Interview 12: Alfred Feenstra

Interview 12: Alfred Feenstra

By Andrew Williams

I recently had the pleasure of interviewing Alfred Feenstra. Born in the Netherlands but living in Spain, he is a prolific composer whose works are widely played and recorded by some of today’s leading guitarists.  He began playing guitar at fourteen and later studied at the Hague Conservatory and as a private student of David Russell. He went on to open a renowned guitar shop, La Guitarra Buena, in Amsterdam. In 1980 he recorded an album of his own work, “Nacido en Valencia”. In 1986 he and his family moved to a village near Valencia. He has since founded the Joaquin Rodrigo Festival in the village of Quartell.  He has made three further albums, “Alma”, “Déjame llevar”, and most recently “Seventy-Four”, the pieces from which were the first of his works to be published by Bergmann Edition.

Alfred, thank you so much for agreeing to this interview and I hope you will find the process interesting and enjoyable.

Alfred Feenstra

I am glad to do it.  It is very important for me to provide you with correct and interesting answers. My place in Allan Bergmann´s Editorial is a monumental thing for me, and this interview has the same importance.

I’ve watched many YouTube videos of your pieces in preparing for this interview. I’d like to think I watched them all, but there are so many I have probably missed a few.  Have you kept a count of how many pieces you have composed? If so, how many?

I started composing at the age of 16, just learning to play the guitar and trying things out at the start. Now, at 75, I’ve reached the number of 80 compositions I regard as pieces that have my approval.

I really enjoyed listening to your music.  I’d characterise it as tonal, melodic, with touches of romanticism.  Would you say that’s accurate?

Yes, I think you got it right! My intention is and has always been to try to create something beautiful and to try to touch the hearts of people, and my own heart. If I am working on a piece and it does not have a heart, I do not go on to finish it. I must be moved myself to give it my approval.

Melody is important for me. I once got an amazing comment from David Russell: he said he considered my work as melodious as the works of Tárrega. You can imagine how that boosted my confidence in what I was doing.

All composers are influenced by others, and the influences I thought I heard in yours were Albeniz and Granados; Tárrega and Llobet; Rodrigo; some of the earlier romantic guitar composers such as Mertz; outside the guitar repertoire, Chopin and Schubert.  Am I a million miles off track?  Have I missed other important ones?  Some Latin American composers, perhaps? And in the Santa Maria suite, much more baroque?

Here you are right on track again Andrew. Tárrega is the first main composer that I was fond of listening to. LPs from Liona Boyd, John Williams and Segovia that I had in the beginning were sources of inspiration for me. Barrios, I admired a lot. I have original recordings of him on LP.  Granados, really beautiful. Llobet I also admired very much. I had albums of Segovia playing Bach and also an early LP of Narciso Yepes playing Rodrigo’s Aranjuez and the Suite Español by Gaspar Sanz. That last work is for me a kind of "whole life work" - I’ve been trying to play it for 60 years and I still work on it and play it by heart. I also feel influenced by flamenco: the music of Sabicas and Carlos Montoya made me dance flamenco as a 15-year-old boy when nobody was watching.

You are now, if I may say so, a mature composer and your first album, Nacido en Valencia, was released in 1980 – I’d guess some of the pieces were of an even earlier date.  That’s 43 years ago: how has your music changed in that time?

You are right, some of the pieces of Nacido en Valencia are of an earlier date. The 18 pieces on the LP little by little became an album worth making. I still play some of the pieces and I am still very happy with them. In that sense my music has not changed. What I feel now is that I have grown musically in my taste, learning to appreciate more composers, also more contemporary composers like, for instance, Joaquin Rodrigo.  In a way, Rodrigo is a victim of being very famous for only one piece - but if you make an effort to get to know him better, you discover that he wrote many very beautiful pieces for the guitar, less romantic but maybe a bit more difficult for the listener to understand.

Let's say I have learned to widen my musical taste and can now add what I have learned to my latest pieces. I am producing an album now, with my Santa Maria Guitar Suite played by Thu Le (Vietnam).  On the same album Thu also plays the Nocturnal of Benjamin Britten. That work for me is the reflection of the process of what I have learned to appreciate during my life and what I love most deeply. Both works touch my heart very strongly but have very different styles. For me the message is the same, looking for beauty.

