Throughout history, myths have been a popular source of inspiration. Ibero-American composers (from Spain, Portugal and Latin America) have enriched their music by drawing on Greek, Roman, Judeo-Christian, Arab, Chinese and Indian mythology, as well as that of indigenous cultures and the multiplicity of traditions brought over by enslaved African peoples.
Los Gnomos de la Alhambra, by Ruperto Chapi Llorente, is based on Spanish folk tales about the gnomes living at the ruins of the Arab palace called the Alhambra, in Granada.
La Fragua de Vulcano, by Eduardo Morales Caso, was inspired by both the Roman god Vulcan working at his forge, and a famous painting by Spanish artist Diego Velazquez.
Conjuros, by Roberto Sierra, interweaves a West African influence, using expressions in the Yoruba language. Yoruba is spoken by roughly 20 million people, and is also used as a liturgical language in the Santeria religion among Afro-Caribbean communities.
Los centinelas de Etersa, by Eduardo Angulo, is based on Mexican folk tales about three popular characters of a whimsical nature.
Rito de los Orixas, by Leo Brouwer, goes back to the Afro-Caribbean syncretic religions. Orixas (also spelled ‘Orichas’) are the African gods or “saints” in Cuba and Puerto Rico, as well as in Brazil.
Ruperto Chapi: Los Gnomos de la Alhambra,
La fiesta de los espiritus
Andres Segovia, guitar
Eduardo Morales Caso: La Fragua de Vulcano,
La Fragua de Vulcano
Adam Levin, guitar
Roberto Sierra : Conjuros: l. O ya,ya Lumba, III. Grin, Grin, Chamalongo; V. Ekue fe ekue, VII. Eye si moyu
Judith Kellock, voice, Stefanie Jacob, piano
Fleur de son Classics 57950
Eduardo Angulo : Los Centinelas de Etersa,
l. Huacalito, ll. Etersa, lll. Sargen Topolito
Ensamble Orquestal Ars Moderna,
Miguel Angel Villanueva, flute, Jesús Medina, conductor
Leo Brouwer: Rito de los Orisbas
l. Exordium-conjuro, ll. Danza de las diosas negras
Manuel Barrueco, guitar