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Personal Data

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Prof. Vicente Parrilla
Born in: Seville, Spain
Nationality: Spanish
E-mail contact


Music director, recorder player and improviser, Vicente Parrilla was born in Seville in 1977. He graduated from the Conservatorium van Amsterdam in 2001. Since 2004, he has been appointed as professor of recorder at Conservatorio Superior de Música «Manuel Castillo» of Seville.


As a performing musician, he has been ensemble More Hispano’s artistic director since its foundation in 1998 and makes frequent collaborations with diverse early music ensembles, as well as with world-class jazz and flamenco musicians. Since 2005, Vicente Parrilla has focused on historical improvisation —and, more specifically, on Renaissance improvised counterpoint—, working with the aim of developing some of the instrumental, aural and mnemonic skills necessary to bring back to life the improvisational skills that ancient music performers once had. He has regularly presented the results of his artistic research in front of today’s audiences, besides documenting his work in a number of CD recordings.


As a professor, Vicente Parrilla holds the chair of recorder at the Conservatory of Seville and has over 15–years’ experience in working in higher music education. During that period he has built up a recorder class in Seville that has attracted students from all over Spain, as well as regular and Erasmus students from Germany, Switzerland, Romania, and Argentina. He has thoroughly documented the activities of his Seville recorder class since 2011 on a dedicated website:

See Faculty Positions below.

Education & Diplomas

Faculty Positions

Seminars, Guest Teaching and Presentations

Musical Activity

Vicente Parrilla began his concert career at a very early age, making his first CD recording with his own ensemble More Hispano in 1998 at the age of 20. In addition to leading his group and a number of other projects, his versatility as a performer has allowed him to collaborate with a wide selection of ensembles and musicians with very different backgrounds: jazz pianist Enrico Pieranunzi; jazz bassists Barry Guy & Pablo Martín Caminero. Flamenco artists Rocío Márquez, Patricia Guerrero, María José Pérez, Arcángel & Miguel Ángel Cortés. And early music ensembles such as Euskal Barrokensemble, Accademia del Piacere, Orphenica Lyra, Capella de Ministrers, The Royal Wind Music, Speculum, Artefactum, Seville’s Baroque Orchestra (performing as a soloist) and Madrid’s Symphonic Orchestra. He has appeared in festivals and prominent concert halls in Spain, Ireland, England, Austria, The Netherlands, Belgium, France, The Czech Republic, Poland, Portugal, Switzerland, Germany, Slovenia, Croatia, Brazil & Mexico.


As Director of More Hispano

  1. Glosas (2011). Carpe Diem Records CD-16285
  2. Yr a oydo (2010). Carpe Diem Records CD-16279
  3. Canzoni, Fantasie et Correnti (1999). Lindoro MPC-0703


  1. Juan Sebastián Elkano (2019). With Euskal Barrokensemble (Enrike Solinís). Alia Vox Diversa AV9933
  2. El Amor Brujo (2017). With Euskal Barrokensemble (Enrike Solinís). Alia Vox Diversa AV9921
  3. Colores del Sur (2013). With Euskal Barrokensemble (Enrike Solinís). Glossa Platinum GCD P33301
  4. Las idas y las vueltas (2012). With Accademia del Piacere (Fahmi Alqhai). Glossa Platinum GCD P33203
  5. Nuevos Mundos (2012). With Música Prima. Lindoro NL3013
  6. Amori di Marte (2011). With Accademia del Piacere (Fahmi Alqhai). Alqhai & Alqhai 003
  7. Splendor. Cancionero de El Escorial vol. IV (2010). With Speculum (Ernesto Schmied). Openmusic OPM2010A
  8. Le Lacrime di Eros (2008). With Accademia del Piacere (Fahmi Alqhai). Alqhai & Alqhai 001
  9. Saltos, brincos y reverencias (2008). With Artefactum. Pasarela CDP4/1094 NL3013
  10. Iudicii Signum (2002). With Capella de Ministrers (Carles Magraner). CDM 0203

Research Grants and Music Awards

  • Vicente Parrilla’s PhD research project has been selected by the FWO (Research Foundation Flanders) for a PhD Fellowship fundamental research.

