* (A less formal, about page is here).


Music director, recorder player and improviser Vicente Parrilla was born in 1977 in Sevilla. He graduated from the Conservatory of Amsterdam in 2001. Since 2004, he has been a Professor of Recorder at the Conservatorio Superior de Música «Manuel Castillo» of Sevilla (currently on leave).


As a performing musician, he has been the artistic director of the ensemble More Hispano since its founding in 1998. He collaborates with various early music ensembles and world-class jazz and flamenco musicians. Since 2005, Vicente Parrilla has been working on historical improvisation and Renaissance improvised counterpoint, to develop the instrumental, aural, and mnemonic skills necessary to revive the improvisational skills that ancient musicians once possessed. He has regularly presented the results of his artistic research to contemporary audiences and has documented his work in a series of CD recordings.


As a professor, Vicente Parrilla holds the recorder chair at the Conservatory of Sevilla and has more than 15 years of experience in higher music education. During this time he has built up a Recorder Class in Sevilla that has attracted students from all over Spain, Germany, Switzerland, Romania and Argentina. Since 2011 he has been documenting the activities of his recorder class in Sevilla on a dedicated website:

See Faculty Positions below.


I am currently PhD in the Arts researcher at KU Leuven / LUCA Faculty of the Arts and docARTES, a doctoral program for performers and composers hosted by the Orpheus Instituut (Ghent). The FWO (Research Foundation Flanders) has selected my project for a PhD Fellowship in Fundamental Research. I hold a Master’s Degree in Musicology, Musical Education and Interpretation of Early Music from Universitat Autònoma de Barcelona (UAB) and Escola Superior de Música de Catalunya (ESMUC). I have presented my research at the international level in venues such as Journée du doctorat (MIM, Brussels), Haute école de musique de Genève, Schola Cantorum Basiliensis, and MedRen conference.

See Research below.

Education & Diplomas

  • 2019–2025: PhD in historical improvisation. David Burn, supervisor (Katholieke Universiteit Leuven). Philippe Canguilhem, co-supervisor (Université de Tours). KU Leuven, LUCA Faculty of the Arts and docARTES Doctoral Programme in Musical Arts (Orpheus Instituut, Ghent, Belgium)
  • 2017–2018: Master’s Degree in Musicology, Musical Education and Interpretation of Early Music. Specialization: Recorder. Class of Prof. Pedro Memelsdorff. Universitat Autònoma de Barcelona (UAB) and Escola Superior de Música de Catalunya (ESMUC)
  • 2001–2002: Recorder studies with Prof. Pedro Memelsdorff. Escola Superior de Música de Catalunya (ESMUC)
  • 1997–2001: Muziek 1e fase, Bachelor Recorder Diploma. Class of Prof. Walter van Hauwe. Conservatorium van Amsterdam (Holland)
  • 1995–1997: Recorder studies with Prof. Jeanette van Wingerden. Additional recorder lessons with Marion Verbruggen, Michael Barker and Sébastien Marq. Koninklijk Conservatorium, Den Haag (Holland)
  • 1986–1995: Título de Profesor de Flauta de pico (‌Recorder Teacher Diploma). Class of Prof. Guillermo Peñalver. Additional recorder lessons with Aldo Abreu. Conservatorio Superior de Música Manuel Castillo, Sevilla (Spain)

Faculty Positions

Guest Teaching

Musical Activity

Vicente Parrilla began his concert career at a young age, recording his first CD with his ensemble More Hispano in 1998 at the age of 20. In addition to leading his group and other projects, his versatility as a performer has allowed him to collaborate with a wide range of ensembles and musicians from different backgrounds: early music ensembles such as Euskal Barrokensemble, I Fedeli, Ensemble Cantatio, Accademia del Piacere, Orphenica Lyra, Capella de Ministrers, The Royal Wind Music, Speculum, Artefactum, the Sevilla Baroque Orchestra (as soloist) and the Madrid Symphonic Orchestra; jazz pianist Enrico Pieranunzi; jazz bassists Barry Guy and Pablo Martín Caminero; flamenco artists Rocío Márquez, Patricia Guerrero, María José Pérez, Arcángel and Miguel Ángel Cortés.