Your biography suggests a lifelong love-affair with the guitar itself.  What a dream business, having a beautiful guitar shop and travelling regularly to Spain to source instruments! How did it begin? When did you first become a guitar enthusiast?  What was your first instrument?  And what do you play now?

I started at the age of 14, buying a guitar on my holidays in a small shop in Spain in Calella de la Costa.  It was a very cheap Spanish factory guitar. Some time later I acquired a Santos Hernandez guitar (Sobrinos) from 1975.  I used that guitar to record Nacido en Valencia. I still have it and play it. But I also bought a Turkish guitar when I was in Bursa, Turkey, at the festival where I met Thu Le for the first time. It is a Suat Çagliyan 2015 guitar. I have some other guitars and I’m also now playing the fifth guitar made by a female luthier, Cristina Goméz Vargas, of Almeria Spain. She brought it to my last festival and I was so impressed that I asked her to lend it to me for a while. She promised to make me a guitar, because that guitar was made specially for her son. I’ve enjoyed it now for the last six months.

The last question does have some relevance to you as a composer – was it love of the guitar, particularly the Spanish classical guitar, that prompted your first steps in composition?

The guitar was and is my first instrument, and it was the Spanish guitar with nylon strings. I tried for a little while – a very little while - to play an electric guitar, liking pop music as well. But it felt so strange. I was already "lost" and captured by the Spanish guitar, and I still feel the classical guitar has a world of possibilities and challenges, enough to stay faithful to it through a whole lifetime. I have to confess that in the very beginning I wanted to play flamenco guitar. My first attempts, based on what I heard on the albums of Sabicas and Carlos Montoya, I made on my classical Spanish guitar.

But Segovia, David Russell, Narciso Yepes, and Julian Bream had more seductive power to persuade me to stay with the classical guitar.  Also at that time there were no teachers in The Hague, where I lived, to teach me.  Now I am doubly enriched because my daughter Helena is a flamenco guitarist, and her group "Eternas" is very successful.

Alfred Feenstra

When you started composing, did you have an ‘academic’ knowledge of music theory? Have you ever had lessons in composition?

To answer this question, I have to make another confession. I do not have any academic knowledge about composing. I can read notes, meaning that I know where to find the notes that I read on the guitar, but seeing more than one note as a chord for instance, I feel a slight panic coming on and have to study note by note to give shape to the chord and find it as soon as possible on the guitar. But sight-reading from scores is something I am not able to do. I think I have a special kind of dyslexia, and I have no clue how people are able to read music for piano, for instance, seeing so many notes, and two lines at the same time!

I have no clue what key I’m composing in, and until now all my pieces are written down with the help of friends, mostly guitarists. Lately I try to write down my new pieces, but they must be corrected in many ways. And it takes me hours and hours.

I am completely intuitive.

Were you at any point looking at music performance or composition as a career? 

I had hopes of a career, but I had too many handicaps in life to go for it. I had many, many doubts whether my music was worthwhile enough for a possible career. Now, at my age, I feel ok in that sense. I have learned to believe that my music is appreciated by a lot of people. A big help is that some fine players like my music and play my pieces in YouTube recordings.

It sounds to me as if you were a player first, and composing came later.  At what point do you think composing became your primary interest? 

I think I’ve already answered this to some extent. At a very early stage of learning to play the guitar, I started to look for melodies and even techniques on the guitar by myself. Maybe I felt and was already aware that reading notes was a big thing for me.  I must have had the idea that, as it was difficult for me to read scores, I would create my own music. I still feel very free in creating and not being told what to play and where to put my fingers.

The Spanish influence on your music is very evident and of course you live in Spain – your children were presumably born there, your daughter is a flamenco player….so how do you feel yourself in terms of nationality – particularly your musical nationality?

I feel very Spanish about music and other aspects also. As a young Dutch boy at the age of 14 in 1962 dancing flamenco, or at least trying to, and being as deeply moved by melodies and Spanish music as I was - Tárrega, Rodrigo, Granados, Albeniz….it made me think more than once that I am a kind of reincarnation of a Spanish forefather or mother. My wife has the same feeling, and we plan to investigate a few generations back to see if that is the case. We feel very at ease in Spain, and we enjoy many, many things in life here.

Can you write to order? Do you take on commissions, for example?

I can compose to order, but my own style will always come through. I have little experience in composing under commission, but the Santa Maria Suite was commissioned, and I feel very happy with the result.

