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Conclusion This research carried has allowed me to delve into the systematic and comprehensive knowledge of the musical work of Father Hilario. It is worth noting the social and cultural importance of this composer, not only in the Basque country and Navarre, but also in the history of music in general. We did not know many of the biographical aspects, historical relevance, and unpublished works that I have brought to light throughout this work, a direct result of the cataloguing of Father Hilario’s musical works. In expanding his biog- raphy, I have demostrated the importance of Father Donostia to the understanding of Basque musical nationalism. This occurred mainly during the eighteen years of their co- existence at the College of Lekaroz up until his exile in Chile, where they worked to- gether in hosting various renowned composers to visit the College, exchanging thoughts on the music they were composing, and trying to convince them to use his compositions, rhythms, and popular melodies. During his exile in Chile, he concentrated on his method for using the txistu and the tamboril. Upon his return to Spain, Father Hilario stayed in the Capuchin convent of Pamplona-Extramuros, where he continued to practice his way of narrating stories with piano music, interesting even to the Corporación de Radio y Televisión Española (RTVE) 28 , for which he recorded several programs. He promoted the celebration of the Olentzero in Pamplona, which was one of their top tourist attractions. I have synthesised the important role his works have played, some of them claiming awards throughout Spain. I have also emphasised how during his exile in Chile, Father Hilario stood out by the way he told his stories, accompanied by music interpreted on the txistu and tamboril and, on the occasions in which it was allowed, with piano. After the experience of cataloguing these works, I can highlight the value and interest in the work of Father Hilario, addressing their importance, once they were identified, sys- tematised, sorted, and inventoried. This interest has grown exponentially. As such, this valuable collection must be adequately preserved and protected given its musicological and historical significance. In addition, I hope that my study will contribute to the motiva- tion of a new generations of txistularis and instrumentalists, and encourage them to culti- vate an interest and taste for the works of Father Hilario, encouraging them to interpret his extensive and varied works. English Abstract Alejandro Olazarán Salanueva (1894–1973) was a Capuchin friar born in Estella (Spain), popularly known as “Father Hilario Olazaran of Estella”. He was a music teacher and organist under José Gonzalo Zulaica (1886–1956), known by his pen name, Aita Donostia, or as Father Donostia, in the college of Capuchins in Lekaroz (Spain), and had some influence on the development of Basque mu- sical nationalism. Father Hilario is valued as a composer and music collector in the Basque country and in Navarre. Hilario’s work mainly consists of music written for txistu (a vertical flute with three holes, located at the bottom of the instrument; two in the front and one at the rear, popular in the Basque country and Navarre), numerous compositions for piano, and a very significant output of sacred music, mainly music for mixed choir, voices, and soloists, many of them with organ accompaniment. There is also a large amount of secular music for choir, band, and txistu, among others. 50 FONTES AR T I S MUS I CAE 6 6 / 1 28. Spanish Television, http://www.rtve.es/ , accessed 27 December 2018.