I’m a recorder player.
As a listener, I appreciate a sense of storytelling in instrumental music, eloquence, a contrasted speech, love for detail and above all emotion. As a musician, I aim to move someone and myself whilst playing, I want the music to be communication and expression. Something that can be felt and understood.
Why the recorder, of all instruments? This ‘machine’ surprises and fascinates me, for its particular sound and history, its hidden difficulty and its rich and varied repertoire. I started classes on the recorder when I was six, basically because my older sister already played the recorder and she had a great teacher. When I finished Highschool I went to Spain to have a sabbatical and to think about what to study and why. I wasn’t being very successful in that thinking process until one day I picked up a recorder I had taken with me. I hadn’t played in months, and the feeling I had that day was decisive. This was what I wanted, to tell stories on a wooden ‘stick’. I haven’t lost that feeling ever again, through all the ups and downs.
Vicente Parrilla, as my teacher at the conservatory opened whole new worlds to me, as in ways of playing and expression, repertoire and technique.
I most adore counterpoint around 1500, 16th c. diminutions, French baroque and Bach.
I’m keen to learn recorder voicing in the near future.
I like to transcribe early music pieces from original facsimiles or manuscripts.
- 2019: I cofounded the early music ensemble The Imperfect Pearl.
- 2018: I won the First Prize at the International Early Music Competition in Gijón with Vox Tremula.
- 2016: 1st professional recording: my arrangement of Bach’s cello suite Nr. 5 for recorder & basso continuo.
- 2012: I cofounded recorder consort Vox Tremula.
- 2009-2015: I studied at Conservatorio Superior de Música Manuel Castillo de Sevilla. Thank you to Vicente Parrilla & Bárbara Sela (recorder, consort and chamber music), to Ventura Rico & Juan Carlos Rivera (chamber music), to Andrés Cea (acoustics, harmony and historical performance) and to Alejandro Casal for being my weekly accompanist.
- Masterclasses with: Dan Laurin, Fernando Paz, Michael Schneider, Wilbert Hazelzet.
- 1994: I started playing the recorder. A big thank you! to Eva Morsbach, my first teacher.
- Renaissance Alto ‘Ganassi’ in G, 466Hz, by Bob Marvin.
- Renaissance Alto in G, 466Hz, by Bob Marvin.
- Renaissance Tenor in C, 466Hz, by Bob Marvin.
- Renaissance Bassett in G, 466Hz, by Bob Marvin.
- Renaissance Alto ‘Ganassi’ in G, 415 & 440Hz, by Monika Musch.
- Renaissance Tenor in G, 415 & 440Hz, by Monika Musch.
- High baroque Alto in F, 415Hz, by Fred Morgan/Ronimus.
- Waiting for: a Voiceflute by Fernando Paz.