Born in Barcelona, Luisa Morales is an internationally renowned keyboard musician and music scholar who has published numerous books and papers in various innovative fields of research. Additionally, she is the founder and long-time director of FIMTE the annual International Festival and Symposium on Spanish Keyboard Music. She regularly gives concerts, lectures and teaches courses on topics covering different aspects of Spanish music and dance.

She has given concerts as a soloist in Europe, the United States , Canada, Morocco, Mexico, Costa Rica and South America often under the auspices of the Spanish Embassy and the Department of Cultural and Scientific Relations of the Ministry of Foreign Affairs. She has taught courses and given lectures on Spanish keyboard music at several European and American universities and centers (Edinburgh University, National Music Museum Vermillion USA, Riverside-Los Angeles California University, Harmoniques-Lausanne, Magnano International Symposium, AMIS conference, FIMTE...). In 1983 she won the Colemán and José Miguel Ruiz Morales prizes for interpreting Spanish music. From 1980 to 1990 she studied in Paris and Amsterdam under Rafael Puyana and Ton Koopman.

Recent publications include the books (ed.) Keyboard Music in the Female Monastries and Convents of Spain, Portugal and the Americas, Pre-Iberia: From Masarnau to Albéniz (2010), Domenico Scarlatti in Spain (2009), Five Centuries of Spanish Keyboard Music (2007) , Claves y pianos españoles: interpretación y repertorio hasta 1830 (2003), Obras para tecla del siglo XVIII MM. de San Pedro de las Dueñas (1997), and articles in the music journals 18th century Music review (2006 and 2008), De Clavicordio (2004), Nassarre (1996, 1997, 1999, 2002), Revista de Musicología (2000, 2002). She has been reviewer for Oxford University Press Currents in Latin American & Iberian Music Series and a contributor as recording reviewer of the electronic Spanish music magazine Mundoclasico.com.

Luisa Morales is contributor to the New Grove Dictionary of Musical Instruments to be published by Oxford University Press in 2012..

Luisa Morales has recorded as a soloist the CD “Musica Sorprendente” (Caskabel) a World Première of unwknown 18 th century music from a Spanish benedictin convent, and “Scarlatti and Soler in London ” recorded at the Kirckman harpsichord of the National Music Museum.

Recent presentations include a duo concert together with Miklós Spanyi in Lausanne's Harmoniques International Conference, featuring Soler concertos for two keyboard instruments on the Stein vis-à-vis harpsichord and fortepiano (1777), and several recitals in USA with Spanish Dancer Cristóbal Salvador, including the Conference of the AMIS and Galpin Society in Vermillion, South Dakota on the Museum's Kirckman harpsichord (1798), Spain, Central America, Rabat and Tánger.

In 2006 she organized the 1st Global Scarlatti Marathon “Scarlathon”, all the sonatas of Scarlatti were played in one day time by more than 200 performers, in Europe and the Americas.

Luisa Morales is the organizer of the international online tribute C@BEZÓN500 to celebrate the 500th anniversary of the birth of the famous blind Spanish musician Antonio de Cabezón (1510-2010). This is the result of a joint effort by professional musicians, record labels, music students and amateur musicians who have got together to make all of Cabezón's works available online over the course of this fifth centennial year.

Her ongoing research projects include:

•  Cataloging and publishing the musical heritage of Convents in Peru (18th-19 th century).

•  Cataloging and publishing the keyboard music of the Convent of San Pedro de las Dueñas in Spain (19 th century). Joint project with the University of South Dakota .

•  Cataloging Spanish Dances within 18 th century keyboard repertory. Joint project with the FAAF (Spanish Folklore Association of Andalucia).

Luisa Morales's recording on the Kirckman is excellent.This is a particularly fascinating recording… Morales uses the resources of the Kirckman extremely in­telligently, and the contrasts of colour and volume work with the music rather than imposing on it. Morales has an obvious affinity with this music, and an impressive technical com­mand of all the virtuoso elements of these sonatas.”

Early Music (Oxford University Press, April 2011)

…Her playing has tremendous forward drive, particularly effective in the Soler which never palls here…Morales makes full use of the Kirckman's broad palette of colours…giving full rein to its extrovert personality, which suits her choice of sonatas admirably, particularly, those of Soler.

(Noel O'Regan, Early Music Review, London April 2008)

…There was certainly no participant who did not thrill to the recital of 18 th century Spanish music by Luisa Morales on original instruments…Interest was even heightened when she was joined at the conclusion by dancer Cristobal Salvador who employed traditional folk dance steps plus castanets while Luisa played Scarlatti Sonatas… ( David Pickett , Historical Keyboard Society Newsletter , USA June 2003)

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