I am not sure if there will be much interest from many people in commissioning further works. I feel that I am only just starting to get significant interest in my music, generated by the views and likes and comments that I’ve received lately on the YouTube posts, above all of Thu Le playing my music.

I do of course hope this process will continue, and my participation in Allan Bergmann's editorial is important in that sense as well.

Something I’m sure many of your fellow composers will envy is the star-studded roster of guitarists who play your work.  How do you feel when you hear your music played by these artists?

The first word that comes to mind is: grateful. The second word is: surprising.  When I saw the videos of Kristina O Varlid playing my “Dulce Dolor del Amor” and “Barcarolle Olvidado” for the first time, I couldn't believe what I was hearing.  They are so surprisingly well played: she added and transmitted more in her interpretation than I myself had imagined and felt in creating the pieces. I have more favourites of course, such as the Santa Maria Suite and others.

In an interview I watched with Thu Le, she says she has been playing your work for nine years or so.  How did that relationship come about?  Do you now write pieces specifically with her, or any other performer, in mind?

I got to know Thu Le in Bursa in Turkey 9 years ago; she won the competition there. The last day at the airport there was a moment that we started a friendship that has now continued for nine years. I believe strongly in Thu Le as a guitarist and musician; her skills are at an unbelievable level. I invited her to give a concert in my festival that I created in Quartell (Valencia) in honour of Maestro Rodrigo. She has now come seven times, knows the people of the village, and is very much appreciated here.

There has grown up a warm relationship between Thu Le’s family and my own, and she feels very much at home in Spain - she has her own room in our house. I support her as much as I can, and I am happy with all the recordings we’ve done together, most recently the "Amor" album that came out in October this year. Thu playing my works is a great help.

No, I do not compose for a specific performer. I just hope that my compositions will outlive me and that many players will enjoy learning and playing them.

Recently we’ve had the Jesus Christ suite and the Santa Maria suite. I read about how the Jesus Christ suite came about – ie that it was not originally written as a suite, but the pieces were collected by a third party.  Can you tell us something about this?

An American guitarist, who bought quite a number of pieces of mine, had the idea to put together, using my existing pieces, a companion suite to my Santa Maria Suite but in honour of Jesus. He had quite a lot of ideas about the pieces and how to place them at certain moments of the life of Jesus. In the beginning I was very surprised but looking closer at his ideas I could understand them, and I liked the idea.

The Jesus Christ Guitar Suite will be published soon in Allan Bergmann’s editorial in a very nice printed version with drawings by a Dutch artist, the same artist who illustrated the Santa Maria Guitar Suite.

Rebeca Oliveira did a great job playing and recording the Jesus Christ Guitar Suite.

Was the Santa Maria suite written specifically in suite form?  If so, what are the features that bind it together?  I felt it had more of a baroque feel than much of your other writing and naturally that brings to mind the organ music of Bach, Buxtehude etc – am I wrong in this?

No, you are right Andrew. I worked on the Santa Maria Guitar Suite knowing that it would be a suite, and would be dedicated to the Virgin Mary and Mary loving people. I had quite clearly in my mind the people who feature in this suite: the children of Fatima, and Lourdes and Medjugorje.  And I knew the people to whom the pieces are dedicated, such as my mom and Lorraine Vasquez (Aria para Lorraine). I made a study of the Virgin Mary.  I could quite easily feel the meaning of Mary for many, many women in the world, having lived with my mom who had a great love of the Virgin Mary throughout her life. A hard life, in which Mary had a huge place giving comfort to her. For Lorraine it was the same thing and I know it is the same for millions of women, and also men.

And the influence of Bach: you are right here again. I feel great respect for Bach and Handel. The Saint Matthew Passion and the Messiah, among many other beautiful works from the Baroque period, are my absolute favourite works.

If it’s not too intrusive a question, do you have a particularly strong religious faith yourself? If so, has it always been part of your musical inspiration?

No, I do not have a strong religious faith. I have faith in spirituality. For me the figure of Mary is more about the longing for spirituality, and for goodness in general, and for love. A positive wishful thinking that many people want to exist, and long for.  But the institution that uses this figure is responsible for an awful lot of pain - an unbearable amount of misery and pain and the loss of many lives in its long history.

I understand the longing and the figure of Mary, but do not associate it with the institution. The feeling that people long for is real and positive and comforting. I want to move in that field.

