Marta Topferova’s new album illustrates why The London Times has called her “one of the most graceful interpreters of Latin American folk music”. Recorded in Prague after a tour with her New York ensemble, “Trova” (The Troubadour Tradition), is a culmination of Marta’s love of styles such as the Cuban son and Puerto Rican bomba. Comprised of eight original and three traditional pieces, and featuring a stunning array of Cuban tres, four-string cuatro, violin, bass, percussion and tight vocal harmonies, Trova is Marta’s liveliest release to date.
A daughter of Czech actors, Marta grew up around the theater, moving from city to city with her parents behind the iron curtain. At age eleven, she immigrated to the U.S. with her mother and sister. “I was cut off from my own culture ... so starting my life over in America, I felt most drawn to the diversity of this country, the immigrants.”
During her adolescence in her new surroundings, Marta came to feel a great affinity with the Spanish language and a deep fondness for Latin music and culture, and became fluent in Spanish, her third language after Czech and English. Simultaneously, she found something essential: an anchor in music.
For eight years, between the ages of eight and fifteen, Marta performed and recorded a wide range of works by composers such as Brahms, Poulenc, Haydn, and Pergolesi with Prague’s Mlád choir and The Seattle Girls’ Choir. Subsequently, her calling directed her to a passionate study of Latin American song forms, taking voice, guitar and dance lessons, including a six-month stay in Spain. Her talent continued to blossom, and since her arrival to New York City in 1996, Marta’s music rapidly developed into a remarkable mix of Latin American folklore with undeniable hints of her eastern European heritage.