The 20th century began in Seville with the installation and inauguration of Aquilino Amezua's great romantic organ in the Cathedral in 1903. The previous baroque organs were destroyed when the ceiling of the cathedral's transept collapsed in 1888. The Amezua organ is the first large European Romantic instrument known in Seville, and for organists it has opened up a new world of possibilities with its four keyboards and full 30-note pedalboard. Luis Leandro Mariani (1858-1925) was the second organist at Seville Cathedral from 1889 until his death in 1925. His work corresponds to the romantic and post-romantic style of the 19th century, imported from France. In this programme, we present two pieces recovered by Chano Robles Mures from the composer's manuscripts: an Offertory from 1903, written to apply for the position of Second Organist of Seville Cathedral (an exam to perpetuate the position he had held for 14 years), and the first movement of his Sonata-Fantasia, written in 1907 for the concerts organised in the Cathedral for the National Congress of Religious Music. The performance of both pieces results from research work that the organist is currently carrying out at the University of Seville. Continuing with the Cathedral musicians, Two Saetas are presented by Eduardo Torres (1872-1934), a Valencian composer who lived in Seville from 1910 until his death. Torres is the true representative of the impressionist influence on the organ, mixed with the use of Andalusian popular forms and melodies. These Saetas are based on chants linked to Holy Week processions, influenced by flamenco. In the 20th century, Manuel de Falla became the composer of reference for all Spanish national music (it was not in vain that he maintained a good friendship with Eduardo Torres and collaborated with his Orquesta Betica performing works by Mariani). As well as cathedral music, religious music linked to the Holy Week processions has a great tradition in Seville that continues to this day. This processional music for wind band includes two pieces by Sevillian composers from the first half of the 20th century. “Margot” is originally a lyrical drama written by Joaquín Turina (1882-1949) in 1914. From this Andalusian-style opera is taken this musical episode which tells of the meeting of the characters in the libretto on a Holy Thursday night in Seville, while a procession is taking place around them. “Soleá, dame la mano” (Soleá, give me your hand) is another processional march by the brothers Manuel and José Font de Anta (1889-1936 and 1892-1988). This piece, written in 1918, is, like Turina's march, an impressionist piece with programme content: in this case, it musically narrates the procession of the Virgen de la Esperanza de Triana as it passes through the Arenal prison, where the prisoners sing saetas as the Virgin passes by. Finally, in improvisation, Chano Robles Mures will offer an adaptation of popular Andalusian rhythms using the language of the composers whose music will have been heard at the concert.