Sebastián Albero (1722 Roncal, Navarra - 1756 Madrid) is one of the most important composers of Spanish keyboard music of the 18th century. His musical training began in the Musical Chapel at Pamplona´s Cathedral and his career culminated at the Royal Chapel in Madrid in the service of King Fernando VI.

He lived at the Palace along with Scarlatti. While the Scarlatti was serving Queen María Bárbara, Albero was the King’s organist in the Royal Chapel.

He left few works but of great quality having died very young. His "Recercatas" are magnificent examples of free and superlative creations of the composer.  Although structurally Scarlatti’s influence is evident, the expressive language of his Sonatas, monothematic and bipartite, are different from the Italian.

This Waltz No.1, preceded by an introduction, belongs to the "Flower Crown" collection that is dedicated to Queen María Cristina. Juan María Guelbenzu (Pamplona 1819-1886 Madrid) was a pianist and composer whose output is exemplified by a framework of profound expressiveness which relies on romantic harmony. He was organist of the Royal Chapel and actively participated in Madrid’s musical life.

It is played  on an original fortepiano Collard, ca.1820

Las Indias Olvidadas

 The first,”Los Guerreros del Amazonas” with its dynamic indication Rápido, persistente y juguetón, suggests the agility and dexterity of those warriors.
The second “Chacona para el martirio de Atahualpa” -Rápido, obsesivo y cruel- is a Chaconne with a Conga rhythm, where the obsessive repetition underlines the horrid martyrdom of Atahualpa, condemned to die while enduring the garrote torture.
The third –Deliberadamente y tranquilo- depicts the deliberate care of the Charrúa indians in sharpening their arrows.  And the fourth movement –Molto Allegro- is a Quolibet in which are included several Latin American dances such as the Candombe, the Carnavalito and the Malambo.  Thet concert is included on a CD “Sergio Cervetti-Las Indias Olvidadas” with other works by Sergio Cervetti,  produced by NÎBIUS and sponsored by INAEM and JONDE.

María Teresa Chenlo. -Fortepiano. Sonata-Joaquín Asiain

That is the case of a memorable interpretation by  María Teresa Chenlo, to whom the work is dedicated, and which is evident on “Portraits”, a CD which inaugurated the 2008 collection of Spanish and Latin American Composers of Contemporary Music of the BBVA Foundation. (José Luis Turina)

María Teresa Chenlo performs two works on the Virginal from the "Libro de Cifra Nueva para arpa tecla y vihuela” by Luys Venegas de Henestrosa. This is the first collection of Spanish music printed for keyboard published in Alcalá de Henares in 1557.

La "Pavana con su glosa” was composed by the famous blind musician Antonio de Cabezón sought after by Felipe II.  It is an Italian dance from Padua (Padovana or Paduana) having a ternary rhythm. In this case in fact it's a folia which is written in the first mode.

Sebastián Albero (1722 Roncal, Navarra - 1756 Madrid) is one of the most important composers of Spanish keyboard music of the 18th century. His musical training began in the Musical Chapel at Pamplona´s Cathedral and his career culminated at the Royal Chapel in Madrid in the service of King Fernando VI.

“Petenera”, of very flexible rhythm possesses an isometric meter, its modality is always Andalusian and at cadence points it uses the traditional cadence of the same name. The form is a bit free.  In this one rhythm and form continue to be effective and I have sought to imitate a) the strophic form (song), b) the “cante” of the interpreter with its turns and melismas, c) the harmonic process based on the chords that accompany this “cante.” (Sebastián Sánchez Cañas)

Sevillian  composer who arrived in Montevideo in 1829. This composition resembles the” Tonadilla  Escénica” and in it the composer mixes in a "totum revolutum" themes of dances, such as the  Andalusian Cachucha,  the Creole “Media Caña”, a descendant of the Contradanza  and  the “Tonadilla de Trípili”; clear example of the music that came to Hispanic America. Harpsichord made by Andrea & Anthony Goble in Oxford, after an original by Hieronymus Albrecht Hass, Hamburg, 1740. It has three keyboards. Donated to the Manuel de Falla Archive by Rafael Puyana.

The Battle of Cagancha, by the composer Francisco José Debali is a descriptive work in 10 movements. It musically relates the battle (29-12-1829) between the triumphant troops of General Fructuoso Rivera and the invading Rosistas, of Pascual Echagüe. The setting was the Department of San José, Uruguay, in the proximity of the Cagancha creek. Cagancha is an archaic Castilian word that denotes a river or stream and that refers to the Mozarabic phytonimum cacansa species of wild grass.