Even though we may now very little about the Andalusi musical repertoire, which sounds at the very least exotic to our ears 500 years after it died out in Al-Andalus, the music itself and quality musicians who perform it are easy to recognize. Salím Ferganí is an Algerian singer and lute player who carries on with a secular tradition handed down by his ancestors.

He performs with an instrumental quartet (violin, which takes the place of the old rabel, flute and two percussionists). The quality and conviction of his singing are vastly superior to those of “recycled” performers who offer as “early” something that is simply folklore. Ferganí’s voice is wonderfully expressive and natural, although it is impossible to understand what he is saying (a translation of the lyrics is provided and it helps, but in a case like this it is not enough).

What he performs is an original poem by a mystic named al-Darif al tunisi, who died in the year 1385 of the Christian era. Composed of recollections of the death of a child, it is divided into stanzas that correspond to different modes that succeed each other as the music and lyrics change. Hence, its title alludes to something in movement: La noria de los modos. Noria is the Spanish word for water wheel. Without knowing these modes, it is hard if not impossible to appreciate them, even if one does discern differences among them.

It would have been useful to include a brief explanation in the libretto. This would have helped the CD win over not just fans of this genre but also people who might be tempted to explore it. MARICARMEN GÓMEZ