Music Awards (More Hispano / Vicente Parrilla)

Glosas, Carpe Diem Records CD-16285, 2011

Yr a oydo, Carpe Diem Records CD-16279, 2010


Past Concerts With More Hispano (Selection)

  • Fribourg (Switzerland), September 18, 2022, ADMA Festival, To the Lovers of Harmony
  • Fribourg (Switzerland), September 20, 2020, ADMA Festival, Le parnasse de Ganassi
  • Varaždin (Croatia), September 27, 2016, 46th Varaždin Baroque Evenings Festival, Improvisando
  • Warsaw (Poland), May 16, 2014, Warsaw’s Music Encounters, Glosas
  • Innsbruck (Austria), July 16, 2013, Festwochen Alter Musik, Glosas
  • Cork (Ireland), October 10, 2013, East Cork Early Music Festival, Glosas
  • Juiz de Fora (Brazil), July 19, 2012, Festival Internacional de Música Colonial Brasileira e Música Antiga, Glosas
  • Utrecht (The Netherlands), September 1, 2008, Festival Oude Muziek, Secretos muy eçelentes
  • Radovljica (Slovenia), August 2004, XXII Radovljica Early Music Festival, Philip II and his four wives: women and music at the Spanish court

Past Concerts With Euskal Barrokensemble & Enrike Solinís (Selection)

  • Potsdam (Germany), June 22, 2022, Musikfestspiele Potsdam Sanssouci, Elkano
  • Gliwice (Poland), October 7, 2018, Festival All’improvviso, Euskal Barrokensemble, El Amor Brujo
  • Royaumont (France), September 15, 2018, Festival de Royaumont, Euskal Barrokensemble, El Amor Brujo
  • St. Gallen (Switzerland), July 6, 2018, St. Galler Festspiele, Euskal Barrokensemble, El Amor Brujo
  • Fribourg (Switzerland), July 4, 2018, Festival International de Musiques Sacrées, Euskal Barrokensemble, El Amor Brujo
  • Barcelona (Spain), May 26, 2018, L’Auditori, Euskal Barrokensemble, El Amor Brujo
  • Tournai (Belgium), September 3, 2017, Festival Les [Rencontres] Inattendues, Euskal Barrokensemble, El Amor Brujo
  • Fontfroide (France), July 17, 2017, Festival Musique et Histoire pour un Dialogue Interculturel, Euskal Barrokensemble, El Amor Brujo
  • Utrecht (The Netherlands), January 22, 2017, Flamenco Biënnale Nederland, El Amor Brujo
  • Den Haag, (The Netherlands), January 20, 2017, Flamenco Biënnale Nederland, El Amor Brujo
  • Vienna (Austria), November 3, 2016, Konzerthaus Mozart-Saal, Colores del sur
  • Turnhout (Belgium), September 23, 2016, Festival van Vlaanderen, Baskische volksschatten ontsluierd
  • Madrid (Spain), November 13, 2015, Auditorio Nacional, El Amor Brujo

Past Concerts With Accademia del Piacere & Fahmi Alqhai (Selection)

  • Nuremberg (Germany), April 25, 2015, Germanisches Nationalmuseum, Las Idas y las Vueltas (with flamenco singer Arcángel)
  • Logroño (Spain), February 22, 2014, Riojaforum, Las Idas y las Vueltas (with Arcángel)
  • Guanajuato (México), October 10, 2012, Festival Cervantino, Las Idas y las Vueltas (with Arcángel)
  • Berlin (Germany), April 23, 2012, Konzerthaus, Las Idas y las Vueltas (with Arcángel)
  • Köln (Germany), April 22, 2012, Philharmonie, Las Idas y las Vueltas (with Arcángel)
  • Hamburg (Germany), April 21, 2012, Las Idas y las Vueltas (with Arcángel)
  • Bad Kissingen (Germany), January 10, 2012, Las Idas y las Vueltas (with Arcángel)

