- Started in
- Musician type
- Host institution
- Leuven University
“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.” This is how American Record Guide critic Charles E. Brewer describes the work of recorder player Vicente Parrilla.
Parrilla began his concert career at a very early age, making his debut CD at the age of 20. In addition to leading his quartet and his own ensemble More Hispano, he collaborates with world-class musicians from diverse backgrounds: jazz pianist Enrico Pieranunzi; jazz bassists Barry Guy & Pablo Caminero; flamenco artists Rocío Márquez, Patricia Guerrero and Arcángel; and early music ensembles such as Euskal Barrokensemble, Accademia del Piacere, Orphenica Lyra, The Royal Wind Music Consort, Capella de Ministrers and Seville Baroque Orchestra, touring in Spain, Ireland, England, Austria, Germany, France, Switzerland, The Netherlands, Belgium, The Czech Republic, Poland, Portugal, Slovenia, Croatia, Brazil and Mexico.
Vicente Parrilla studied the recorder at Seville conservatory with Guillermo Peñalver. At the age of 17, he moved to The Netherlands to further his studies, initially with Jeanette van Wingerden at Koninklijk Conservatorium in The Hague, and later with Walter van Hauwe at Conservatorium van Amsterdam, graduating in 2001. He completed his training with Pedro Memelsdorff at Esmuc in Barcelona, besides attending a good number of recorder courses with Aldo Abreu.
In addition to teaching the recorder at masterclasses as guess professor at conservatories in Madrid, Zaragoza, Cuenca, Esbjerg and Faro, Parrilla is appointed since 2004 as professor of recorder, ornamentation and improvisation for period instruments at Seville Conservatorio Superior de Música, where he holds the Chair of Recorder.
Vicente Parrilla has recorded three CDs as More Hispano’s leader so far: Canzoni, Fantasie et Correnti (1998); Yr a oydo (2010) and GLOSAS (2011), making guest appearances on a number of recording projects for labels such as Alia Vox Diversa, Glossa, Carpe Diem, Alqhai & Alqhai, Lindoro and CDM.
My artistic research aims to revive the Renaissance practice of improvised counterpoint. My basis will be a close study of ms. Paris, BnF, Esp. 219, a treatise allegedly written by Vicente Lusitano. I will examine and learn the numerous contrapuntal techniques of this source, with the goal of incorporating them into my performances as refined historical skills.
Research rooted in practice will help me to present my artistic output on CD recordings featuring improvised counterpoint. Ultimately, I will be able to bring the results of my research onto the postmodern concert stage at the highest possible artistic level.