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EL CANTO TELÚRICO. VOLUMEN IV. ESTEPA MONGOLA

Serpiente y  flor

On my return  from the Indian Himalayas where I had made the first recordings of telluric chanting with the piwang instrumentalist Jamiang Dorje; my friends in Barcelona  commented on the similarity  between  these telluric chantings and the gutural chanting of the Mongolian khuumii.

 My natural impulse of curiosity  led me  to the situation where  on a Sunday  morning, I found myself walking through the streets  of Ulaanbaatar, the capital  of Mongolia. This was the  beginning of 1999 and the city  was still asleep before the economical and social awakening that arrived in later years. Creating friendships with the small hispanic-americano colony, helped me  to establish firm liaisons with the city. Thus I became the first spanish resident in this distant land of Central Asia. I began my first rehearsals with the virtuoso of the morin khuur and State Honored Artist, Chultem Batsaikhan. He is considered  to be  the finest player of the morin khuur in Mongolia.  Later on I incorporated  into the rehearsals a specialist of the  ever buree and the State Honored Artist, Khorolnorov Amaraa, and companion of Batsaikhan in the  National Orquestra of Mongolia. The ever buree is another strange and traditional instrument of Mongolia.

During the folowing two years, we realized a series of rehearsals and recordings. The initiation of these chantings  in Mongolia, about the  meeting  between the snake and the flower of the water lily, constitutes an inportant and vital time for the conclusion of "The Myth of the Advent of the Prince". I started to write this myth at the beginning of the 1990's and it has since remained my main existencial and creative point of reference.

 

CHANTS

 

 

1. Lotus flower

 

Floating in primordial waters

Your life nourishes within the alluvium of death

There,the most subtle energies

Liberated from the action of existence

Are fused in you divine flor