Other Past Concerts

  • Amsterdam (The Netherlands), October 24, 2019, Open Recorder Days Festival
  • Geneva (Switzerland), March 10, 2018, Ganassi Symposium
  • Faro (Portugal), May 20, 2017, Ciclo de Música Barroca de Faro, duo recital with harpsichordist María González
  • Seville (Spain), March 21, 2017, 34th Festival de Música Antigua (FeMÀS), Musica Notturna, with Orquesta Barroca de Sevilla directed by Enrico Onofri. Soloist in Vivaldi’s La notte
  • Seville (Spain), March 15, 2015, Festival de Música Antigua (FeMÀS), A Baroque Dream, duo concert with Italian jazz pianist Enrico Pieranunzi
  • Porto (Portugal), May 3, 2014, Erta Encounter, solo recital: M: A Short & Incomplete Sound History of the Recorder Through its Modern Makers, Chapter M


  • PhD in historical improvisation (2019–2024). docARTES Doctoral Programme in Musical Arts (Ghent, Belgium). David Burn (supervisor, Katholieke Universiteit Leuven) and Philippe Canguilhem (co-supervisor, Université de Tours). Research project selected by FWO (Research Foundation Flanders) for a PhD Fellowship fundamental research
  • Master’s thesis. “With much new information but without documentation.” Fact and fiction in Silvestro Ganassi’s undocumented biographies (2018). Supervisor: Pedro Memelsdorff. Universitat Autònoma de Barcelona (UAB) & Escola Superior de Música de Catalunya (ESMUC)
  • Bachelor’s thesis “La voce humana... del flauto”: A performer’s reading of Sylvestro Ganassi’s Fontegara (1999). Method (Leergan): From the eye to the ear: an attempt to raise our eyes from the score (May 2001). Conservatorium van Amsterdam (CvA)

Journal Articles

  1. “Renaissance improvised counterpoint on the recorder,” The Recorder Magazine, volume 40, issue 2 (June 2020), pp. 49–52. ISSN 0961–3544
  2. “Improvisar hoy sobre repertorios históricos,” másJAZZ, volume 41 (2016), pp. 50–63. ISSN 1138-5405

Online Articles (Selection)

  1. Six Transcribed Improvisations on La Spagna, September 12, 2017
  2. The Fred Morgan recorder catalogue, December 24, 2016
  3. Beautiful Recorders, December 29, 2015
  4. The world’s most important photograph of a recorder, December 27, 2015
  5. A comprehensive list of publications by Bob Marvin, December 15, 2015
  6. Fred Morgan’s fingering charts for ‘Ganassi’ type recorders, August 25, 2015
  7. My Fred Morgan story, April 8, 2015
  8. ‘Care of Recorders’ by Bob Marvin, April 4, 2015
  9. Fred Morgan’s ‘playing in’ process for new recorders: way to go!, September 13, 2013
  10. Download My Embellishments: The GLOSAS CD sheet music, now available as a free download, July 5, 2013


Being able to practice and perform on finely handcrafted recorders has proved to be a continual source of learning and inspiration for Vicente Parrilla, whose remarkable collection of recorders includes instruments by Fred Morgan, Bob Marvin, Monika Musch and Ernst Meyer. In order to study the recorder repertoire from as many different historical periods as possible, his collection includes a set of cylindrical recorders; a full Renaissance consort (4’ + 8’); a flauto doppio; “Ganassi-type” instruments; early Baroque models (after Van Eyck and Marvin’s Bassano model); Baroque recorders after Bressan, Denner, Stanesby, Debey, and Bizey; and a modern tenor for contemporary music. A selection of them is portrayed on

Online Projects


Whereas for most period-instrument bands improvisation means judiciously adding ornaments, Mr. Parrilla and company go all out. Mr. Parrilla, on recorder, takes turns with the other instrumentalists elaborating on the composers’ melodies, often adding modal touches and varying the rhythms, much as a virtuosic jazz band would do with a group of standards.

The New York Times, February 17, 2011

Vicente Parrilla has so consumed the model books that he can now speak their musical language with confidence and freedom and create truly modern performances. Parrilla should be considered among the most expressive and technically proficient modern recorder players.

American Record Guide, Nov/Dec 2011

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