Rogelio Groba has become one of the most prolific Spanish composers. Among his more than 300 catalogued works are eight cantatas, six symphonies, five operas, a ”galician mass”, the requiem, fourteen concertos ( three for orchestra, four for violin, two for piano, two for cello, one for flute, one for clarinet, as well as eight microconcertos for violin, cello and the strings, a sinfin for orchestral music, chamber music, suites, sonatas, songs, piano music, music for duets, trios,  quartets, choral music, band music etc. All his work can be compiled into four different periods. The first of which, that could be called “the youth”, would embrace his early works - from the first catalogued composition to the Cantigas de Miño cycle (1958) or  Quarteto Nº1 “Galaico” (1961).
Groba´s first creative period marked by great confidence leads to a new one, that continues throughout the 70s, when he goes further, deepening the same line although extending the range of his works to a major scope and orchestral complexity. The topmost point of the second period is the cantata Nova Galicia (1972), a real challenge in the musical world of Galicia, a novelty implicitly looking for new expressions of deep ethnic roots but of universal value. This becomes one of the principal characteristics of Groba’s complete work: compositions based on the folk traditions endowed with universal features, available all over the world. The new period of the search of new ways does not at all mean abandoning works for band and choir, something that he continues composing during all his life. After the cantata appear new symphonic compositions like the diptych Cruñesas (1973), the quartets Lla-Fa (1974),  Diabolus en Música (1975), and Tensiones (1980); the concertos Malleus Animatus for piano (1974) and Coexistencias (1979), Concierto Gulansés for flute (1979) and Nemet for violin (1981); the sonata Mímesis (1981), the «suite barroca» Intres Boleses (1978), the cantatas In memorial Manuel de Falla (1977) and Cantigas de Mar (1981), as well as his first compositions for piano: Pandeirada (1974), Soatiña s1974), Piano for the beginners (1976), Galecia (1980) or Tipoloxías (1982).

The beginning of the 80-s assumes new prospects. Another period of full creative maturity, already coming from Nova Galicia, is born. It seems as if Groba has found himself giving birth to compositions of a greater scale.

The orchestral work is completed by the profound study of galician folk music producing many compositions, especially for choir, like the collection Galicia cantada (50 galician songs, 1983), Veinticuatro Alalás (1984), Tres Cantos de Arriero (1985), eight ancient songs (1997) and microconcertos (for chamber music orchestra, 1997),  Coplas campesinas (2000), or Sete Cantigas sen verbas (for piano, 2003), and a great number of single works inspired by the rich heritage of galician music.

Since the middle of the 90´s the third and fruitful period develops into the fourth cycle.
After forty years of dedication to composition and never abandoning his creative facet, Rogelio Groba looks back into the past revising some of his most interesting works. Some of these revisions have been rendered into new versions for different orchestral formations to which he has remained faithful throughout all his career, whereas other pieces have returned to their original creative source to appear again in a refined form as it is in the case of the Nemet concerto, the Cantata Nova Galicia, the Concerto Gulansés or his first composition Añoranzas de Juventud among the others.