Musíadas 1.0, intends to be the first volume of a project that will continue in the future. It is undeniable that composing for a solo instrument and an orchestra is a very challenging compositional exercise. Combining writing for a solo instrument together with a large number of instruments, results in a combination that will require great musical and aesthetic refinement. In the legacy of each composer, concertante works are a reference point. This is the case with the piano and composers such as Beethoven, Tchaikovsky, Chopin, Schumann, Ravel, Prokofiev, Rachmaninoff and many others remain to be mentioned. We could almost build a history of western classical music through these works, because due to their aesthetic demand they mark a level of development and self-knowledge of each composer that goes into the maximum of their intimate and personality, as representative works of his genius. Also in Portugal we can find a considerable production with regard to this genre. Take a look at the composers who in Portugal left one or more works for piano and orchestra: João Domingos Bomtempo, Arthur Napoleão, Vianna da Motta, Alfredo Napoleão, Óscar da Silva, Luiz Costa, Hernâni Torres, Armando Leça, Pedro Blanco; Luís de Freitas Branco, Ruy Coelho, Francine Benoit, Cláudio Carneyro, Armando José Fernandes, Fernando Lopes-Graça, Jorge Croner de Vasconcelos, Tavares Belo, Vítor Macedo Pinto, Joly Braga Santos, Filipe Pires, Ivo Cruz, Joaquim dos Santos, Álvaro Cassuto, João Victor Costa, António Victorino d’Almeida, Rui Soares da Costa. In this perspective, recordings of Portuguese works for piano and orchestra are rare, paradoxically to the enormous production of those composers for this musical genre. Musíadas 1.0 intends to be a response to this contrast. On this first album we put together Fantasia by Luiz Costa (1879-1960), Cata-Vento by Cláudio Carneyro (1895-1963), Concerto op.78 (Anne Vitorino D’Almeida (1978-)