Danza del Altiplano

April 10, 2026 — Cuban classical guitarist Laura Mazón Franqui announces the release of her new single, Danza del Altiplano, by legendary composer Leo Brouwer. Released under Prima Classic, the single serves as a vibrant preview of her upcoming album Rojo—a project rooted in the colors, rhythms, and ancestral voices of Latin America.
This release stands as a celebration of the spirit of Latin America and the ancient cultural roots of South America, brought to life through the shared musical language of two Cuban artists: composer and performer. Though separated by generations, Brouwer and Mazón Franqui meet in this work through a deeply felt connection to heritage, identity, and the transformative power of music.
Born in Cuba, Mazón Franqui’s relationship with Brouwer’s music is both artistic and personal. From an early age, she was immersed in his musical world—attending his masterclasses and lectures, and performing under his direction at the opening of the Festival de la Habana as part of a Youth Guitar Orchestra. These formative experiences shaped her voice as an artist, making Brouwer’s music something that “runs in the blood.” In Danza del Altiplano, that connection becomes a living dialogue between composer and interpreter.
Composed in 1962, Danza del Altiplano (Dance of the High Plains) reflects Brouwer’s early exploration of Latin American identity through sound. Inspired by Andean folklore and the Argentine bailecito “Viva Jujuy,” the piece evokes the ancient landscapes of the South American highlands—territories rich with history, ritual, and cultural memory. The title itself gestures toward the altiplano, a region where music has long served as a bridge between the human and the ancestral.
From a musical perspective, the work channels the essence of traditional dance through its dynamic cross-rhythms, particularly the interplay between 6/8 and 3/4 meters. This rhythmic tension creates a sense of both grounding and elevation—echoing the physical and symbolic heights of the Andean world. Brouwer transforms folkloric material into a refined concert language, preserving its vitality while elevating its expressive possibilities.
At the same time, Mazón Franqui highlights subtle modern elements within the piece—moments that feel like small “twists” and “winks” beyond the folkloric surface. In certain gestures, she finds echoes that can be associated with blues inflections and even a hint of rock-like energy and passages that would be perfectly fittin