Embellished 16th c. music
Rogniono, Bassano, Ortiz & Cord-to-Krax
Learning from the masters:
these musicians left us some of the finest diminutions on 16th century polyphony. I take their advise from the historic treatises to build up a concert with both their and my diminutions on famous Renaissance Standards such as Anchor che col partire, Susanne ung jour or Ung gay bergier.
Conversations in between a mixed consort
Diminutions on famous Renaissance Standards
Cabezón & Cord-to-Krax
A program where every instrument is protagonist, and equally important: Renaissance Standards played by a broken consort: diminutions by Cabezón and Cord-to-Krax passing through all the voices, great diversity of timbres by the different combinations of the instruments and emotions ranging from melancholy to amazing highs!
Petit concert de chambre
French baroque music
Hotteterre, Couperin, Marais
A friend once said, that if one would have to attribute a color to French baroque music – it would be a dark red: at a time delicate and strong, elegant, clearly distinguishable from other baroque styles for its characteristic ornamentation, its rich harmonies, melodic basslines, its special way of developing melody… In this program we present three composer who have left a wide testimony of their real mastery in the music of their time.
Que de plaisirs — chansons sans paroles
Songs by Michel Lambert, Bousset, Lully & others
Doubles by Hotteterre & Cord-to-Krax
Playing vocal music instrumentally is usually associated to the Renaissance period. Nevertheless it was still practiced in the baroque periods as we can see, for example, from Hotteterre’s collection Airs et brunettes (ca. I72I), songs by different authors with their doubles by the flutist.
In this program we play a selection of beautiful songs, (trios, duos & solos) following Hotteterre’s example of embellishing the songs with doubles, creating a quite different atmosphere within French baroque music.
Una reverencia a Bach
Arrangements & Variations
Johann Sebastian Bach
In this program I play my arrangement of the Suite BWV 995/1101 for recorder and basso contiuno, as well as my own variations on Komm süßer Tod BWV 478 and an arrangement of Suite BWV 997. Of course I do not pretend that these arrangements are better than the original versions. But I am aware that the musicians of the time had great freedom in arranging and ornamenting. Bach himself was a great arranger, and I’m quite sure he would not mind. With this approach I actually try to get closer to understanding this giant of music. While arranging, ornamenting or writing variations one must acknowledge every little part of the music, knowing it by hard. This is a personal journey.
Tsoupaki, Bach, Hotteterre, Telemann, Anon, Playford & Cord-to-Krax
The recorder in its less known facet – a solo: The music (medieval, baroque, renaissance, contemporary music and variations by Milena) of such diverse styles make the special sound of the recorder shine every time under a different light. The six recorders chosen for this program, of different styles, timbres and sizes, have been finely made by hand by prestigious instrument makers such as Bob Marvin or Fred Morgan.