In the early 20th century, music was used as another building block in constructing national identities, which resulted in the use of musical characteristics typical of folklore. Moreover, the use of any "Spanish" elements in music added additional exoticism. From the 1920s onward, especially after his second stay in the French capital, Emiliana de Zubeldía accentuated the use of elements from Basque-Navarrese folklore in his compositions. Examples of this type of composition are Souvenir de Biarritz, Dans la terrasse, Le printemps retourne, or Esquisses d'une aprés-midi basque.
14 to 18 September 2020.
He was born in Las Palmas of Gran Canaria, where he began his musical studies. At 15, he moved to Vienna to complete his training at the State Conservatory. He won several music competitions, such as the Pegasus prize, the Bosendorfer grant in Vienna, the Coleman in Santiago de Compostela, Musical Youth in Spain, and twice the prize for best accompanying pianist from the Jacinto Guerrero Foundation. As a soloist he has collaborated with the Asturias Symphony Orchestra, the Gran Canaria Philharmonic Orchestra, the Tenerife Symphony Orchestra, the City of Oviedo Symphony Orchestra, the Córdoba Orchestra, the National Orchestra of Spain, the RTVE Orchestra, the Polish RTV Orchestra, the Murcia Region Orchestra, the Hungarian Chamber Orchestra, and the Vienna Mozart Orchestra, among others.
He won the Ritmo magazine award for his album of piano music by Guridi and Padre Donostia. His second solo album focused on the work of Spanish composers from the second republic. He made the first world recordings of Falcón-Sanabria's Concierto para piano, Carmelo Bernaola's Nostálgico para piano y orquesta, and, together with Marta Zabaleta, the Concierto para dos pianos y gran orquesta by Ángel Martín Pompey. He is currently a Professor of Vocal Repertoire at the Escuela Superior de Canto in Madrid, also teaching courses in singing elsewhere in Spain and the United States.