Buh Records presents Anthology 2: Works for the Experimental Orchestra of Native Instruments, a double album that deepens the exploration of the work of Bolivian composer Cergio Prudencio (La Paz, 1955) and his inseparable bond with the Experimental Orchestra of Native Instruments (OEIN), the project he co-founded in 1980 and of which he is now emeritus director. Like Anthology 1, widely praised by the international music press, this second installment continues to reveal the conceptual, aesthetic, and sonic magnitude of one of the most radical contemporary-music endeavors to emerge from Latin America.

The OEIN is a unique ensemble within the international musical landscape. Its approach begins by embracing the traditional instruments of the Andean highlands in all their dimensions: their materiality, modes of sound production, tuning systems, cultural contexts, and the Indigenous philosophies that sustain them. It is grounded in central principles of Aymara music—arca-ira alternation, the formation of large “troops” of instrumentalists, and the communal energy of wakiña—integrating them into a creative process that articulates both tradition and contemporaneity. For Prudencio, these foundations are living structures that allow for the projection of an ever-expanding musical thought.

Anthology 2 brings together works composed between 1989 and 2014 and performed by the OEIN and its chamber ensemble. Cantos crepusculares (1999), written for the Donaueschingen Festival, unfolds a sonic continuum in which successive atmospheres evoke the shifting light of twilight. Cantos ofertorios (2008), conceived during residencies in Bellagio and completed in La Paz, incorporates multiphonics, massive textures, and a performative gesture referencing the prayers and offerings of Aymara yatiris.