Inar Lezaun Merlo (Pamplona, Navarre, 2001) began his musical training at the Joaquín Maya Music School, where he studied guitar and piano. He later started his txistu studies with Alfonso Iturria and continued his education at the Pablo Sarasate Professional Conservatory, where he was awarded the End of Degree Prize in the specialty of Performance (Txistu).
In 2026, he completed his undergraduate studies in Composition at the Higher Conservatory of Music of Navarre, under the tutelage of Joseba Torre, Juan José Eslava, and Jaime Berrade. He is currently pursuing a Master’s in Electroacoustic Composition at the Katarina Gurska Higher Center for Musical Education in Madrid. His training has been enriched by classes and workshops with composers such as Georg Friedrich Haas, Javier Torres Maldonado, Liza Lim, Mauricio Sotelo, and Gabriel Erkoreka, among others.
As a composer, he has worked for ensembles such as the Navarre Symphony Orchestra, Sinfonía Navarra, Ensemble Kuraia, the Bilbao Municipal Txistulari Band, various chamber groups, the Pamplona Txistulari Alarde, the Navarre Junior Txistulari Alarde, and Atarrabiako Abesbatza, as well as for Pulsart—a txistu and percussion duo with real-time electronic processing of which he is a member as both performer and composer. His music has been conducted by Andrea Cazzaniga and Javier Echarri, among others, and premiered in contemporary music festivals such as NAK.
He has composed the original soundtrack for the short films Erreka Zoko Hortan and Joare Tte, directed by Ekaitz Bertiz. These works have been recognized in various competitions, included in the Kimuak catalog, and screened at the San Sebastián Film Festival. He has also collaborated with the Association of Txistularis of Navarre as a composer and arranger.
His creative activity currently focuses on exploring new sound languages and integrating electroacoustic media. In his work, he explores the possibilities of synthesis, spectral analysis, formant transformation and derivation, sound transformation, and live electronics using tools such as Max/MSP, GRM Tools, Vital, Praat, SPEAR, and Logic Pro, among others.
Parallel to his compositional activity, he carries out intensive research and performance work concerning the contemporary possibilities of the txistu and the alboka, particularly through the duo Pulsart alongside percussionist Jon Fernández, where he explores the relationship between instrument, electronic processing, and musical creation.