Baroque Flamenco Orchestra Info

Deborah Henson-Conant's
" Baroque Flamenco"

"Baroque Flamenco" is a stand-alone one-movement harp concerto
It's also the 3rd movement of the 3-Movement Harp Concerto
"Soñando en Español"
by Deborah Henson-Conant
The video above is a performance of the piece with soloist Eleanor Turner and composer Deborah Henson-Conant conducting, with members of the Louisiana Philharmonic Orchestra.
It's also playable with Chamber Ensemble: Fl, Cl, Vn1, Vn2, Vla, Vc, Kb, Perc and harp soloist
This page is specifically the:

Orchestral Information Page

(so you'll see the most up-to-date info)

This page is specifically for orchestras and soloists who are performing the "Baroque Flamenco" concerto. It gives you an overview of what your license covers, what the orchestration is, how to perform the piece with a reduced orchestra (i.e. with only pairs of winds and brass instead of full winds & brass), how to credit the composer, where to find a verbatim video recording of the score -- and suggested cuts if you need to shorten the piece.


1. Baroque Flamenco can be played with pairs of winds and brass, or it can be played with a larger orchestra. For more details on that, see notes below under "Parts Numbering and Allocation"

2. The "Solo Harp Version" of this piece is different than the Concerto Version of the soloists part. It's possible to play much (but not all!) of the Solo Harp Version when playing with orchestra, but rehearsal letters and measure numbers will not match up.

If possible, Harp soloists should use the "Concerto Soloists" part when playing with orchestra - but in cases where harpists have learned the Solo Version of the piece and there's no time to relearn - there are some notes below on potential cuts and alterations that can make that work and you should ask the composer for the PDF called "How to Coordinate the SOLO HARP ARRANGEMENT (Advanced Version) with the CONCERTO-VERSION of Baroque Flamenco"

3. This is a video of the composer conducting the work with soloist Eleanor Turner. This video is a useful reference because it's the only recording of the piece as played exactly from the score/parts.


To get a license to perform "Baroque Flamenco," send an email to with the following information:
We'd like to request a license to perform your "Baroque Flamenco" concerto. The performance is on [fill in the date] at [fill in the location] with [fill in the ensemble], and the soloist is [fill in the name of the soloist]. The latest date we'd need to receive the scores and parts is [fill in the date you need scores & parts]"

The license fee ($375) provides one-time license to perform Baroque Flamenco which can include up to 3 performances within a 5-day period with the same soloist and ensemble .


PROGRAM REQUIREMENT: Please send a scan or PDF of the program so we have it for our records. If you prefer, you can send a hard-copy program to:

Deborah Henson-Conant
Golden Cage Music
Box 1039
Arlington, MA 02474

PROMOTION: If you'd like the composer to promote your performance to her mailing list, send a basic short press blurb to with a 600x600 dpi picture of the soloist (and/or the orchestra), and information about the date, time, ticket info and the name of the orchestra, soloist and theater.

ARCHIVAL USAGE of VIDEO/AUDIO: We encourage you to create archival video and audio, and if you do, we request a copy of both/either.

YOUTUBE PERMISSION: You have permission to put video of your performance on YouTube or Facebook unless the composer requests you to remove it at some point in the future (that's never been requested). If you'd like to request other uses, email us at and describe the additional use you're requesting.

You can use the video and audio for noncommercial purposes (i.e. you can use it promote yourself, or on your website but you will need to request permission before any commercial use - like using it on a recording, DVD, etc.). NON-Commercial use includes using portions of rehearsal footage in promoting the concert and inviting local news to rehearsals or performances and to broadcast that footage as news or to promote the concert.

You must credit composer in any and every video, audio, print or other usage usage of this piece. If you post the video to YouTube, you must credit composer as below in the printed YouTube (or other) description and include a link to the composer's website: If there's any text on the video (i.e. embedded text you must include the following composer information on the video itself.)

PROGRAM INFORMATION: Here is how you should credit it in the program (and on YouTube, etc. as above)

" Baroque Flamenco"
Concerto for Harp & Orchestra
(based on a theme by Jean-Jacques Rousseau)
by Deborah Henson-Conant

If your program requires dates or other info, here is additional composer information:
Composer: Deborah Henson-Conant (b.1953 / Stockton, CA)


If you need to make cuts in the program, here are the ones we've used before:

OPTIONAL CUT 1 (Cut all of Flamenco Variation 3):
In the 2007 broadcast and DVD version of this piece, we cut from the beginning of Letter [D] through the end of letter [G] (i.e. we cut 69-132)

OPTIONAL PERFRMANCE of Flamenco Variation 3 (Harp Alone):
If the soloist has learned the piece verbatim from the solo harp music,
it's possible to let the soloist play Letter [D] - [G] solo (no orchestra) and cue the orchestra to come in at letter [H]. The cueing is important because D-G in the solo part is a different number of measures than in the orchestral part! If the soloist tries to play what's written in the "Solo" version it won't mesh with the orchestra.

OPTIONAL CUT 2 (Cuts within Flamenco Variation 3)
- A cut can be made from 161-208 (i.e. cut 4 measures before J and go directly to letter M)
- Or a similar cut can be made from 177-208 (i.e. cut 4 measures before K and go directly to letter M)
These won't be seamless, but they can work to shorten the piece and expedite getting to the cadenza

OPTIONAL CUT 3 (251-258):
To shorten the ending it's possible to cut m. 251-258


Here's how all Deborah Henson-Conant parts are numbered and this will also show you a list of the parts included in the full orchestration. In the table below this one you can see how to allocate parts when you only have pairs of winds and brass (rather than full winds and brass)

01 - Fl 1 (in later editions Picc) 13 - Hn1 24 - Timp 28 - Vn1
02 - Fl2 (in later editions Fl 1) 13a - Hn1 Assist 25 - Perc 29 - Vn2
03 - Picc (in later editions Fl2) 14 - Hn2 26 - Harp (Orchestral) 30 - Vla
04 - Ob 1 15 - Hn3 27 - Pno (Tacet) 31 - Vc
05 - Ob 2 16 - Hn4   32 - Kb
06 - EHn (Tacet) 17 - Tpt1    
07 - Cl1 18 - Tpt2    
08 - Cl2 19a - Tpt3    
09 - BCl (Tacet) 19b - Tpt4    
10 - Bn1 20 - Tbn1    
11 - Bn2 21 - Tbn2    
12 - Bn3 (Optional) 22 - BTbn    
  23 - Tba    

Here's how to allocate the parts, depending on whether your orchestra has just pairs of winds and brass or is a full orchestra:

If playing with Pairs If playing with full orchestra

Flute 1 play Flute 1 part
Piccolo play Piccolo/Fl. 3 part

Horn 1 play Horn 1/3 Part
Horn 2 play Horn 2/4 Part

Tbn 1 play Tbn 1/2 Part
B Tbn play Tbn 1/2 Part
(Tuba play Tbn 1/2 Part)

Flute 1 & 2 play Flute 1 part
Flute 3 play Piccolo/Fl. 3 part

Contrabassoon play either Bn2 part or Tbn1 part

Horns 1 & 3 play Horn 1/3 Part
Horns 2 & 4 play Horn 2/4 Part

Tbn 1 play Tbn 1/2 Part
Tbn 2 play Tbn 1/2 Part
B Tbn play Tbn 1/2 Part
(Tuba play Tbn 1/2 Part



ADDITIONAL QUESTIONS: If you or the conductor have questions after the first rehearsal, email with rehearsal letters and specific questions to and Deborah will be happy to try to answer them as quickly as possible.