Songs and choral works


Sal a tu reja, Op. 12 (1903). Score on CDMA

Serenade for voice and piano, dated January 6, 1903 in Granada and “written specifically for the tenor Mr. Aureliano Martín”.


Granada song, Op. 13 (1903). Score on CDMA

A work for voice and piano signed in Granada, 21 January 1903, and “written expressly for Fidelio”, a title of a collection by the publishing house Unión Musical Española.



Ungrateful!, Op. 14 (1903). Score on CDMA

Identified indistinctly as “melody” and “romance”.
In one of the handwritten scores, dated in Granada, 20 February 1903, it appears as for “tenor and piano”.
The text was written by J. Blasco.


Sad Love, Op. 22 (1903). Score on CMDA

Melody for voice and piano. Text by Gustavo Adolfo Bécquer. It dates from December 10, 1903.


Come Shepherds, Op. 23 (1904). Score on CDMA

Work for choir (tiple, tenor, baritone and bass), and piano, composed in Granada.


The Offering (1905). Score on CDMA

Melody for voice and piano, with text by A. Armen.
Dated 29 May 1905, in Granada, it was dedicated to “the distinguished and eminent tenor D. Emilio Velo”.


Invitation (1905). Score on CDMA

Barcarola for solo voices (two tenors, baritone and bass).
It premiered at Teatro Isabel la Católica in Granada on June, 23 1905.


The Farewell, Op. 37 (1905). Score on CDMA

Work for choir with four voices (two tenors, baritone and bass) and piano, with text by Juan Florán, composed on July 28 1905 and dedicated “to my good friend Juan Jordana Monserrat”.
Alonso made a version for band (dated April, 1907 in Granada) and another for orchestra, in August 1905, which premiered at Teatro Isabel la Católica, in Granada, on October 15 of the same year.
Another version, for soloists, choir and band, premiered in La Alhambra on June 3, 1907. José Alonso, the composer’s brother, was the soloist, accompanied by the band of El Fargue and the Orfeón of the Philharmonic Society.


The Squall, Op. 38 (1905). Score on CDMA

Song for voice and piano, with text by J. Noguera, written on 1 August 1905 in Granada. It was dedicated “To the distinguished artist and dear friend Mr. Manuel Morón”.


The Flutist Donkey (1906). Score on CDMA

A work for voice and piano, based on the well-known fable of Iriarte and dated in Granada on April 4, 1906.


¡Ricordate di me!, op. 47 (1906). Score on CDMA

Melody for voice and piano, written in Granada in January 1906.


Jota, Op. 60 (1907). Score on CDMA 

Page for tenor, choir and piano, dated in Granada, 18th January 1907.


The Boatwoman, Op. 65 (1907). Score on CDMA

Barcarola for choir and piano, and also for choir and band.Text by Martínez de la Rosa.
It was composed in Granada, October 26, 1907.
Requires a choir with four voices (two tenors, baritone and bass).


Don’t you hear the Waves…?, Op. 48 (1907). Score on CDMA

Serenade, for six-part choir (two tiples, two tenors, baritone and bass), with piano accompaniment.It was composed in Granada, March 1906 and dedicated “To my distinguished and respectable friend Mr. Alberto Álvarez de Cienfuegos”.
There is a version for choir and orchestra.
It was offered during the Corpus Christi festivities of 1907 (1-6-1907) in the Palace of Charles V, with the intervention of the Banda del Fargue and the Orfeón de la Sociedad Filarmónica.
It was described by the local press as a “delicate and heartfelt work that reveals in its author a heart of an artist”.


Serenata granadina, Op. 62 (1907). Score on CDMA

Work for choral society and four voices (two tenors, baritone and bass) and orchestra, written in Granada.
There is a version for band, dated 1907, that premiered in the Teatro Cervantes on December 5 of that year.
There is also a version for string quartet and piano, entitled Serenata española.


Confidences: Souls. Op. 72 (1908). Score on CDMA

“Dolora” in one act. Written in Granada, May 1, 1908. Text by José de Cuenca.


The Roasting (1908)

Two step, for voice and piano


¡Anacreontica, Op. 71! (1908). Score on CDMA

Work for choir with four voices (two tenors, baritone and bass), with text by José María Caparrós.
It was written in Granada on January 20, 1908.


Your Window, Op. 74 (1911). Score on CDMA

Andalusian song, dated in Granada in 1911. Text by C. J. Cuenca and dedication “To Ms. Alma Bowen”.


Gipsy Trova (1911). Score on CDMA

Dedicated to Alejandro G. Assin with text by Barbadillo.


Trova de Lindaraja (1911). Score on CDMA

Dedicated to Mary Carbone de Castro with text by Cristóbal de Castro.


Beautiful Gipsy! (1912). Score on CDMA

Work for singing and piano, with lyrics by Alejandro Gómez Asín. Written around 1911, it was edited in 1912 and there is a band version and another for voice and orchestra.


