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.
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.
I’m a 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). My PhD research project intends to revive the lost Renaissance musical practice of improvised counterpoint and has been selected by the FWO (Research Foundation Flanders) for a PhD Fellowship Fundamental Research, which aims to support challenging and innovative research.
The opportunity to practice and perform on finely crafted recorders has been a constant source of learning and inspiration for me. All of my instruments have been made by world-renowned recorder makers Fred Morgan (carefully revised by Nikolaj Ronimus), Bob Marvin, Monika Musch and Ernst Meyer. In order to study the recorder repertoire from as many different historical periods as possible, my collection includes cylindrical recorders, a full Renaissance consort (4’ + 8’), a flauto doppio, “Ganassi-type” instruments, early Baroque models after Van Eyck and Bassano, Baroque recorders after Bressan, Denner, Stanesby, Debey & Bizey, and a modern tenor for contemporary music.