The known works by Francisco de la Huerta are found in "papeles sueltos" (particelle) and not in choibooks. He has been incorporated to this database, since he was an important chapelmaster in different cathedrals and at the Monastery of Santa Ana in Ávila; he obviously had direct contact with the books of polyphony and with the performance of that repertory in the institutions where he worked.

The main part of the extant compositions by Huerta are preserved in the Pamplona Cathedral and in the Monastery of Santa Ana in Ávila, but there are also pieces by him preserved in the cathedrals of Ávila, Astorga (León), the Collegiate Church of San Miguel de Alfaro (La Rioja), the Royal Collegiate of Roncesvalles (Navarre), and the Monastery of San Lorenzo de El Escorial (Madrid).

According to Sagaseta and Taberna (1985), p. 52, María Luisa de Tarazona Beunza, born in Pamplona, was maybe a daughter of the organbuilder Ramón de Tarazona, also born in Pamplona. On January of 1783, she was examined in "órgano, arpa y canto-llano" by Francisco de la Huerta, chapelmaster of the Pamplona Cathedral, because she wanted to be accepted as a nun musician at the Monastery of Santa Clara in Arizkun (Navarra). According to Huerta, she was "bien instruida en todo lo expuesto para poder servir a dicha comunidad".