach either side of the repertory with equal respect and passion; blend elements of each side to create a new sound that was suitable for churches and concert halls as much as small theaters and cultural gathering spaces, all at once. 

This was a success. The Wandering Bard ensemble had given concerts internationally in all mentioned spaces; at times to hundreds of people, and at times to a handful of people. Both types of concerts had their unique outcomes the ensemble had desired all along; concert halls would amplify the depth, academicality and seriousness of their work, and small gatherings would create that magical atmosphere set by the “fire side bard” feeling where the audience would carry home not just memories of an amazing concert but one of those unique nights where drink is shared and stories are told. 

Both the classical and the folk music audience enjoyed the setlists of the ensemble enriched by repertoire that they were not accustomed to hear in their musical environments; blending jigs and reels with works of Henry Purcell, music attributed to King Henry VIII, pieces composed by John Dowland and anonymous bards of yore actually worked well together seamlessly. This was because the arrangements would nevertheless be done with the same approach regardless of the source of the repertory being “written tradition” or “oral tradition”; musically presenting the storyline told in between the pieces to create an arch over the selected repertoire; hinting the elements of the narrative with musical motives, dynamic changes, melodic dialogues; thus the musical language of The Wandering Bard was born.

As years went by, the members of the ensemble began to realize that what connected the dots between both audiences was more than just the blend of repertoires; and that the early music repertoire on its own was reaching to both places at once.

And so it began. The manuscripts. The era-appropriate instruments. The research. Countless days and nights with bent backs over editions of scores to do comparative analysis from. Combined with the troubadour-like storytelling the ensemble has been doing since the beginning. 

Now The Wandering Bard performs early music with a historically informed yet unique approach; their music is presented in arrangements the ensemble makes based on the manuscripts while reflecting the elements of the musical narratives they perform during their concerts and their album recordings which are available on all music streaming platforms.

Enjoy your reading :)