He has performed in the following festivals: Varaždin Baroque Evenings Festival (Croatia), Innsbruck Early Music Festival (Austria), East Cork Early Music Festival (Ireland), Festival International de Musiques Sacrées de Fribourg (Switzerland), Flamenco Biënnale (Holland), Konzerthaus Vienna (Austria), Auditorio Nacional (Madrid), Konzerthaus Berlin and Philharmonie Köln (Germany), Open Recorder Days Festival Amsterdam (Holland), XXII Radovljica Early Music Festival (Slovenia), Warsaw Music Encounters and Forum for Spanish Music in Warsaw (Poland), Festival Oude Muziek Utrecht (Holland), Festival de Música Antiga de Tiana, Noches en los Jardines del Real Alcázar, Festival de Música Antigua de Sevilla, Festival de Música Antigua de Aranjuez, Festival de Música Antigua de El Puerto de Santa María, Las Piedras Cantan, XIII Muestra de Música Antigua ‘Castillo de Aracena’, II Festival de Música Antigua de Málaga, Festival de Música Antigua de Olivares, IX Festival de Música Antigua ‘Eloy Zapico’, and VI Festival de Música Medieval de Alarcos (Spain), XXIII Festival Internacional de Música Colonial Brasileira e Música Antiga (Brazil), and Festival Cervantino de Guanajuato (Mexico).


Vicente Parrilla has recorded for the labels Universal Music, Alia Vox Diversa, Glossa, Carpe Diem, Alqhai & Alqhai, Lindoro and CDM.

As Director of More Hispano

  1. Modo & pratica del diminuir (2024, forthcoming)
  2. Glosas (2011). Carpe Diem Records CD–16285
  3. Yr a oydo (2010). Carpe Diem Records CD–16279
  4. Canzoni, Fantasie et Correnti (1999). Lindoro MPC–0703

CD Collaborations

  1. Subh (2023). Erlea ER02
  2. Tercer Cielo (2022). Universal Music Group 602445536504
  3. Omnia Vincit Amor (2020). Universal UPC 00602507228385
  4. Juan Sebastián Elkano (2019). Alia Vox Diversa AV9933
  5. El Amor Brujo (2017). Alia Vox Diversa AV9921
  6. Colores del Sur (2013). Glossa Platinum GCD P33301
  7. Las idas y las vueltas (2012). Glossa Platinum GCD P33203
  8. Nuevos Mundos (2012). Lindoro NL3013
  9. Amori di Marte (2011). Alqhai & Alqhai 003
  10. Splendor. Cancionero de El Escorial vol. IV (2010). Openmusic OPM2010A
  11. Le Lacrime di Eros (2008). Alqhai & Alqhai 001
  12. Saltos, brincos y reverencias (2008). Pasarela CDP4/1094 NL3013
  13. Iudicii Signum (2002). CDM 0203

Visit the discography section for more details.

Music Awards

More Hispano / Vicente Parrilla

  • Glosas, Carpe Diem Records CD–16285 (2011)

  • Yr a oydo, Carpe Diem Records CD–16279 (2010)

Concerts (Selection)

