Canto LLano, written for british recorder player Evelyn Nallen, was composed in 1976 in Cambridge (England) for any melodic instrument and Tape Delay (today known as Digital Delay) or any combination of melodic instruments. The same year the piece was premiered by the composer himself on Marimba. Since then the work has been played many times in multiple combinations such as recorder, solo guitar, guitar duo, voice and ensemble, and full orchestra, etc; in important artistic centers like New York, Sydney, Amsterdam, Caracas, Rome, Stuttgart, London (Wigmore Hall): “in particular lingers in the memory - the Venezuelan composer Eduardo Marturet’s Canto LLano for recorder and tape delay system. This is a beautiful little modal phrase accumulating , overlapping and finally winging away into the distance” (Malcolm Hayes - The Sunday Telegraph, London May 31, 1987).
The contrapunctal character of this composition allows the free transcription for any combination of instruments without changing the meaning of the work which is eminently descriptive of the inmensity of the Venezuelan planes (LLANOS), of the infinite, the abstract, with the double meaning of the religiosity of the Canto LLano = cantus planus or Gregorian Chant.