Ramon Lazkano (San Sebastián, 1968) studied Piano and Composition – under Francisco Escudero- at the Higher Conservatory of San Sebastián, from where he graduated with a Higher Diploma in Composition. On a scholarship from the Regional Government of Guipúzcoa, he continued at the Higher National Conservatory of Music in Paris, where he studied Composition and Orchestration in greater depth under Alain Bancquart and Gérard Grisey, obtaining the First Prize for Composition in 1990. On a scholarship from the Sasakawa Foundation, he also studied Composition and Analysis at the Montreal Conservatory under Gilles Tremblay. Back again in Paris, he worked on Orchestra Conducting with Jean-Sébastien Béreau and Arturo Tamayo, obtaining the Diploma in Doctorate Studies in 20th Century Music and Musicology from the École des Hautes Etudes en Sciences Sociales in París.
His piano concert Hitzaurre Bi won him the prestigious Composition Prize from the Prince Pierre of Monaco Foundation at the age of 26 years. Shortly after that, in 1997, a jury chaired by Luciano Berio awarded him the Leonard Bernstein Composition Prize - Jerusalem – for his Auhen Kantuak. He has also won prizes from the National Institute of Scenic Arts and the College of Spain, as well as from the Gaudeamus Foundation. His residence at the Spanish National Youth Orchestra offered him the opportunity to compose various works that have since been performed at the National Auditorium in Madrid and the Konzerthaus in Berlin, to name a few locations. He was invited to present in music by the University of Stanford in 1999 and that same year, he accompanied Luis de Pablo in his residence linked to the Conservatory and the “Musica” Festival in Strasbourg. His two periods in Rome (first with a scholarship from the Spanish Academy of History, Archaeology and Fine Arts [1994-95*, and then from the Academy of France - Villa Médicis [2001-02]) allowed him to further his reflection on composition and its purpose in our day, crystallised in thought on intertextuality, saturation, silence and the experience of sound and time, which gave rise to emblematic pieces such as Ilunkor (composed at the request of the Euskadiko Orkestra Sinfonikoa) and Lur-Itzalak (requested by the Printemps des Arts in Monte Carlo). He is currently working on a new piece for clarinet and orchestra, at the request of the Spanish National Orchestra.
Present in several countries (France, Germany, Holland, Israel, Ukraine, Italy, Spain, Denmark, the United Kingdom, Russia, the United States, Austria…) and scheduled as part of important festivals – such as Musica in Strasbourg, Ars Musica in Brussels, Présences in Radio-France, Gaudeamus Muziekweek in Amsterdam, the International Society for Contemporary Music in Copenhagen, the Philharmonic Green Umbrella New Music Series in Los Ángeles, the Contemporary Music Festival in Alicante, ...- his music has been performed by renowned orchestras and groups such as the Radio France Philharmonic Orchestra, the Spanish National Youth Orchestra, the Soloists of the Philharmonic Orchestra of Los Angeles, the Ensemble of the National Russian Orchestra, the Jerusalem Symphony Orchestra, the RTVE Symphony Orchestra, the Teatre LLiure Orchestra in Barcelona, the Bilbao Symphony Orchestra, the Accroche Note Ensemble, the Conjunto Ibérico de Violoncellos, the Wiener Collage Ensemble.... . He has received requests for compositions from Radio-France, from the French State, the ABRSM in London, the Quincena Musical in San Sebastián, the Don Juan de Borbón Foundation, the Centre for the Dissemination of Contemporary Music... His orchestration of the Cantos y Danzas de la Muerte by Musorgsky, requested by the Saint-Denis Music Festival, was performed for the first time in June 1994 with Dimitri Hvorostovsky.
As orchestra conductor, he has conducted the OSTOTS group (formed by soloists of the Basque Country Symphony Orchestra) dedicated to contemporary music. They have performed several concerts in Spain, recorded by Spanish National Radio and Euskadi Irratia, promoting the dissemination of the repertoire of Basque composers.
He directed the seminar "Historical-analytical course on Classical Music in the 20th Century”) as part of the ongoing teacher-training courses organised by the Department of Education in the Basque Government (1996-98), the seminar "Trends in contemporary music" at the University of the Basque Country (1994), and he was invited to take part in the courses on Luis de Pablo and Francisco Escudero organised by the University of the Basque Country, as well as in the IV Intenational Onthology Congress (2000). He wrote the critical review of the opera Las Golondrinas by J. M. and R. Usandizaga for the Complutense Institute for Musical Sciences in Madrid and the première of this new version took place at the Teatro Real in Madrid in May '99.
He has taught orchestration at the National Conservatory of the Strasbourg Region and composition at the Higher School of Music in Barcelona. He is currently professor of orchestration at the "Musikene" Higher Centre for Music in the Basque Country.