Cergio Prudencio – Antología 1: Obras para la Orquesta Experimental de Instrumentos Nativos (2024) [FLAC 24bit/48kHz]

Cergio Prudencio – Antología 1: Obras para la Orquesta Experimental de Instrumentos Nativos (2024)
FLAC (tracks) 24 bit/48 kHz | Time – 01:23:30 minutes | 858 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Buh Records

The work of Bolivian composer Cergio Prudencio (La Paz, 1955) is indissolubly linked to the project of the Orquesta Experimental de Instrumentos Nativos [Experimental Orchestra of Native Instruments] (OEIN), which he co-founded in 1980 and of which he is the emeritus director. It constitutes one of the most challenging adventures in the music that has emerged in Bolivia and Latin America.The OEIN is the result of the incorporation of Aymara musical traditions into the realm of contemporary music to produce a new sonic world. In the composer’s words, it is about “…finding in the indigenous conception of music, elements of change and transformation, to establish a historical continuity.” This incorporation is not only based on using native instruments but also involves integrating their socio-historical context and philosophies from the Andean indigenous world.

In addition to forming ensembles with highland native instruments (sikus, tarkas, mohoceños, pinkillos, wankaras, seeds, drums, etc.), the foundation is laid on the three structural principles that govern Aymara music: “arca-ira,” which means alternation of sounds between two musicians; “tropa,” which involves the formation of large ensembles of instrumentalists and sound amplification; and “wakiña,” meaning community strength. According to Prudencio, the acoustic and expressive identity of Andean-highland sounds originates from these principles, as does that of the OEIN.

The release of Cergio Prudencio – Antología 1: Obras para la Orquesta Experimental de Instrumentos Nativos [Cergio Prudencio – Anthology 1: Works for the Experimental Orchestra of Native Instruments] allows us to delve into this wealth of thought and sounds, into the work of a fundamental and radical artist, for whom decolonization is also an opening to experimentation and the new. These compositions project a historical memory into the present, constructing new horizons.

This is evident in the works included in this album, such as “La ciudad” (1980), which marks the beginning of an understanding of highland urban soundscapes, a geography that cannot be understood without the groups of sikus and led to the formation of the OEIN. On the other hand, there is a piece like “Cantos insurgentes” (2012), composed from materials used for the soundtrack of the film “Insurgentes” by Jorge Sanjinés, a Bolivian director, founder of Grupo Ukamau, with whom Prudencio has had a long collaboration as the creator of music for his films. Prudencio’s work has followed multiple musical paths, including music for conventional Western instruments, music for film and video, electroacoustic music, chamber opera and more. The album is completed with compositions such as “Tríptica” (1985), “Otra ciudad” (2005), and “Cantos funerales” (2015), offering an artistic and vital journey in Prudencio’s trajectory as well as that of the OEIN.

Tracklist:

1-1. Cergio Prudencio – Cantos Insurgentes (18:49)
1-2. Cergio Prudencio – Tríptica (05:56)
1-3. Cergio Prudencio – Otra Ciudad I (02:40)
1-4. Cergio Prudencio – Otra Ciudad II (03:43)
1-5. Cergio Prudencio – Otra Ciudad III (04:06)
1-6. Cergio Prudencio – Otra Ciudad IV (01:35)
1-7. Cergio Prudencio – Otra Ciudad V (02:55)
1-8. Cergio Prudencio – La Ciudad (22:20)
1-9. Cergio Prudencio – Cantos Funerales (21:21)

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