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


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


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


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



Janne-Minke plays Baroque Flamenco (with orchestra)



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




Baroque Flamenco – Héloise de Jenlis



Ana Harp plays “Baroque Flamenco” (lever harp)


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


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!

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