On 5 April you were a soloist with the Bilbao Symphony Orchestra. Is it really an extraordinary experience?

It was a very new experience for me. It was the first time I played with a professional orchestra. At first, fear, I didn't really know how I was going to feel with an orchestra, I thought maybe I would feel small. But I felt very protected from the first trial, quiet. I was nervous, but I wasn't afraid. I went out on the safe stage. To enjoy.

For both this concert and the musical journey you're wearing, there's not much secret: work, and more work, right?

That's right. There are no more secrets. I've always been told this from a young age. Here nobody plays well because it has a special gift of birth. Working more and more, the results will be better. And that realization of results gives me more motivation to keep working.

He performed two pieces together with the Bilbao Symphony Orchestra.

I played two pieces by Piotr Ilich Tchaikovsky, The Melodie and Waltz Scherzo. Even though they're the same composer, they don't have similarities. The first is very melodic and quiet, easy to interpret. The other is faster, more virtual. I liked to make that mix.

In which register do you find yourself with pleasure, virtuosity or tranquility?

Since I was a child I liked more with the quieter pieces, because they give me more possibilities to express myself. Technical works are more difficult for us all. Waltz Scherzo is quick, but very joyful. Even though it was hard to touch, I wanted to convey that it was light, easy to hear.

Why did you choose to be a violinist?

When I was a kid, I played flute. I was always with that instrument. At the Music School Tomas Garbizu usually make instrument presentations, and I saw violin, professor of violin, I started listening to repertoires for violin… ‘Agur flauta, kaixo biolina’, I said. From that moment on, the violin and I got on our way together.

You mentioned that you have had a remarkable influence from violin professor Raffaela Acella.

Raffaela has been a great deal for me, both from a musical point of view and from the staff. It is one of the main responsibility for the path that I am making. We've worked a lot together. The key has been collaboration: I collected what he gave me and gave me more; so, Raffaela taught me more and more, and I worked more often... Going to class with him, doing three or four hours... was a joy. He is currently retired as a professor.

Your musical career starts at the Tomas Garbizu Music School, continues at Errenteria Musikal and now you are at Musikene. Always climbing the stairs.

Yes, it is. I ran the entrance tests on Musikene and I was chosen. Previously, I shared my musical studies with those at school. I do not mean that staying in the center was a waste of time, but it was serious to combine both aspects. This course is a pleasure to be able to study Music only in Musikene. For the first time I'm doing what I'm winning: music.

Living as a musician, is it a dream?

I don't know if it's a dream, but I'm clear that I want to live from music. I don't know exactly what to focus on, but I want to live with music, with music. But now I have to learn a lot. I still don't know much, and all I have to do is learn. To see what the future brings me.

You are very young. Your elders don't have your vision of life, that is, of learning relentlessly and focusing on music.

There's everything, don't imagine. Putting in so many hours, sacrificing yourself so much, another young man may not appreciate it. But you probably think that those who aren't in my situation think about it. You have to have things clear, although having things clean also costs a lot!

Being from Lezo, in which corner of the village would you touch better?

Either in the church, or in Gezala, or in the street… If I touch, I don’t care where. What I like is that people listen to me and enjoy what I do.

This is the last weekend of Lesoinu [April 22]. In addition, tomorrow he will play with the Young Musicians of the Basque Country [19:00 hours, Gezala, next to the Coral Sutargi]. It's important to have such a musical cycle in the village, right?

Of course, that is the case. Besides having the opportunity to visit the music students of the town, it is a source of inspiration that musicians from outside come to Lezo. In addition, you can hear a lot of musical styles, there's confusion. This is a very good thing. I will also play tomorrow with my brother Oihan and other colleagues. It will be very nice.