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).
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.
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.