First Prize Concours International de Jeunnes Musicienes Crescendo in Geneva (Switzerland), 2013; First Prize International Competition Pozuelo de Alarcón (Madrid, 2013); First Prize Solsona AIMS Festival (Lleida, 2013); First Prize Contest of Young Interpreters of Canet (Castellón, 2014); Alicante Concert Society Interpretation Award (Alicante, 2019); Winner of the II Contest of Young Soloists of the Young Orchestra of the Generalitat Valenciana (Valencia 2019).

Born 23 years ago, since 2018 he studies at the Reina Sofía Higher School of Music in Madrid with professor Zakhar Bron. He began his violin studies with Catalina Roig, Vicente Balaguer and Mikhail Spivak. He has gone on to take lessons from Sergei Ostrovski, Boris Belkin and Salvatore Accardo (Accademia Chigiana, Siena), Ivry Gitlis, Agustín León Ara, Vasko Vassilev, Ingolf Turban, Miriam Fried, Giovanni Guzzo, Silvia Marcovici, Christoph Poppen, Heime Müller and Marta Gulyas.

His Conducting teacher is maestro Cristóbal Soler.

He has played in the USA, China, Switzerland, Denmark, Italy, Austria, Slovakia, Hungary, Portugal… piano recitals and some of the most important violin concertos: Mendelssohn, Bruch, Tchaikovsky, Mozart, Sibelius… under the batons of Maestros Cristóbal Soler, John Carewe, Ivan Monighetti, Zubin Mehta, Plácido Domingo, Gustavo Dudamel, Pablo Heras Casado, Andrés Salado, Péter Eötvös, Andrés Orozco-Estrada, Ignazio Terrasi, Oliver Díaz, Zakhar Bron and András Schiff, among others.

In 2021 he founded his own orchestra, Nostrum Mare Camerata, of which he is director and violin soloist.

As a member of the Albéniz Quartet, he received in June 2021 from Her Majesty Queen Sofía the mention of the most outstanding string quartet in the ESMRS.

Together with the pianist Carlos Apellániz, he recorded the Cd entitled Violín. Jacobo Christensen and the Ep De glade 20’ere.


Beauty, Art & Life

I am very skeptical when thinking about what music means to me. A better question would be what it doesn’t mean.. 

Music, like all other art forms, faces an eternal oxymoron: the harmony achieved through the symbiosis of radically opposed concepts.

Can’t music be happy and sad, almost at the same time? Can’t it be simultaneously boring and stimulating, pleasing and unpleasant, naif and mature, minimalistic and complex?

That is why I would rather define music as a dialogue between sound and silence. That might look like an ambiguous answer, although I don’t think it’s meaningless; life itself is often a more or less balanced compendium between presence and absence. 

What music means to me is irrelevant, since music exists in and of itself. Its beauty is what is we discern in our ear, and that is specific to each and every one of us: This puts music in human terms; it is what transforms this dialogue between sound and silence into art, the art to which I wish to devote my life.