This album presents a compelling collection of new works for flute and piano by three-time Grammy-nominated composer Miguel del Aguila, performed by acclaimed flutist April Clayton and del Aguila himself on piano. Featuring five distinct pieces, this album takes listeners on a journey through a range of emotions and styles. From the whimsical, spontaneous interplay of "Piano Rolls Flute" to the dramatic depiction of a rain-summoning ritual in "Torrential Raindance," and the introspective melancholy of "Silence," each composition showcases del Aguila's unique ability to blend lyrical themes with vibrant, rhythmically complex Latin elements. The album also includes the dynamic "Malambo," inspired by same-named Argentine folk dance, and the multi-faceted "Sonata Flautisima," which explores a transition from a solitary, rainy night to a lively, sunlit day through inventive melodies and extended techniques that push the limits of both: flute and flutist. This collection highlights both Clayton's exceptional technical prowess and del Aguila's innovative compositional voice, offering a rich and engaging listening experience.

ZYMAN Flute Concerto No. 2, “De Mineria”. 1 Flute and Harp Concerto. 1,2 Harp Concerto 2 • 1 Marisa Canales (fl); 2 Mercedes Gómez (hp); Benjamin Juárez Echenique, cond; O of the Americas • URTEXT 225 (69:47)


Though Mexican-born, Samuel Zyman has been based in New York for many years, where he teaches at Juilliard. Two of his concertos have been reviewed in these pages: a cello concerto, dating back to 1991––its 1994 recording was discussed by Paul A. Snook in issue 17:4––and a piano concerto which I reviewed quite recently in 37:4. Now the enterprising Urtext label brings us three more concertos: for flute, harp, and the Mozartean combination of the two.


Zyman’s Second Flute Concerto (2008) is a bigger work than his first, using a larger orchestra and lasting almost half an hour. (The First Concerto for Flute and Chamber Orchestra is available on another Urtext disc, played by the same soloist.) The first movement abounds with the composer’s recognizable punchy rhythms; the flute, playing almost continuously, swaps motifs with various orchestral instruments or groups in a tightly knit development, and the mood is urgent. A slower but no less intense middle section leads to an extended solo cadenza. Often I find that candenzas, while referencing a piece’s thematic material, hold up the progress of a musical argument. That is the case in the flute and harp concerto but not here, because the cadenza is so well prepared and does not break the mood. Rich strings usher in the stately slow movement, which has a specifically Iberian feel due to its harmonic progressions. Brass dominate the orchestral textures in the fast sections of the final Presto , while a solo violin that played a prominent role earlier in the concerto reappears in a moment of respite. This is one of the most significant contemporary flute concertos I have heard (and there are quite a few of them).


In this performance, Canales’s plangent tone is very affecting. She is the artist for whom both concertos were written, and clearly identifies in a personal way with Zyman’s music. We also owe her a vote of thanks as a producer––she is a driving force behind the Urtext label which has brought so much first-rate South American music to our attention––so it feels a little ungrateful to nitpick. Nevertheless, her breath control is perhaps not in the league of flutists such as Sharon Bezaly or Emmanuel Pahud. Occasionally in taxing scale passages Canales will cut a note short to catch a breath. This is a minor criticism, however, and if you notice it at all you will find it completely outweighed by her warmth and musicianship.


The Flute and Harp Concerto (2001), in one continuous movement, begins as a stately, solemn dance. Again, Zyman sets up the sense that there is a journey before us, and the urgency soon increases with a faster tempo and a driving rhythmic figure in the lower strings. The harp part, though making use of arpeggios, is not decorative but angular, even percussive. While the cadenzas go on too long for my taste, the harp solo is certainly atmospheric. The harp concerto is the earliest of these works, dating from 1994. Running at around 20 minutes, it is in three movements. The mood of the first movement is gentle (at least, compared to that of the flute concerto) and archaic. The second movement, Lento Molto Espressivo , sounds very like a film score, and Gómez’s playing is notably sensitive here. (Again, she is the artist for whom Zyman wrote the work.) This movement contains the most expressive and, at times, stirring music on the disc. Finally, the sharply syncopated dance figures of the third movement utilize the full orchestra––including prominent brass and timpani––and conclude the program with a flourish.