My little land! (1914). Loan in the BNE

Andalusian Pasodoble. Text by Jesús Luengo y Conde,
Published in 1914 and composed for the presentation of a variety artist.


The Loadstone (1916). Loan in the BNE

Foxtrot edited by UME in 1916

Rag-fox (1919). Loan in the BNE


The Bandit Love (1919)

Andalusian song with text by Martinillo. Edited by the UME in 1919.


Fado Serenade (1920). Loan in the BNE

Song with text by F. Lozano y J. Mariño, edited by UME in 1920.


Children’s songs (1921)

Song with lyrics and music by Francisco Alonso himself, written for the Madrid City Council. Download score.


Maitechu Mía (1927). Loan in the BNE

Zortzico (popular Basque song), with text by Emilio González del Castillo. It’s a sentimental and tender song with a curious story. Those who listen to Maitechu, especially the emigrants, can not help feeling a deep and intense emotion and remember with longing the Basque land.

Maestro Alonso, during his holiday in Fuenterrabía, captured the feelings of the people of the Basque villages and “caseríos” and took them to his pentagrams, creating one of the most popular and famous songs of his repertoire.

“Maitechu Mía” has been interpreted and recorded by the greatest Spanish tenors, such as Miguel Fleta, Juan Garcia, Plácido Domingo, Alfredo Kraus, José Careras, and popular groups such as Los Xeys, Mocedades and others.

The origin of Maitechu Mia is in a bet. In Fuenterrabía, some Basque friends judged him incapable of composing Basque music. Maestro Alonso, stung in his pride, asked his friend and collaborator Emilio González del Castillo for a text of Basque atmosphere. Once he had it, the composer from Granada sat at the piano and, in just one hour, created this impressive and wonderful song.


The Polka Dot Scarf (1928). Loan in the BNE

Andalusian song with text by the Álvarez Quintero brothers. Creation of Lola Membrives. It was edited by UME in 1928.


Always Spain (1928). Loan in the BCN

Song with text by Nicolás Rivero, published in 1928.


¡Daniela, go to La Zarzuela! (1929). Loan in the BCN

Song pasodoble, with text by Emilio González del Castillo.


Corn little Bird (1929). Loan in the BNE

Text by Luis F. Ardavín


Regional “Pava” (1930)

Song with text by the brothers Álvarez Quintero.


La Woman of the Pichi (1932). Loan in the BCN

Schotis with text by José Soriano López.


The Jailer (1934). Loan in the BCN

Andalusian song for voice and piano.Written in El Escorial, June 20, 1934, with Juan Soca’s text. It was dedicated “To my distinguished friend D. Manuel Morón”.


Flower of the Perls (1943).

Japanese song.


Nana Murciana (1947). Loan in the BNE

Delicious lullaby, inspired by the music of the vegetable garden, in which the protection of the Virgin of the Fuensanta, patron saint of Murcia, is requested for a child.

The text belongs to Luis Fernández Ardavín.


Little Blonde Girl! Loan on the CMDA

Melody for singing and piano with text by Carlos Fernández Shaw.

It was dedicated “To my little sister Pilar”.


Gray Hair

Tango, written in the 1930s by Feliciano Rey and Jesús Rey. Dedicated to Imperio Argentina.


Litle Basket of Strauberry. Loan in the CMDA

Proclamation from Granada, for singing and piano. Text by Francisco Losada.


Spanish Women

Text by Luis de Castro Gutiérrez


Loving in the Mountains. Loan in the CDMA

Work for voice and piano. Actually, it is the first number of the zarzuela of the same title that has not been located.


Eladio Buy me a Radio

Músic for a Philips advertising.


I wait for you in the Barrack

Mexican song with text by José León Montero.


Spanish Guitar

Song with text by César de Haro.


Childhood and Youth

Music for an advertising campaign of Dr. Boris Bureba with text by Montero Alonso.


The Girls from Madrid. Loan in the BNE

Polka for piano dedicated to  María Pérez de Abojador. 


Gypsy Complains

Song dedicated to La Argentinita.


The Burial of the Little Bird


The Neighborhood of Santa Cruz


The Stutterer


Push me Nicasia


Encarnado Gana y Color


Fox-trot Flamenco




Beautiful Gypsy. Score on CMDA

Song. Text by Alejandro Gómez Assin. 




The Eve of the Soldier


La Soleá


My Country




Don’t Cry!, Op. 12. Score on CMDA

Work for voice and piano, identified as “Andalusian song (Granadina)”.


Odolícese Usted

Song for the advertising campaign of toothpaste Odol.


Prayers of the prisoners


Toros y Cañas


O salutaris Hostia

Motete to the Most Holy, for singing (bass) and piano.


Proclamation of flowers

Text by Luis Fernández Ardavín. Music for the advertising of Flores María Luisa.


¡Cuatro Caminos!


¡Fuera penas!