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"Like almost all the music of his period, Vicente Baset's symphonies require the active involvement of the performer. The score is in a sense naked despite the occasional and brief dynamic indications such as forte or piano, solo or tutti, or the corresponding tempo and affect indications at the beginning of each movement. It is necessary that the interpreter makes decisions, that he or she gets involved in the creation of this work. The composers of the time, including Baset, relied on the training of the musicians and called insistently for imagination and fantasy. The codes have changed but the nature of our emotions is the same. For this reason an interpreter is necessary: a contemporary translator of these emotions through historically enlightened interpretation. In the symphonies 2, 4 and 8, oboes and bassoons are added, since at that time these instruments were usually part of orchestras and ensembles and their use in the French style was the prevailing fashion. A percussion is added to the minuets [track 6, 17 and 20], highlighting their folkloric essence. The first violin surprises from time to time with free cadences on the marked fermatas, wouldn’t Baset himself want to flaunt his skills? I adopt the composer's intentions and new soli and tutti appear, giving homogeneity to the whole; articulations are expressed in the form of sighs, large phrases and short and painful-sounding notes; I colour the score here and there with dynamics, imagining a non-existent text; the accompaniment, rich and powerful, alternates to capture the full attention in every moment, even taking on the power of the melody in the Andante of Symphony 11 [track 25]. There are rules and connections, theory and practice, but also a strong sense of theatre and a sincere honesty towards our mission, which we at Forma Antiqva want to fulfil for the renewal of our musical heritage. There is, in short, courage." - Aarón Zapico