The history of flamenco has been built through various theories. Some of them we call "mythical theories," which are those that, although they were formulated with arguments of dubious rigor, everyone has ended up accepting them as accurate over time. In this episode, we describe what we mean by "mythical theories," and we describe a couple of examples that refer to the same stick: the petenera.

At the end of the 19th century, a priest, the organist of the Cathedral of Seville, composed some of the most beautiful flamenco pieces for piano of his time. In this episode, we review the flamenco works of Buenaventura Íñiguez, a Navarrese who lived the last 37 years in Seville. We also listen to a good part of his flamenco compositions, some very virtuosic.

In this episode we talk about how flamenco guitarists had to create new toques throughout the 19th and early 20th centuries as new cantes were integrated into flamenco. For example, it is illustrated with the guajira guitar playing and some of its most characteristic falsetas, which were not created out of thin air and are perhaps based on music from countries thousands of miles away from Spain.

From its beginnings in the 19th century, flamenco has had a significant international impact. Flamenco artists toured half the world with their art, and foreigners composed many flamenco musical pieces in the 19th century. In this episode, we see some stories showing intense flamenco activity, especially in American and European countries. We also hear flamenco music composed by French composer Gabrielle Ferrari.

After the first year of this project is the podcast "Forgotten Sounds of Flamenco", in this last episode of the season, we review how the first 25 episodes have gone, what reception it is having in many countries around the world, and we remember some of the characters, stories and sounds that have been the protagonists of this season. We also talk about the beautiful music that serves as the tune of the podcast.

In flamenco, it is said that the malagueña belongs to the fandango family or is a cante derived from it. Some authors even claim that the malagueña and the fandango were mainly the same in the 19th century. In this episode, we review the analysis that Lénica Reyes made of both cantes in the 19th century to see how they were similar and differed. You can also listen to music from both cantes you have never heard.

In flamenco, it is common to establish phylogenetic relationships between the different palos, as if each had necessarily derived from a previous one. One widespread theory is that the 17th-century jácara is the mother or grandmother of many palos. In this episode, we comment on what the theories supporting this kinship have been based on and analyze them to see to what extent they can be considered correct or questionable.

This episode is extraordinary because of the importance of its protagonist in the history of flamenco: Don Francisco Amate. An amateur flamenco singer who, as fate would have it, recorded some non-commercial wax cylinders in Los Angeles (USA) at the beginning of the 20th century. These recordings are one of the few samples of how flamenco was sung before commercial recordings appeared.

Throughout the history of flamenco, some palos have been incorporated into it, and others fell into disuse until they were practically forgotten today, such as the jaleo, not the jaleos extremeños, but the jaleo. In this episode, you can hear how the jaleo sounded, both in the concert flamenco guitar and in the very few recordings made of the jaleo; some of them never sold commercially.

This episode continues the previous one and is dedicated to the history of a guajira that is still sung in flamenco and has at least 135 years of history. This guajira was part of the zarzuela "Los de Cuba" from 1888. In this episode, we see how, due to its popularity, flamenco artists began to sing and record it at the beginning of the 20th century. Even today, we can still hear it in the mouths of some flamenco singers and singers.