Performances are excellent and well recorded. In an ideal world the Orchestra of the Americas’s strings could be more lush, but they play beautifully. Most important of all, this music justifies its existence from the first measure to the last. Highly recommended.


FANFARE: Phillip Scott

Winner of countless important competitions around the world and recipient of numerous academic and merit-based awards, Juan Carlos Laguna is nowadays not only a world-renowned performer, but also an internationally recognized educator. He is a full professor at the Faculty of Music of Mexico's National University and is the Artistic Director of the Taxco International Guitar Festival as well as the Artistic Director of the National University’s Guitar Festival. In this album Mr. Laguna has gathered a selection of previously recorded works, performed with some of his closest friends. With an emphasis on Mexican music, the repertoire also includes works by composers from other latitudes of Latin America. The program includes three works for solo guitar: La Catedral (The cathedral) by Barrios Mangoré, Agua y Vino (Water and Wine) by Gismonti and Seis Milonga (Six Milonga) by Ernesto Cordero. Other works include Por Siempre Sabines (Forever Sabines) for soprano and guitar, by Julio César Oliva, Tocata para flauta y guitarra (Toccata for flute and guitar) by Eduardo Angulo, Muy Cerca (Very Close) for cello and guitar, by Eduardo Gamboa and Fantasía Mulata (Mulatto Fantasy) for flute and guitar, by Ernesto Cordero.

In the last weeks prior to April 9th of 1866, Baudelaire left instructions for the care of the uncensored edition of his book The Flowers of Evil. Aware of his impending death, he knew that his work was destined for posterity, in spite of censorship and adverse criticism. But Baudelaire could not imagine that his work would transcend not only in universal poetry, but that the new themes, accents, environments, melodic figures and dissonances would shape the artery from which the new urban song would be nourished. What was an ironic moniker, a mockery to describe his poetry as Damned Poetry, would reach the twentieth century as a great poetic and cultural tradition. In Mexico it could not be different. Baudelaire's influence was present in the nineteenth century with the Symbolist and Decadent poets that were organized around the Modern Review, edited by renowned Mexican poet Manuel Gutiérrez Nájera. Mexico generated its own tradition and assimilated the late romanticism, decadence and symbolism trends. This abundant poetic milieu explains the richness and novelty of the urban song that flourished between the 19th and 20th centuries. The twelve songs that make up this second compilation of Damned Songs (Canción Maldita II) were arranged and produced by the great Mexican pianist, composer and arranger Abraham Barrera. With his aesthetic conception, his original arrangements, knowledge of Mexican music, jazz and contemporary music, we have achieved what we set out to do when creating this series: the Bolero of the 21st century.

Carmen Leñero presents this release which offers up a beautiful overview of Mexican poetry. Mexican writer and singer Carmen Leñero intertwines music with poetic creation, and critical thinking with literary fiction. She has published numerous books of poetry, essays, fiction, and children’s literature, for which she has received several national and international literary awards. Her albums meld poetry and song in various genres and musical styles: rock, blues, reggae, jazz, new age, world music, country, folk, and traditional Mexican music. Since 1990, she has offered solo concerts in multiple forums and estivals, both Mexican and foreign.

Includes work(s) by various composers. Soloists: Carlos Prieto, Edison Quintana.

Orchestral Music (Mexican) - Moncayo, J.P. / Carrasco, A. /

Son De Madera

JERUSALEM Y STELLA, I.: Mass a 8 / Magnificat for 2 Voices /

Padilla, J.G. De: Maitines De Natividad (1652) (Mexican Bar

Marco, T.: Tarots

Arenzana, M.: Mass in D Major / Salve Regina (Baroque Mexico

Los Utrera: El Son Jarocho

Orchestral Music (Mexican) - Revueltas, S. / Ibarra, F. / Or

Tilingo Lingo: De La Flor En Su Florear