Posts Tagged ‘Baroque music’
The Imperfect Pearl — a new project
I’m very happy to present a new project: The Imperfect Pearl. Next to Isidro Albarreal (baroque violin), Inés Salinas (viola da gamba) and Gabriele Levi, (harpsichord) I founded a new Early Music Ensemble focussed on … Read more
Historically Informed Creativity — subcategory to HIP
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
Recording: Bach’s Suite BWV 995 arranged for a melody instrument and b.c. by M. Cord-to-Krax
It really happened, I made my first professional recording go public: J.S. Bach — BWV 995 arranged for a melody instrument and b.c. by M. Cord-to-Krax Musick’s Recreation. Milena Cord-to-Krax Milena Cord-to-Krax | alto recorder … Read more
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
“It is not likely that anybody could question the necessity of ornaments. They are found everywhere in music, and are not only useful, but indispensable. They connect the notes; they give them life. They emphasise them, and besides giving accent and meaning they render them grateful; they illustrate the sentiments, be they sad or merry, and take an important part in the general effect. They give to the player an opportunity to show off his technical skill and powers of expression. A mediocre composition can be made attractive by their aid, and the best melody without them may seem obscure and meaningless.”
— Carl Philipp Emanuel Bach (1714-1788) in Versuch über die wahre Art das Clavier zu spielen (Berlin, 1753)
(☞ found on dolmetsch.com‘s music theory online: ornamentation)
Telemann’s Fantasia Nº 10 – 1st movement
☞ Milena Cord-to-Krax, recorder
I home-recorded this movement because I have to sell the recorder I’m playing in the audio. Later I thought that it was actually kind of nice (except for a few little things 😉 ) and that the photos I took were also not too bad, so… I shared it. ♪