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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. 🙂

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!

Booking

Videos: recital 2013-2014

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:

C. de Rore & R. RognionoAnchor che col partire
Milena Cord-to-Krax, recorder (☞ Ganassi Tenor by Monika Musch)
Alejandro Casal, organ

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:

Calliope TsoupakiCharavgi
Milena Cord-to-Krax, recorder (☞ Ganassi g-Alto by Monika Musch)

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.