It is with deep passion that I present this editorial proposal. Divided in two volumes, it honours Spanish guitarist and composer Federico Cano (1838-1904), until now unjustifiably forgotten. [...] This second volume includes all editions published by Idelfonso Alier of Madrid with the exception of the Pot-Pourri on Aires Regionales edited by Antonio Romero and attributed to "Antonio Cano (Hijo)." The last three pieces are transcriptions of originals by Vicente Costa Nogueras (1852-1919), Charles Gounod (1818-1893) and Auguste Durand (1830-1909). The revisions are faithful to the original editions with a few corrections. They preserve the dynamic signs, the harmonics, the slurs, and the portamentos. Thare is the translation of the guitar effects from remark of the original text and all the corrections to music text compared with original pictures. The compositions show idiomatic mastery of the instruments. Almost seamlessly, they combine popular and cultured elements, highlighting the hand of a graceful and exquisite musician. These works represent a significant contribution to the guitar repertoire of the second half of nineteenth century. (from the Introduction by A. Sebastiani)