Dossier: Milena Cord-to-Krax — Recorder player

MILENA CORD-TO-KRAX
Recorder player
judithmilena.com

BORN 1988. START PLAYING RECORDER 1994.
EARLY MUSIC.
ESPECIALLY: LATE 15TH C. COUNTERPOINT,
16TH C. DIMINUTIONS,
FRENCH BAROQUE & BACH.
STUDIED WITH VICENTE PARRILLA
AT SEVILLE’S CONSERVATORY.
MASTERCLASSES WITH DAN LAURIN, FERNANDO
PAZ, MICHAEL SCHNEIDER & WILBERT HAZELZET.
1ST RECORDING — MAY 2016:
MILENA’S ARRANGEMENT OF
BACH’S CELLO SUITE Nº 5 FOR RECORDER & B.C.

The recorder
surprises and
fascinates me, for
its particular sound
and history, its
hidden difficulty
and its rich and
varied repertoire.

PROJECTS

MUSICK’S RECREATION.
Milena Cord-to-Krax
Musick’s Recreation is my place to realize
my own projects and ideas.
The instrumentation can change according to the
needs of every project.

Duo
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Milena Cord-to-Krax
RECORDERS
&
Alejandro Casal
HARPSICHORD – ORGAN

VOX TREMULA
Recorder Consort
voxtremula.com

PROGRAMS

All concert proposals are available from duo to quartet | quintet.
UNA REVERENCIA A BACH
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‘His name should be
ocean, not Bach.’ –Beethoven
I dip into this ocean, with great
reverence, playing my recently
recorded arrangement of the
suite BWV 995/1101 for recorder and
basso contiuno, as well as my own
variations on Komm süßer Tod, and a
canon from The Art of Fugue.
It is a creative and personal approach on
Bach’s music, with a strict canon in the
middle, building the contrast in
conception and perception of the music.
DIFERENTIAS
Embellished 16th c. music
Rogniono, Bassano, Ortiz & Cord-to-Krax
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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 BROKEN CONSORT
Diminutions on Renaissance Standards
Cabezón, Ortiz & Cord-to-Krax
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A program where every
instrument is protagonist, and
equally important: Renaissance
Standards played by a broken
consort. Diminutions passing
through all the voices, great
diversity of timbres by the
different combinations of these
instruments and emotions
ranging from melancholy to
amazing highs!
QUE DE PLAISIRS —
CHANSONS SANS PAROLE
Lambert, Bousset, Lully & others
Doubles by Hotteterre & Cord-to-Krax
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Playing vocal music instrumentally is usually
associated to the Renaissance period.
Nevertheless, it was still practiced in
Baroque times as we can see, for example,
from Hotteterre’s collection Airs et
brunettes (ca. 1721): compositions 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.

ELOQUENCE WITHOUT WORDS
Facettes of european baroque music 1610-1750
Palestrina & Rognoni | Locke | Cima | Fontana | Hotteterre | Bach
————————————
Articulation, affetti, silence, rhythm,
emotion and reflection are some of the
working tools and virtues both of a good
storyteller and a good melodyteller. But,
unlike the first one, music does not
always need words, for ‘music does not
express this or that particular and definite
pleasure, this or that affliction, pain sorrow,
horror, gaiety, merriment or peace of mind,
but joy, pain, sorrow, horror, gaiety,
merriment, peace of mind themselves, to a
certain extent in the abstract, their essential
nature, without any accessories, and so also
without the motives for them’ –A. Schopenhauer
PETIT CONCERT DE CHAMBRE
Couperin, Hotteterre & Marais
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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.

CHARAVGI
Tsoupaki, Bach, Hotteterre, Telemann,
Anon, Playford & Cord-to-Krax
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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.
LA DOLÇCE SERE
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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!

CONTACT
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write me an email
hello@judithmilena.com
write me on my website
judithmilena.com/contact
call me
+34 655 87 82 19
find me on Twitter
@cordtokrax
find me on Facebook
facebook.com/cordtokrax

Thank you for reading,
Milena Cord-to-Krax