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piano. In 1972, he composed Lau egun artan , a responsorial dedicated to Pui Lazarum. Other works are undated. Of these, worth mentioning is the Coro de diablos for Christmas at the College of Lekaroz. Among the works written for voice and piano, one from 1925 stands out, a work to accompany gymnastic exercises according to the Swedish method founded by Pehr Henrik Ling (1776–1839). This work for voice and piano, Gymnasia Lekaroz , was inspired by the popular music of Navarre, for example, biribilketas (marches). Works for band Father Hilario wrote six works for band (the College of Lekaroz had a band): Etxaidenean (1921), Oi Betleem (1924), and in 1934, an adapation for band of his Gymnasia Lekaroz (originally for voice and piano). In 1961, he also adapted a pasodoble for piano for musical training called Carriquiri , as well as a march tamborrada in honor of San Fermín de Iruña (undated). We also do not know the date of composition of the interlude Agur Maria , but it can be considered sacred music. Works for the txistu and piano The musical output of Father Hilario includes four works for txistu and piano: Txoriak (1929), subsequently adapted for piano by Lorenzo Ondarra (1921–2012). This which suite in four movements evokes the singing of birds in Navarra ( Urretxindorra [nightin- gale], Zozoa [dipper], Txantxangorria [robin], and Kukua [cuckoo]). In 1931, he wrote Eguberria , a suite of five movements that narrates the birth of Christ ( Artzaiak [shep- herds], Jaiotza Kristoren iragartzen Aingeruak [the angels announce Christ’s birth], Betlem-erato bidean [on the way to Bethlehem], IV. Jaureskuntza [rejoicing], and Estalpe aurreko dantza [seasonal dance]). Harkaitzak , written in 1933, is a rhapsody in three movements ( Goizeko eguzkipean [in the morning sun], Uginetan [in Uginetan], and Txoriekin [with birds]). In 1942, Father Hilario adapted a suite for violin and piano that he had composed in 1935. The adapation was titled Nafarroa , in four movements ( Goiza , Otoia , Argaray , and Xigantiak ). Works for txistu Father Hilario wrote eighty-six pieces for txistu, which demonstrates his admiration for this instrument. The most important part of his works for this instrument was his meth- ods for learning how to play the txistu. His method for the txistu and tamboril of 1927 won first prize in the literary-historical competition sponsored by the Journal of Basque Culture Euskalerriaren Alde of San Sebastian 26 . In 1929, a second edition of the method was published in a magazine from Auberge de la Petite Ferme. A reprint of this, using col- ors of the Navarrese artist, Francisco Javier de Frutos, was printed in 1932, and a third edition appeared in 1955, with an iconographical study titled “Iconography of the Auberge de da Petite Ferme”, which reproduced txistularis figures from the facades of the Mona- stery of La Oliva (Spain), the Cathedral and Church of San Cernin of Pamplona, and the Church of Sainte Engrace (France), among others. In 1972, the Provincial Government of Navarra published a new treatise, Tratado de txistu y gaita (Pamplona: Diputación Foral de Navarra, Dirección de Turismo, Bibliotecas y Cultura Popular). Since 1929, which was 48 FONTES AR T I S MUS I CAE 6 6 / 1 26. Angel Sagardia and Karlos Sánchez, “Alejandro Maria Olazaran Salanueva” (2008), http://www . euskomedia.org/aunamendi/102448 , accessed 27 December 2018.