Anna Pikulska takes us on an exciting journey of Cabanilles's sound world on the lovingly restored Bartholomé Sánchez organ. With its rich sounds from 50 stops on two divided manuals, this 18th-century Aragonese Baroque instrument in Cariñena (Aragón) testifies to the high standard of organ building at that time with some 800 Gothic pipes dating back to the year 1482.

Joan (or Juan) Cabanilles is considered the greatest Spanish Baroque composer. He was held in high esteem during his lifetime as principal organist of Valencia Cathedral and the popularity of his music continued throughout the 18th century and beyond.

Cabanilles is often referred to as the Spanish Bach as his music is of astonishing contrapuntal complexity. Although remaining true to the Iberian tradition, he repeatedly transcends the boundaries of modality, counterpoint and musical structure; sometimes with surprising expressive chromaticism, for example in Tiento de Falsas (Piece with Wrong Notes) which uses dissonance for dramatic effect.

Cabanilles's tientos vary greatly: from free imitative pieces or based on a psalm melody to those whose character changes completely along the way or pieces of great unity. Tiento de batalla, for example, brilliantly imitates fanfare themes using an impressive battery of trumpet stops reminiscent of a call to arms.