We don’t just perform, we create. And not on paper, but on stage. Right in front of the public. Improvisation and full of risk glosas, creativity, communication and virtuosity all make each one of our shows a unique spectacle.
Since 2005 we have focused exclusively on developing and recovering the art of improvisation, an essential tool that allows us to make fresh, surprising live performances loaded with a great communicative power.
In April 2009, we captured a recording session on tape from which our two most recent albums were produced: Yr a oydo (2010) (old Spanish for Going by ear)—a disc devoted to improvisation in Renaissance and early baroque music—and our newly released Glosas (2011)—a very personal project which brings together original and unpublished material in the form of new embellishments on Renaissance music.
Directed by Vicente Parrilla, More Hispano offers unique projects, in keeping with an extremely unusual concept within the field of Early Music performance: the fully improvised performance of all the pieces included in their programs.
The incorporation of the art of improvisation adds a new dimension to live performance as a result of the direct communication it allows with the audience, and has always been warmly received by the public.
Founded in 1998, when we produced our debut album, entirely dedicated to B. de Selma y Salaverde (Canzoni, Fantasie et Correnti)—a record that still remains a reference for Selma’s music today—More Hispano is a group formed by musicians of great renown, a group of soloists with their own personal projects and careers that have been playing together for 10, 15 or even 23 years.
More Hispano’s performances have always been warmly received by the public —besides being cellebrated by the specialist press. Here are a few quotes:
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
One of the most original and powerful spectacles on offer from Spanish early music today.
The crowning concert of the entire Festival Oudemuziek Utrecht. Their performance brought tears to my eyes from the sheer pleasure and joy at hearing such virtuoso and passionate performing, which had all of the truth and immediacy of a jazz concert.
—Goldberg Magazine, October 2008
“More ≠ +”: Origins, background, and a bit of etymology.
More Hispano takes its name from a Latin expression to be found in several collections of motets and Masses by some of the most important authors from Renaissance Spain such as Tomás Luis de Victoria or Francisco Guerrero. This expression usually indicated the use of typically Spanish melodies such as Pange Lingua or Vexilla Regis.
More Hispano has performed in festivals such as:
Festival de Música Antiga de Tiana (Barcelona), Noches en los Jardines del Real Alcázar and Festival de Música Antigua de Sevilla (FeMÁS), Festival de Música Antigua de Aranjuez, Festival de Música Antigua de El Puerto de Santa María, Las Piedras Cantan (Castilla y León), XIII Muestra de Música Antigua ‘Castillo de Aracena’ (Huelva), II Festival de Música Antigua de Málaga, Festival de Música Antigua de Olivares, IX Festival de Música Antigua ‘Eloy Zapico’, VI Festival de Música Medieval de Alarcos, XXII Radovljica Early Music Festival (Slovenia), Forum de Música Española at Warsaw (Poland), Festival Oude Muziek Utrecht (The Netherlands), XXIII Festival Internacional de Música Colonial Brasileira e Música Antiga (Brasil) & Innsbruck Festival of Early Music (Austria).