Trad.:
Durme, durme ijiko de madre (‘Sleep, sleep mother’s little son’)

Caroubel:
Spagnolette

Ribayaz y Fonseca:
Espanoletas

de Lassus
de Cabezon:
Glossada sobre Susana un jur (‘Divisions over our Susanne one day’)

Guerau:
Passacaglia

Marin:
Ojos, pues me desdenáis (‘Eyes, since you scorn me’)

We know that key influences on Flamenco date back to Islamic Iberia or the Al-Andalusian era of Spain between the 8th–15th centuries. Yet the first mention of Flamenco by name is not until 1774, where it appears in an epistolary novel, Cartas Marruecas, by the playwright and soldier, José de Cadalso y Vázquez. In collaboration with soprano Victoria Couper, kanun player, Konstantinos Glynos, and oud/Flamenco guitarist, Ignacio Lusardi Monteverde, this album seeks to explore this question by tracing the influences on Flamenco through Arabic music alongside Sephardic song and the Spanish composers of the late-16th to 18th centuries.