Has the ‘adoption’ of your music for a religious use affected your composition?  Does it give you a feeling of responsibility for example?  I’m not religious myself, but I imagine your music being played as the Jesus Christ suite must feel like a huge responsibility or perhaps privilege?

I hope that my music finds its place to comfort a few more people who are religious and believe. In that sense, I was aware of that responsibility and accept it.  I took extra pains to give what I have in myself to make it a beautiful work.  More actively and consciously with the Santa Maria Suite, because I composed it knowing the subject.  In the case of the Jesus Christ guitar Suite, the music came from what I call my spiritual inner place: I composed the pieces looking for spiritual moments. Some of the names of the original pieces are, Gabriel, Oracion, and Camino al Cielo (On the Way to Heaven).

And yes, I felt responsible. But it also was also an eye-opener for me when my client proposed the Jesus Christ Guitar Suite.

Your other major inspirations seem to be the human emotions, family relationships etc.  You give quite specifically emotional titles to many of them, and dedicate them to individuals.  Therefore, listening to them feels very personal, particularly your beautiful, simple, heartfelt lullabies for family members.  Is it the case that your own emotional life directly feeds into your musical expression?

Yes, Andrew. As I have said before in other words, for me music is basically to find and feel and express more, and more deeply, your inner self and share it with the persons or situations that I have in mind - and of course with the general public if, as I hope, they get to hear it.

Here is an example, stemming from an image I saw that impressed me a lot.  I saw it during my last holidays at a graveyard in a small village in the north of Spain, and I was deeply touched by a family grave marker that included the names of two children, one of whom lived only a few hours. I took a photograph. Now I am creating a piece for that child, I am writing a Nana (lullaby) for her - maybe it will reach her in a way.

Often, happenings that inspire me to write are moments that I focus on, and above all the feelings that those moments gave me.

My Santa Maria Guitar Suite is maybe the best example for what I am saying here.  For many people, for instance my mother, Mary is Love; and that is what I try to tell listeners in the seven pieces of my Suite. Thu Le did a great job on it: I was in the studio when she recorded the Suite.

Do you have any unfulfilled musical ambitions?  A type of work you want to compose, for example?

I have some pieces that could perfectly fit in the Santa Maria Suite, I could make some more pieces and publish a second Santa Maria Suite. Composing the first suite gave me a really good experience and feelings. Now I am working on the piece for the little girl in the graveyard who only lived five hours (see previous answer). In the same tomb is another girl from the same family that lived some hours more, and maybe she would also like to have a song. Or maybe there are members of the girls’ family who would appreciate it.

Of course, I hope to be able to write some more beautiful pieces, but I am grateful and happy with what I have been able to create, and very happy to have, in the future, all my work in Allan Bergmann ́s editorial. We are working on around 40 pieces for publication.

What is it, do you think, about ‘Romance en Lima’ that has particularly grabbed the attention of so many guitarists?  I really like it by the way, but there are many others I like equally. Do you get a feeling about some pieces that says ‘this one is really something special’? That is, do you know when a piece is going to take off?

In answer I confess that I myself really believe in this piece. From the beginning I was already quite positive. But after hearing Karmen Stendler’s interpretation and the recently published version by Thu Le (Both videos on YouTube) I was surprised and more sure.  In the beginning I had doubts that it was too much of a ‘guilty pleasure’ (as my wife last week told me that it is). But (another confession) I feel this piece deserves to be played all over the world.  Especially because the comments that Thu Le received on You Tube with her live video in the studio, where I was present, are so positive and encouraging.  That is one reason I feel it deserves to be widely played. But in addition, the piece is not very difficult to play.  You do not have to be a master player to learn it and to play it well. Master players can consider playing it, however, because they can give it something very special as Karmen and Thu Le did.

My secret thoughts are, if the "Romance Anonyme" is so famous and played millions of times all over the world, this piece deserves at least a bit more attention than it has had until now - otherwise there is no justice!  But there is no guarantee that masterly beautiful pieces will be sold and get the recognition they deserve for being beautiful.  I am just lucky that some players liked the piece and were happy to publish it for me. Other composers surely will have the same feelings about this.

As for other pieces of mine that I feel are special, I think for example "Guitarra", the last piece of my "Nacido en Valencia" album, is a great as well.  It is one of the pieces that will be published in due course by Bergmann Edition.

Do you listen to a lot of guitar music?  What was the last guitar thing you bought or streamed or downloaded?

