2003. CD. Serpiente y la flor

THE TELLURIC CHANT VOLUME IV. MONGOLIAN STEPPE

Serpiente y flor

My friends in Barcelona, upon my return from the Indian Himalayas and after having recorded the first album of telluric singing with the piwang instrumentalist, Jamiang Dorje, told me about the similarity of telluric singing with the guttural techniques of Mongolian khuumii singing.

A natural impulse of curiosity and rapprochement led me to find myself strolling one Sunday morning through the streets of Ulaanbaatar, the capital of Mongolia.

It was early 1999 and the city was still in a stupor before the economic and social awakening of the following years. Befriending the small Spanish-American colony helped me to establish strong ties with the city, being the first Spaniard resident in this distant country in central Asia.

Soon I was able to start my first rehearsals with the virtuoso instrumentalist of Morin khuur, Chultem Batsaikhan, Honorary State Artist and considered the first figure in the difficult art of Morin khuur. Later Khorolnorov Amaraa, Ch.Batsaikhan’s partner in the same National Orchestra and also Honorary State Artist in his specialty of Ever buree, another peculiar instrument of the Mongolian tradition, joined the rehearsals.

It was during the next two years that we conducted rehearsals and recordings.

To begin these songs about the encounter between the snake and the water lily flower, constitutes an important and essential stage in the conclusion of the Myth of the Advent of the Prince that I began to write in the early nineties and that should be since then an existential and creative reference point.