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Vertebración VI — 2016

Rehearsal of 'Ya sabía que debía haber algún error'

Rehearsal of ‘Ya sabía que debía haber algún error’

Last 23rd & 24th of February I was happy to play next to Bárbara Sela and Alejandra Fernández in a contemporary dance performance at Teatro de la Maestranza in Seville. The event was organized by Asociación PAD and there were 3 different choreographies directed by 3 different dancers. I worked with Juan Luis Matilla in his ‘Ya sabía que debía haber algún error’ (I already knew there had to be some mistake), a performance based entirely on improvisation, both for the dancers, as for the musicians and for the director. There were established signs Juan Luis could use to move dancers or musicians in a specific direction, stop us or change to a different character, and from there on it was improvised by us performers. It’s been a great experience, especially from the point of view of early or classical music where everything seems to be (normally) very strict and people (normally) expect perfection. Here, one did feel free in his expression and I loved that the performances would never be the same and how you always stay curious about what might happen next. I hope to be able to participate more in multidisciplinary performances for I enjoyed it a lot, learned a lot and I am sure there is still a lot more to discover. A big thank you to everyone involved, but especially to Junalu for his great ideas, for being a great director and person, and to Bárbara Sela without whom I wouldn’t have been there!


A photo from 21-12-15 in Berlin

Milena Cord-to-Krax | Sofia Chekalina | César Queruz

Milena Cord-to-Krax | Sofia Chekalina | César Queruz

Last 21-12-15 I played a concert in Berlin with Sofia Chekalina (baroque cello) and César Queruz (tiorba) at KiezKulturWerkstadt. It was the first time for me to travel to Berlin and I had spoken with César via eMail, but we only got to know each other 3 days before the concert. His teacher Björn Collel kindly put us into contact after I asked him whether he knew anybody who would like to play with me at my friend’s, Javi Vela’s, small and very beautiful stage in Berlin-Charlottenburg. In the end we performed as a trio, as Sofia joined us. Everything worked out fine and we had a good time. I hope we’ll repeat. 🙂

Three videos from 29-05-15

François Couperin (1668-1733) — Concert Royal no. 4

Milena Cord-to-Krax, recorder | Ventura Rico, viola da gamba | Alejandro Casal, harpsichord

☞ Voiceflute by Ernst Meyer

Johannes Ciconia (ca. 1370-1412) — Aler m’en veus

Milena Cord-to-Krax & Vicente Parrilla, recorders

☞ Renaissance tenor recorders by Bob Marvin

G.P. da Palestrina & G.B. Bovicelli & M. Cord-to-Krax (*1988) — Io son ferito ahi lasso

Milena Cord-to-Krax, recorder | Alejandro Casal, harpsichord

☞ Alto ‘Ganassi’ in g by Monika Musch & Renaissance basset in F by Bob Marvin

Aler m’en veus — A video from 17-04-15

Johannes Ciconia (ca. 1370-1412) — Aler m’en veus

Milena Cord-to-Krax, recorder | Johanna Rose, viella

Earlier this month, I was lucky to get to perform with excellent viol player Johanna Rose. This piece forms part of a medieval music duo program:

La dolçce sere

Medieval Italy around 1400: names such as Ciconia or Landini, famous and celebrated composers in their time, often seem to be quite unknown to lovers of early music nowadays. Through ballatas, madrigals and virtuously ornamented pieces from the Faenza Codex we invite you to have a little look into a surprising repertory of particular beauty!


Concert in San Roque – 09/04/15

San Roque – original photo by RaMaOrLi (CC BY-NC 2.0)

San Roque – original photo by RaMaOrLi (CC BY-NC 2.0)

Next week, 09/04/15, I’m going to play a duo concert with Alejandro Casal (organ) in a village in Southern Spain –San Roque– next to Gibraltar. I am very happy about the program, since this music is one of my favorites and quite rarely chosen by programmers: 16th century diminutions on madrigals. Next to diminutions by Ortiz, Bovicelli, Rognioni & Bassano there’ll be 2 diminutions by myself, one of them will be premiered that day. ☺

Alto recorder for sale

Update: Recorder sold!

Have a listen:

Dear recorder players,

I’m selling a baroque alto recorder, made in boxwood, 415 Hz (after Denner) by Joachim Rohmer for 1100€.

I bought the instrument in 2011 at the ERTA ibérica recorder exposition in Madrid. Of all recorders from the Rohmer Recorders workshop I loved this one most. The voicing is quite open and it allows quite a lot of air. The low notes are very strong and powerful.

I’m a bit sad to let it go, but I bought another recorder and unfortunately I can’t keep both of them.

Thanks for your interest,


Hola flautistas,

Vendo una flauta alto barroca, madera de boj, 415 Hz (según Denner) de Joachim Rohmer por 1100€.

Compré el instrumento en 2011 en la exposición de flautas del encuentro de la ERTA ibérica en Madrid. De todas las flautas que traían del taller de Rohmer ésta específicamente me encantó. Es una flauta bastante abierta que se deja soplar bien. Tiene graves muy potentes.

Me da mucha pena venderla, pero he comprado otra alto y por desgracia no me puedo quedar con las dos.



“It is not likely that anybody could question the necessity of ornaments. They are found everywhere in music, and are not only useful, but indispensable. They connect the notes; they give them life. They emphasise them, and besides giving accent and meaning they render them grateful; they illustrate the sentiments, be they sad or merry, and take an important part in the general effect. They give to the player an opportunity to show off his technical skill and powers of expression. A mediocre composition can be made attractive by their aid, and the best melody without them may seem obscure and meaningless.”

Carl Philipp Emanuel Bach (1714-1788) in Versuch über die wahre Art das Clavier zu spielen (Berlin, 1753)

(☞ found on dolmetsch.com‘s music theory online: ornamentation)

Diminutions on Io son ferito ahi lasso — A video from 06-02-15

G.P. da Palestrina & G.B. BovicelliIo son ferito ahi lasso

Milena Cord-to-Krax, recorder | Alejandro Casal, harpsichord

Last Friday I played these diminutions from Bovicelli’s treatise Regole, passaggi di musica, madrigali et motetti passeggiati (Venice, 1594). Bovicelli himself was a singer, but they work just as fine as an instrumental version, I think.

☞ I’m playing a g-alto ‘Ganassi’ recorder by Monika Musch.