I listen regularly to guitar music, not a lot, more often on YouTube, because I like to see the players.

And yesterday I downloaded an 88-page article about the relation between Rodrigo and the guitar:

Trabajo de investigación

La obra para guitarra de Joaquin Rodrigo

By Juan Bautisto Gimeno Colomer, Conservatorio Superior de Musica de Valencia


Do you ever hear something new and think ‘I wish I had written that’?  If so, what was the last example?

Yes, I do think that sometimes, but I see it more as a stimulus to go and compose something new. I do not envy other composers, I like to hear new things and celebrate with others the most important thing we have in common, the guitar.

It is perhaps important to say one thing about my listening to music and using it in composing my own music. When I really like or love a piece of music, I am afraid of copying; so I do not listen to it many times, I just stay with the feeling that the music gives to me and try to keep it with me for a long time, reducing to a minimum the times that I listen to it.  I keep the feeling in mind and in my spirit and try to translate it into what possibly is going to be a new piece of my own.

I would like to write a work like the Nocturnal of Benjamin Britten.  I have heard it played by Thu Le, but I have listened to it only once in three months or so – while knowing that the piece is amazing and Thu Le’s interpretation of it is worthy of a Grammy award. I just do not want it to become normalised, so that it loses its impact on me. I have only to think of the piece and the recording and I can recall the feeling and feel the strength and the love of it.

How did the Rodrigo festival come about, what’s your role, and what does it entail?

I am the director of the Guitar Festival Maestro Joaquin Rodrigo of Quartell (Valencia).  I started nine years ago after discovering that many members of the family of Rodrigo lived in Quartell, such as his grandmother and mother, nephews, uncles and aunts. Some other members of the Maestro’s family lived in villages very close to Quartell, and still live there now.

For me that was the reason to take the initiative to start the festival in Rodrigo’s honour.  An act was once passed by the village council to honour Rodrigo, but nothing had been done about it in the following 20-odd years. In 2024 we will celebrate the 10th edition, and the festival is growing well. The village of 1200 inhabitants has the good fortune to have a beautiful auditorium of 330 seats, where we can stage concerts, and also other spaces for more intimate concerts in the Museum of the Rice Mill. This year we also had two concerts on the town hall square, with people having dinner outside.

We have had quite a number of top international guitarists from Chile, Australia, Germany, Norway, Vietnam etc, and we have realised that many people would love to come to play in Quartell and breathe the air the Maestro breathed in his youth. - recorded in Quartell six years ago, Invocación y Danza, Joaquin Rodrigo. - Aranjuez ma Pensée, recorded partly on the beach of Quartell, Camping Marvarosa. - Pastorcito Santo, Joaquin Rodrigo, in the auditorium of Quartell.


Can I ask you my standard composer questions? They are a bit boring for anyone who doesn’t write, but your audience for this interview is mostly fellow composers and we are all interested.

Yes, you can. I will try to respond to them all.

Do you compose guitar in hand? Or in your head, or using a keyboard, or other method?

Yes, guitar in hand, no keyboard, most of the time letting go of my hands and see what comes out. If I feel happy with what comes I try to recall and construct further, building on the base that I liked enough to go on.

Do you have a standard process or routine?

More or less what I said in the previous answer.  I can add that I need to be in a kind of mood of wanting to create something; and to have in mind the theme that is the basis of the new piece - an event or person.

Sometimes I just improvise and noticing something that I like and that surprises me, I try to remember and go on constructing.  Lately I write it down in notation so that I can go on later. At the end, when I feel the piece is complete, I have it written out by somebody who knows to make scores. Meanwhile I know the piece by heart, and I try to play it as well as I can to convince myself it is worthwhile to produce.

Do you keep notes, sketches, video yourself to save an idea when it comes to you?

Lately, yes, I keep notes. Sometimes I make video recordings as well.

At what point do you start writing a score?

Lately, as explained, I write ideas down in notation by hand on paper. Often not knowing the key I am in or the exact rhythm of the piece, my writing only serves to remind me not to forget the idea. 

How do you score your pieces – pen and paper, computer software?

When a piece is ready, I write it down as well as I can.  Then I get together with an expert - always a guitarist.  I give him or her my score and I play the piece.  Mostly they use the Sibelius programme. I cannot handle that.

Do you ever abandon a piece unfinished?

