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Posts in Category ‘Video’

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

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Johannes Ciconia (ca. 1370-1412) — Aler m’en veus

Milena Cord-to-Krax & Vicente Parrilla, recorders

☞ Renaissance tenor recorders by Bob Marvin

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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

Diminutions on Io son ferito ahi lasso — A video from 06-02-15

G.P. da Palestrina & G.B. Bovicelli — Io son ferito ahi lasso

Milena Cord-to-Krax, recorder | Alejandro Casal, harpsichord

Last Friday I played these diminutions from Bovicelli’s treatise Regole, passaggi di musica, madrigali et motetti passeggiati (Venice, 1594). Bovicelli himself was a singer, but they work just as fine as an instrumental version, I think.

☞ I’m playing a g-alto ‘Ganassi’ recorder by Monika Musch.

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. Rogniono — Anchor 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).

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A fine contemporary piece:

Calliope Tsoupaki — Charavgi
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.

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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.

Glosas on O felici occhi miei — A video from last February’s students concert


J. Arcadelt & D. Ortiz & M. Cord-to-Krax — Recercada II, Diferentia & Recercada III after O felici occhi miei
Milena Cord-to-Krax, recorder; Alejandro Casal, harpsichord

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.