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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. 🙂

“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)

‘Music does not express this or that particular and definite pleasure, this or that affliction, pain, sorrow, horror, gaiety, merriment, or peace of mind, but joy, pain, sorrow, horror, gaiety, merriment, peace of mind themselves, to a certain extent in the abstract, their essential nature, without any accessories, and therefore without the motives for them.’

— A. Schopenhauer, Die Welt als Wille und Vorstellung