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José E lías (c. 1687 after 1755), nominated «padre y patriarca de los buenos organistas» by one of his contemporaries at the royal chapel', was probably the most outstanding of Joan Baptista Cabanilles' s followers and pupils. Although there is no certain proof that he was taught by the great Valencian organ ist, it is al leged that El ías learnt o ver 300 organ pieces by this master during his formative careeran accomplishment wich clearly exerted a profound influence on the music he composed during his time as organist in Barcelona (see below). The greater proportion of his extant organ music is of a purely functional kind, consisting of alternatim versets designed for liturgical integration and therefore I inkcd to plainchant models. The weight of Elías' s reputation, however, has to a large extent rested on his experiments in tonal writing and design. Antonio Soler, for instance, claimed that he had learnt 24 pieces by Elías in ali the majar and minar keys at an early age and that this had had a marked influence on his own keyboard sonatas • Elías's complete command of the most up-to-date harmonic language of his time is witnessed by his Obras de Órgano, entre el Antiguo y Moderno estilo ( 1749), a collection of liturgical pieces written during his time as organist at the royal convent of the Descalzas Reales in Madrid from 1725 onwards. It is thanks primarily to the pioneering work of José María Llorens that we are able today to appreciate Elías's contribution to Spanish organ music of the first half of the eighteenth century. In an article published in this journal in 1962, Llore ns presented for the first time a

«Juego de Pangelinguas»: a source of organ music by José Elías at Montserrat