Born in Seville on July 3, 1945.
He started in music at the choir of the Salesians of Triana at age 10.
When he was 17 he left school and formed the group “Los Murcielagos” with which he entered the rock world.
In 1967 he formed “Smash”, an emblematic group of Spanish rock and pioneer of Andalusian rock. They record several LPs and give concerts throughout the national territory. After the dissolution of the group Smash travels to the United States where he studies music, he starts as a composer writing a rock opera, “Behind the Stars” which premieres at the Academy of Music in Brooklin, New York.
He collaborates as a studio musician in “Good Vibrations studio” thus entering in contact with musicians of Jazz, Rock, Folk, etc.
He joined the “Yoga Symphony Orchestra” and formed a group with Diwan Mothihar, famous Indian sitarist, Arthur Volh, violin with whom they give several concerts.
In 1974, he returned to Spain with two American musicians (Arthur Volh and Todd Purcell) recording... +
...two albums as soloist with his compositions: “A la vida y al dolor”, Movie Play, 1975 and “Vericuetos”, MP, 1976.
In 1976 he was invited to the I Festival de Martigues (France) as representative for Spain,
he stays several months giving concerts in France and Holland and composes the music of
camera that will record to its return, in 1978, with professors of the National Orchestra giving rise to the disc titled “Other days”.
In 1979 he recorded an album that fuses the cante jondo with the sitar (“Gualberto y Agujetas”).
In these years he performs multiple orchestral arrangements where he combines the instrumentation
flamenco (clapping, voice, guitar, etc.) with the classical (string quartets, wind trios, etc).
The “Casta” album by Lole and Manuel is produced by this style, where he works with the
Orquesta de RTV Española; “Copybook” and “Through oblivion” by Carlos Cano,
“Rimas de Becquer” with Benito Moreno, etc.
In 1983 he works as a producer, arranger and music consultant at Columbia Records. He
the same year he recorded the album “Puente mágico”, for sitar and flamenco guitar with Ricardo Miño giving multiple concerts.
At the end of that year he spends a season in San Román de Cameros where he works
exclusively to the composition, from this time dates his “Trio de clarinetes”.
In 1984 he composed, on behalf of the City Council of Seville, a string quartet that
premieres with the name of “Quartet Bienal” in the 1st Biennial of Flamenco Art.
The same year he composed the music for the play “Cuentos de la Alhambra” of the
Grupo El Globo de Sevilla.
Simultaneously he directs the Choir Rociero de Triana, with which he will record, throughout more than
10 years of collaboration, several albums. Composed, in 1994, a Mass with four voices.
In 1985 he made a tour, sponsored by the Junta de Andalucia, directing a septet
(string quartet, flute, oboe and clarinet) performing a program entirely his; closing the tour with a concert at the Reales Alcázares de Sevilla.
In 1986 he wrote a work at the request of the Municipal Band of Seville, which premiered in
Maria Luisa Park.
From 1987 he entered the world of music informatics creating his own studio, which allows him to record music for film and television.
In 1988 he premiered his work “Turruñuelo” with the Bética Symphonic Orchestra “in the
inaugural concert of the III Biennial of flamenco art.
In 1989 he began his collaboration with the guitar of Paco del Gastor that is maintained
at present and that has given rise to innumerable concerts inside and outside Spain.
In 1990 he returned to the stage as an interpreter (sitar, electric guitar) using the
computer support as accompaniment. The first concert inaugurates the I New Music Series of the University of Seville. Later this concert is performed repeatedly under the patronage of the Luis Cernuda Foundation and will lead to the recording of the album “Sin comentario.”
The same year he directs the OTI orchestra in Miami, USA, representing Spain.
In 1991 he participated as a soloist in the International Guitar Festival of Córdoba.
Collaborate in the Spanish authors compilation disc edited by the magazine Nueva
The same year he participates as a soloist in the Inaugural Concert of the Itálica Festival
next to the ballet of Nacho Duato.
In 1992 he participated in the New Music Meetings in a concert held in
Sevilla with Wim Mertens.
The same year he writes, for the inauguration of the Olympic Games in Barcelona, a piece that joins the end of a jota, played by Plácido Domingo, with some sevillanas,
danced by Cristina Hoyos and performed by the City of Barcelona Orchestra.
In the following years he continues giving solo concerts as well as with Paco del Gastor.
In 1995 a new cycle of concerts began in which the successive interpretation of
various instruments (Spanish guitar, sitar, sarod, electric and acoustic guitar, dilruba) on a prerecorded basis, allows to combine very different influences and tecnicas.en 1996 he composed and interpreted a work “CRISOL” for the Flamenco Biennial integrating various musical trends within a flamenco base. In 1998 he recorded an album in the company of Ricardo Miño called “CON-TRASTES”. It is a disc where there is a continuous dialogue between the Guitar of Ricardo and Sitar de Gualberto. This record would win the 1st prize of music “Andalucía 2.000.In the same year it presents the show” thousand ways of feeling Triana, in the X Bienal Deflamenco de Sevilla, where he mixes flamenco music with Lyric, and where his daughter Meili García intervenes as a soprano voice and violin, obtaining great success from public and critics. In 2000 he presents the work “Constelación flamenca” for Voz soprano, violin, double bass flute, percussion, sitar veena and flamenco guitar, obtaining a great critical successIn 20001, he presents a concert organized by the “Ceiba” foundation together with SusanaBaca.Actually he is composing an album to be edited in Italy with the great jazz clarinetist Gabriele Mirabassi, and continues giving live concerts playing sitar, veena and guitarra.En the 2.002 premieres at the Biennial a new concert for wind quintet, sitar vina dilruba and percus Ion obtained great success coming out highlighted in the press as one of the best concerts of the Bienal. In 2002 he premiered his concert “Caminos del aljarafe” for Wind Quintet (flute, oboe, clarinet horn and bassoon) to sitar, and veena. He continues to give concerts using different formations of musicians and making music for cinema “El everest is already the history of Andalusia”. In the 2.004 he premiered “Mis cuerdas” a piece for piano, Cello, flamenco guitar, electric guitar (tapping) electric guitar and sitar.En the following years she gives several concerts with Smash, she records a Mass in 4 voices with the choir of the brotherhood of Rocío de Triana, where she mixes the flamenco styles like the bulería, soleá alegrías with the 4-voice polyphony “Misa solemne”, she continues to give concerts of both sitar and rock, playing live songs from his first two albums “A la vida y al dolor,” and “Vericuetos” with current themes. He makes a version of the Andalusian Anthem for Veena, Tiorba, or baroque boe, string and voice quintet and acts in various commemorative events “delivery of medals and recognition of Andalusia. In 2008 he himself is awarded with the recognition of the Government Delegation of the Junta de Andalucía as “a reward for his contribution to the Andalusian culture. He continues to play both solo and with various formations of classic rock or flamenco and music making for documentaries. In 2008 he opens his web page, where he plays a live song every day and hangs it on the net as: “Tapitas músicales” You can hear almost live the evolutions of Gualberto’s compositions on this page as well as drawings and paintings painted by himself to illustrate the Tapitas.En present (2011), continues to offer rock concerts with his old group “Smash”, guitar, Tabla and sitar, and chamber music with their own compositions. From 2008 until the present 2018, in his page “capitas de Gualberto” plays and hangs daily in the network, new compositions, improvisations and versions that also include a drawing or picture of his I and a comment about the subject that is interpreting, either with the sitar with the flamenco guitar or with the electric with the Veena or with the Dilruba.