  1. Sion (Switzerland), August 12, 2023, Festival de l’Orgue Ancien et de la Musique Ancienne, Ensemble More Hispano
  2. Müllheim (Germany), March 27–29, 2023, recording, collaboration with Ensemble I Fedeli
  3. Fribourg (Switzerland), September 18, 2022, ADMA Festival, Ensemble More Hispano
  4. Potsdam (Germany), June 22, 2022, Potsdam Sanssouci Music Festival, Euskal Barrokensemble
  5. Fribourg (Switzerland), September 20, 2020, ADMA Festival, Ensemble More Hispano
  6. Amsterdam (Holland), October 24, 2019, Open Recorder Days Festival, duo concert with harpsichordist María González
  7. Gliwice (Poland), October 7, 2018, Festival All'improvviso, Euskal Barrokensemble
  8. Royaumont (France), September 15, 2018, Festival de Royaumont, Euskal Barrokensemble
  9. St. Gallen (Switzerland), July 6, 2018, St. Gallen Festival, Euskal Barrokensemble
  10. Fribourg (Switzerland), July 4, 2018, Festival International de Musiques Sacrées, Euskal Barrokensemble
  11. Barcelona (Spain), May 26, 2018, L’Auditori, Euskal Barrokensemble
  12. Geneva (Switzerland), March 10, 2018, Ganassi Symposium
  13. Tournai (Belgium), September 3, 2017, Festival Les [Rencontres] Inattendues, Euskal Barrokensemble
  14. Fontfroide (France), July 17, 2017, Festival Musique et Histoire pour un Dialogue Interculturel, Euskal Barrokensemble
  15. Faro (Portugal), May 20, 2017, Ciclo de Música Barroca de Faro, duo concert with harpsichordist María González
  16. Sevilla (Spain), March 21, 2017, 34th Festival de Música Antigua (FeMÀS), Musica Notturna, with the Orquesta Barroca de Sevilla under the direction of Enrico Onofri. Soloist.
  17. Utrecht (Holland), January 22, 2017, Flamenco Biënnale Nederland, Euskal Barrokensemble
  18. The Hague (Holland), January 20, 2017, Flamenco Biënnale Nederland, Euskal Barrokensemble
  19. Vienna (Austria), November 3, 2016, Konzerthaus Mozart-Saal, Euskal Barrokensemble
  20. Varaždin (Croatia), September 27, 2016, 46th Festival of Varaždin Baroque Evenings, More Hispano ensemble
  21. Turnhout (Belgium), September 23, 2016, Festival van Vlaanderen, Euskal Barrokensemble
  22. Madrid (Spain), November 13, 2015, Auditorio Nacional, Ensemble Accademia del Piacere
  23. Nuremberg (Germany), April 25, 2015, Germanisches Nationalmuseum, Accademia del Piacere ensemble
  24. Sevilla (Spain), March 15, 2015, Festival de Música Antigua (FeMÀS), A Baroque Dream, duo concert with the Italian jazz pianist Enrico Pieranunzi
  25. Logroño (Spain), February 22, 2014, Riojaforum, Accademia del Piacere ensemble
  26. Warsaw (Poland), May 16, 2014, Warsaw Music Encounters, Ensemble More Hispano
  27. Porto (Portugal), May 3, 2014, Erta Encounter, solo recital
  28. Innsbruck (Austria), July 16, 2013, Festival Weeks of Early Music, Ensemble More Hispano
  29. Cork (Ireland), October 10, 2013, East Cork Early Music Festival, Ensemble More Hispano
  30. Juiz de Fora (Brazil), July 19, 2012, Festival Internacional de Música Colonial Brasileira e Música Antiga, Ensemble More Hispano
  31. Guanajuato (Mexico), October 10, 2012, Festival Cervantino, Ensemble Accademia del Piacere
  32. Berlin (Germany), April 23, 2012, Konzerthaus, Ensemble Accademia del Piacere
  33. Cologne (Germany), April 22, 2012, Philharmonie, Ensemble Accademia del Piacere
  34. Hamburg (Germany), April 21, 2012, Ensemble Accademia del Piacere
  35. Bad Kissingen (Germany), January 10, 2012, Ensemble Accademia del Piacere
  36. Utrecht (Holland), September 1, 2008, Festival Oude Muziek, Ensemble More Hispano
  37. Radovljica (Slovenia), August 2004, XXII Radovljica Festival for Early Music, Ensemble More Hispano


  • 2019–2025: PhD in historical improvisation. KU Leuven and docARTES Doctoral Programme in Musical Arts. David Burn (supervisor, KU Leuven) and Philippe Canguilhem (co-supervisor, Université de Tours)
  • 2024: Paper: Lusitano’s Counterpoint: Quality and Complexity. MedRen (Annual International Conference for Medieval and Renaissance Music), Granada, July 6–9
  • 2023: Poster presentation: Reviving the Lost Renaissance Musical Practice of Improvised Counterpoint. MedRen (Annual International Conference for Medieval and Renaissance Music), Munich, July 24–28
  • 2022: Joint presentation (with Johannes Keller): Writing the Unwritable: A Comparison of Lusitano’s and Vicentino’s Treatises. Schola Cantorum Basiliensis, Symposium Nicola Vicentinos «Musica pratticabile», Basel, November, 24–26
  • 2022: Lecture: Reviving the Lost Renaissance Musical Practice of Improvised Counterpoint. Doctoral Day / Journée du doctorat / Doctoraatsdag des Musical Instruments Museum (MIM), Brussels, May 19
  • 2020: Publication of a musical example of an ornamented work in the style of Ganassi with introductory text. In: Dongois, William and Philippe Canguilhem (eds), Opera intitulata Fontegara, ed. DROZ (Geneva), HEM collection Musique & Recherche, 2020, pp. 220–224
  • 2018: Master’s thesis: “With much new information but without documentation.” Fact and fiction in Silvestro Ganassi’s undocumented biographies. Universitat Autònoma de Barcelona (UAB) & Escola Superior de Música de Catalunya (ESMUC). Supervisor: Pedro Memelsdorff
  • 2001: Method (Leergan): From the eye to the ear: an attempt to raise our eyes from the score. Conservatorium van Amsterdam
  • 1999: Bachelor thesis “La voce humana… del flauto”: A performer’s reading of Sylvestro Ganassi’s Fontegara. Conservatorium van Amsterdam

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

Research Grants

Vicente Parrilla’s PhD research project has been selected by the Research Foundation Flanders (FWO) for a PhD Fellowship in Fundamental Research. This fellowship aims to support challenging and innovative research.

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

See my ORCID-Profile.


The opportunity to practice and perform on finely crafted recorders has been a constant source of learning and inspiration for Vicente Parrilla, whose remarkable recorder collection includes instruments by Fred Morgan, Bob Marvin, Monika Musch and Ernst Meyer. 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 these are featured 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

Read more.