I‘d like to introduce a subcategory to Historically Informed Perfomance Practice (HIP): Historically Informed Creativity (HIC). The creative aspects for musicians from the early music epochs (Middle ages, Renaissance, Baroque) included improvising, diminuting, ornamenting, arranging … Read more
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
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 … Read more
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.
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.