Have a look and a listen to three videos of my recorder consort Vox Tremula: Vincenzo Ruffo — La Danza Vox Tremula: Milena Cord-to-Krax, Elena Escartín & Gonzalo Llao, recorders Zoé Desquesnes, contemporary dance J. … Read more
I’ve always loved this first movement of Telemann’s 10th Fantasia for solo flute. I play it very unrytmically because I feel I can tell its story much better this way. I’m a professional freelance recorder … Read more
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!
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:
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.
The other day I found this interesting video on early music printing in Luís Henriques Vimeo channel. Now I love the Finale program even more 😉 – what an effort it was back then! [Oh, and you will have to excuse that old school recorder playing at the beginning of the video.] Enjoy:
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.