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Merrie Siegel and pianist Milton Rubén Laufer, the featured artists on this beautiful CD, present varied, colorful, virtuosic, and imaginative works by Mike Mower, Carlos Sanchez Gutierrez, Mario Lavista, Astor Piazzolla, Arthur Gottschalk, and Mozart Camargo Guarnieri on this second volume of a dazzling set from Siegel. (The first, Music of the Americas, was released to great acclaim in 2005.)

The timbres and expressive qualities of the two instrumentalists work very well together. The opening piece, Sonata Latino, by Mike Mower, demonstrates the electrical energy between the two performers. In the very opening of the first movement, Salsa Montunate, Siegel’s staccato is stunning in its short yet ringing and vibrant quality. The two artists perfectly match timbre, note lengths, and drive. The second movement, Rumbango, exhibiting a combination of rumba and tango rhythms, exhibits Siegel’s full and colorful low register, which she weaves well through the piano’s colorful texture. The third movement, Bossa Merengova, is rhythmically very stable and appropriately dance-like and light. The Tango Etude No. 4 by Piazzolla for flute demonstrates again the amazing quality of sound of Siegel’s low register. I especially enjoyed the work by Gottschalk, Recuerdos de Mexico, dedicated to these two performers. The performers do a wonderful job with this virtuosic work. The last movement, Yaqui, named for an indigenous tribe in Northern and Central Mexico, radiates joy and energy. Gottschalk states in the program notes that the work is “a commentary by memory of Mexico.” “Elegia (a la memoria de Nacho)” is a songful tribute to a dear friend of the composer, Luis Ignacio Helguera, who died in 2003. In describing Japanese legend, the program notes state that “the flute is the only sound that can be heard by those who have passed on; Lavista was convinced of this, and hence the choice of instrument for this work.” Siegel and Laufter do an amazing job of bringing out the changes of texture and timbre. Lavista employs microtonal melodic material, altered fingerings, and the use of various changes of color and sound imitating the Japanese shakuhachi flute. Siegel’s tapers at the ends of expressive phrases are gorgeous. Two other compositions beautifully played on the CD are Guarnieri’s charming Sonatine and Gutierrez’s “Cinco, cinco y seis” from a set of etudes written for flutist Lory McConnell. The latter, another unaccompanied work, requires great facility and embouchure flexibility because of the large descending forte and expressive leaps. Siegel demonstrates her tonal and technical virtuosity here.

All the works on this CD are performed with verve, confidence, and a great sense of collaboration. I highly recommend this CD.
—Andrea Loewy