I had to take some photos of the baroque alto recorder I’m selling, which was fun, so I went on with a renaissance recorder by Bob Marvin and it ended up being a little photo session. The quality may not be the best, I took the photos with a mobile phone 🙁 The photos of the baroque alto are here.
☞ Milena Cord-to-Krax, recorder
I home-recorded this movement because I have to sell the recorder I’m playing in the audio. Later I thought that it was actually kind of nice (except for a few little things 😉 ) and that the photos I took were also not too bad, so… I shared it. ♪
Here are three videos of my final recital of the academic year 2013-2014 recorded on June 12, 2014 at Sevilla’s Conservatorio Superior.
Beautiful 16th century diminutions:
This diminution is from Riccardo Rogniono’s diminution instruction book Passaggi per potersi essercitare nel diminuire terminatamente con ogni sorte d’instrumenti… (Venecia 1592).
A fine contemporary piece:
Charavgi means the very beginning of dawn in greek. As the composer explains she tried not only to describe this moment but tu create a transformation of the musical material which ends just in the moment of the sunrise.
More 16th century diminutions, but the second of the three rounds on the Madrigal was embellished by myself:
J. Arcadelt & D. Ortiz & M. Cord-to-Krax — Recercada II, Diferentia & Recercada III after O felici occhi miei
Milena Cord-to-Krax, recorder (☞ Consort Tenor & g-Basset by Bob Marvin)
Alejandro Casal, harpsichord
This are 3 different versions of diminutions on the same madrigal: the first one are diminutions by Ortiz for the upper voice, the second version are diminutions by myself, after Ortiz, for the bass voice and the third version are again original diminutions by Ortiz as well for the bass voice. These appear as well in Ortiz’ great instruction book for diminutions Trattado de Glosas.
Last February’s student concert at Seville’s Conservatory was on the topic of 16th century music. I played three different versions of J. Arcadelt’s madrigal O felici occhi miei: the first one are diminutions by Diego Ortiz for the upper voice, played on a consort tenor blockflute by Bob Marvin. The second version are diminutions by myself, after Ortiz, for the bass voice and the third version are again original glosas by Ortiz as well for the bass voice — these are played on a consort g basset by Bob Marvin.
I fell in love with this flute the first moment I saw and tried it: the G basset from Bob Marvin’s 8′ consort. Since it’s one note higher than the more common F basset, it … Read more
Last Friday we had our monthly recorder students’ concert at Seville’s Conservatory, whose topic was, this time, 16th century music. I played some beautiful diminutions by the always inventive F. Rognoni on G.P. da Palestrina‘s motet Pulchra es amica mea. The recorder I used is probably my favorite one: a renaissance tenor by recorder maker Bob Marvin. Anyway, this was the result:
G.P. da Palestrina & F. Rognoni — Pulchra es amica mea
‘… and thinke it not a smalle thinge to have lerned to playe on the pype or the recorder.’
— Nicholas Udall (1505-1556)