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organ (students), and other for voices and organ (congregation of priests). It should also be noted that the College of Lekaroz was a Capuchin convent, which means that the canonical hours of the Catholic ritual were sung, accompanied by organ. From this, we can infer that Father Hilario composed these works not only from an instrumental point of view, but also with the understanding that the voices were important as well. Therefore, I thought about the number of singers and the frequency and quality of the same. As a result, one can also say that his sacred vocal music, written in Latin, Basque, and Spanish, is very demanding for the interpreters; in addition, the organ music also requires some musical skill. Other sacred works include his Misa de difuntos a una voz (Requiem), the collections of organ pieces, and, after the liturgical reform of Vatican II, two Masses in Spanish: one in honour of Holy Mary of Echalar (Navarra), and the other, a Misa de difuntos for two voices, written for the children’s choir of the Escolanía de San Antonio, which he directed. In 1925, he was awarded a prize from the Orfeón Pamplonés for his Oración a la Virgen del Puy , a choral work for four mixed voices inspired by the death of the generals shot out- side the church of the Virgin of Puy in Estella in 1839. Secular works The secular music of Father Hilario contains 162 works of various kinds, and composed for different musical groups. Most of this work is linked to the folklore of the Basque- Navarro region, and contains a host of titles of descriptive music as will be later described in this article. Choral music Father Hilario’s secular choral music consists of twenty-six works, very similar to the sacred works, but with texts mainly in Basque. This includes works for voices, probably because he had the students to be able to interpret them, as well as numerous works for four men’s voices, organised into an ochote 25 . This may be due possibly to the fame he brought to his choir in the Basque Country and Navarre from 1920 onward, and the abil- ity to sing pieces composed for ochote in the Capuchin convent. In 1925, he again received an award organised by the Orfeón Pamplonés for his composition, Done Bartolometan , for four mixed voices. It is a work inspired by the cele- brations of 24 August in Lekaroz. In August 1969 in Torrevieja (Spain), he additionally awarded a prize Mendigoizaleak , scored for four mixed voices and txistu. Most of these works were inspired by the folklore of the Basque-Navarro region. Works for voice and piano This repertoire includes eleven compositions. In 1921, he composed Ola Gizona , which was dedicated to the Mrs of Good Counsel. The pasodoble Carriquiri , of 1935, was sub- sequently adapted for band. In 1945, he composed his 15 canciones misionales , with easy accompaniments for any player. In 1963, already back in Navarre, he composed El Misionero , a tune, which on the cover states, “my farewell to Chile”. In the same year, he also composed Pobres enfermitos , for three voices and piano. In 1971, he composed Responso a un gaitero de Estella en el camposanto de Astrain , a work for mixed voices and CATALOG I NG MUS I CAL WORKS OF FATHER H I LAR I O OLAZARÁN OF ES TEL LA 47 25. Small choral ensemble typical of the Basque country and Navarre, comprised of eight voices (Tenor I and II, Baritone, and Bass), two on each part.