Yes, I do. But it can happen that years later I change my mind about it.  For instance, having practised "Romanza para Helena", I let it go for years. I picked it up later, finding it in an archive and liking it, not understanding why I had not gone on with it. The piece was ready, I had just let it go.

This is just a matter of insecurity about what I was creating. - Romanza para Helena.

Another stunning example is Barcarole Olvidado (Forgotten Barcarole).  I rediscovered this piece more than 25 years after having composed it. And here it is played in an amazingly beautiful performance by Kristina O Varlid:  - maybe one of my best pieces ever! By the way this is my Santos Hernandez guitar that Kristina is playing.

Do you ever regret a piece?

No, I do not regret any piece I have published. I think I am so critical of my own work during the process of creating, and at the same time fighting against so many doubts during the same process, that those two facts in a way give a certain guarantee of quality.

Do you write quickly?  Take a short-ish piece like say Romanza para Helena: how long would you estimate it took you to write?

No, in general the process takes quite some time. I do not remember clearly how long it took to write the 18 pieces of my first album "Nacido en Valencia".  I think the fastest piece I have composed was Romance en Lima, which was written within an hour. The process of accepting the piece and feeling sure enough to publish it took some weeks, as with all my other pieces.

When you start writing a piece, do you know exactly where it’s going and how it develops?

No, I have no overall clue of where the piece will go - not having ideas or knowledge about keys or structures. A general feeling, yes.

How much of your time is dedicated to writing?

I do not spend much time composing. I am quite busy with projects around the festival and around Joaquin Rodrigo related to the village of Quartell.

I wish I could write notation of my melodies and ideas more easily. But it takes a lot of time for me. I promise myself to study music theory and counterpoint (I do not know what it is, but some musicians have told me it is necessary for real composers) in my next life.

I have the wish to compose more, but mostly I have to wait until I can find the moment and the energy. An inner fight, when one has other hobbies and interests.

When writing, does anyone hear your work in progress or do you keep it under wraps till it is finished?  With the finished work, do you have trusted family members or musicians whose opinion you seek?  If so, have you ever changed anything as a result of feedback from others?

My wife, Coks, hears me play and compose. I do my best to get some comments from her spontaneously (without asking) but she does not give detailed comments on my playing or on the pieces. In general, she loves to hear me play.

I have made just a very few corrections as a result of comments from other guitarists. Once or twice in the studio recording an album, but rarely.

In general, how important to you is the opinion of others about your music?  Really, I think this means are you writing primarily to please an audience or to please yourself?

To be honest it is very important to me. I enjoy a lot of the comments on YouTube. For instance the Santa Maria Guitar Suite got lots of comments after it was published on Thu Le’s YouTube channel.  It gives me a kind of confirmation that what I am doing is worthwhile. On the other hand I feel lately more and more that my own feeling and belief in what I make is more important for my own inner peace, and to be happy about what I have achieved in my life.

And yes, I want to be remembered, and my work to be played, as long as people play the guitar in our world!

What, out of all your output, are you most proud of?

The Santa Maria Guitar Suite, and the LP that is going to be published very soon of this suite together with Romance en Lima and the Nocturnal of Benjamin Britten.

The two pieces that Kristina Varlid posted on Youtube, Dulce Dolor del Amor, (Sweet Pain of love) and Barcarole Olvidado.

Here is the amazing interpretation of Dulce Dolor del Amor by Kristina:

And the upcoming publication of The Santa Maria Guitar Suite for Symphony Orchestra and Guitar with orchestral arrangements of Enrique Roel (Argentina), Maestro and composer. This work is also to be published by Bergmann Edition in both our names, Alfred Feenstra/ Enrique Roel. The scores have already been sent to the company.

Thank you Alfred for your honest, revealing and fascinating answers in this interview.

Thank you, Andrew, for letting me make this emotional journey through your questions.


Selection of videos by various artists playing the music of Alfred Feenstra




Alfred Feenstra

Composer’s own performances of many works

Thu Le

Romance en Lima


Suite de Santa Maria


Romanza para Helena


Deseo Volar Contigo



Kristina O Varlid

Dulce Dolor de Amor


Barcarola Olvidada

Karmen Stendler

Romance en Lima


Canción para el pequeño Kaimbe

Rebeca Oliveira

Jesus Christ Guitar Suite and subsequent videos

Héctor Osaky

Nuevo Romance


Nana Para Ti


Canción para

Esteban Espinoza


Tobias Nilsson

Romance en Lima




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