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José Francisco Sánchez Salsamendi is a research professor at the University of Valladolid (Spain) and a doc- toral candidate, working on the thesis: “Father Hilario Olazarán de Estella (1894–1973): Career and Contribution to the Musical Life of his Time”. 1. Colloquial way in the Basque country and Navarre of calling musicians who played the txistu, a three-hole flute, played with one hand. 2. Bernardo Estornes Lasa, Enciclopedia General Ilustrada del País Vasco ; A. Cuerpo, Diccionario En- ciclopédico Vasco (San Sebastián: Editorial Auñamendi, 1992), 33:349–351. 3. Bonifacio De Ataún, “R. P. Fr. Hilario Olazarán de Estella”, Boletín del Instituto americano de estudios vas- cos (Buenos Aires) and Bulletin Hispanique 95 (1973): 180–184. 4. José Luis Ansorena, “Personalidad humana del P. Hilario Olazarán de Estella”, Revista Txistulari 159 (1994): 11–15. 5. Lorenzo Ondarra, “Olazarán Salanueva, Hilario”, in Diccionario de la Música Española e Hispano- americana , ed. E. Casares (Madrid: Sociedad General de Autores y Editores, 1999), 8:42–43. FATHER HILARIO OLAZARÁN OF ESTELLA (1894–1973): CATALOGUING HIS MUSICAL WORKS José Francisco Sánchez Salsamendi Introduction Alejandro Olazarán Salanueva (1894–1973), composer and music collector in the Basque country and Navarra, is popularly known as “Father Hilario Olazarán of Estella”, and that is how he signs his works. From this point onward in this article, I will refer to him solely as Father Hilario. He is a well-known figure among txistularis of the Basque country and Navarra 1 , but virtually unknown in general music history, unlike figures of the first order in Spanish musicology, such as José Gonzalo Zulaica (1886–1956; better known as Aita Donostia or simply Father Donostia), Dionisio Preciado, or Jorge de Sutton- in-Ashfield, all of them capuchin friars. To know the work of the Father Hilario is relevant not only for the txistularis, but for all musicians, the scientific community, and the general public. His music is comprised of numerous compositions for piano, and his sacred music is significant, organised mainly of works for mixed choir and soloists, many with organ accompaniment. There is also a large amount of secular music for choir, band, txistu, etc. A few studies exist on Father Hilario and his contribution to music composition in Spain and Chile, where he was exiled for twenty-seven years, beginning in 1936. There is very little literature on the life and work of Father Hilario. The following brief references reveal the impact of the composer, mainly in Spain and Chile. In regard to the biography, there is a short entry in the Enciclopedia general ilustrada del País Vasco 2 , as well as in a bulletin published by the American Institute of Basque Studies at the University of Buenos Aires, both written by the Bonifacio de Ataún 3 . In the magazine, Txistulari (no. 159), José Luis Ansorena, Basque composer, capuchin, and di- rector of the Coral “Andra Mari” in Renteria (1966–1991), has dedicated a few pages to Father Hilario 4 . Lorenzo Ondarra, composer and writer on musical topics, as well as a collaborator in the musical edition of Father Donostia, traces a brief outline of his life in volume eight of the Diccionario de la música Española e Hispanoamericana 5 . Other writ- 42