One of my favorite parts of  being a composer is seeing and hearing other performers pouring themselves into my music, heart and soul – making it their own.

As my piece “Baroque Flamenco” is performed more and more, I get to see new versions of it all the time on YouTube – sometimes as a solo piece, sometimes with chamber ensemble or with full orchestra.

>> Purchase the Solo Sheet Music Here <<

>> Learn about licensing the Concerto with Orchestra Here <<

The biggest challenge in “Baroque Flamenco” is the fiery percussive cadenza, so I collected a selection of YouTube performances and embedded them below and marked where you can find the cadenza.

I also learned a LOT watching them!  Like what I need to add to the written music to help people know how to play it (like keep the tempo the same between the Baroque melodies and Flamenco-type variations).  But I really loved watching them all!

Flamenco Harp

CADENZA AT 5:00

This seems to be a bad-quality bootleg of my own performance – but you’ll be able to see (sort of) how I performed the cadenza.

Eleanor Turner plays Baroque Flamenco

CADENZA AT 3:55

An informal video of Eleanor Baroque Flamenco in the Salvi showroom at the Eleventh World Harp Congress, Vancouver, July 2011.

Baroque Flamenco played by Maria Duhova Trevor

CADENZA AT 7:09

Baroque Flamenco composed by Deborah Henson Conant performed by harpist Maria Duhova Trevor at the Mid Missouri’s Got Talent November 5, 2011

Hannah Stone – Baroque Flamenco

CADENZA: 1:58

Janne-Minke plays Baroque Flamenco (with orchestra)

CADENZA: 4:26

Deborah Henson Conant’s Baroque Flamenco played by Mersiha Shukri, harp

CADENZA: 4:17

Baroque Flamenco – Héloise de Jenlis

CADENZA: 3:20

Ana Harp plays “Baroque Flamenco” (lever harp)

CADENZA: 2:09

Deborah Henson-Conant’s “BAROQUE FLAMENCO” – arr. for flute and lever harp

I included this arrangement in particular because they’ve taken the arrangement and re-arranged it for flute & harp!

Deborah Henson-Conant’s “BAROQUE FLAMENCO” – Sonja Jahn – Solo Harp

CADENZA: 2:55

This version is very interesting for many reasons including the end of the cadenza, which goes straight to the final melody (around 4:40) rather than the written transition!  If you’re studying this piece, note the delicacy of the melodies as contrasted with the agressive rhythmic variations – and check out the near violence of the ending!