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Recognition


We invite you to read about the various kinds of reviews, critiques and accolades that our company and its editions have recently received.


“New Music Reviews,” Flute Talk 38, no. 7 (March 2019): 27.

Alvaro Zúñiga. Marinera limeña no. 2

Peruvian composer Alvaro Zúñiga Roncal currently teaches music theory at the National Conservatory and at the Orson Welles Institute in Lima. His compositions have been performed throughout the world. This Peruvian dance in a moderato tempo has many mixed meters with challenging technique of mordents and triplets. A marinera is a stylized courtship dance for couples that uses handkerchiefs blending different cultures of Peru. This fun piece will lend a different character to any program and would be suitable as an encore. (4:00, $15.90, Cayambis Music Press, www.cayambismusicpress.com) D.B.S.
--Katherine Borst Jones

“New Music Reviews,” Flute Talk 38, no. 5 (January 2019): 29.

Juan López-Maya. Three Parodies for Flute Quartet

Scored for two C flutes with flute 1 doubling piccolo, alto, and bass flute, this work by Venezuelan composer and musicologist López-Maya features three short movements with distinct characters. Milonga for Miranda is a fast and rhythmic form that is a precursor to the tango, and players are asked to play some sections with lip and tongue pizzicato to impart a percussive feel. The ending is strong since all parts include singing while playing bold chords. The slow middle movement, Nocturne, is a tribute to Claude Debussy and features breathy flutter tongued passages as well as chords favored by Debussy in his compositions. The exciting closing movement, Scherzo in the Form of a Fugue, is a swinging rock tune that asks all players to beatbox and growl at some point. The score indicates some syllables and the indication “standard beatbox notation,” but those not familiar with these techniques will need to seek additional instruction to achieve the desired effects. (9:30, $31.90, Cayambis Music Press, www.cayambismusicpress.com) D.B.S.
--Diane Boyd Schultz

“New Music Reviews,” Flute Talk 38, no. 4 (December 2018): 30.

Jorge Oviedo. Pregón y Sanjuan

This two-part work for alto flute and piano refers to two distinctive Latin American social and musical traditions. The first section, which highlights the alto flute in a calm low-to-middle register theme, evokes the song of the street seller as he walks along the streets calling for others to buy his wares. The second section is more animated and refers to the rhythmic character of the Sanjuan, an ancient genre from the Ecuadorean Andes whose rhythms encouraged listeners to unite in circle dancers. While the piano is responsible for the bulk of the rhythmic patterns, the alto flute does break into more percussive effects as well. The pianist should be aware that the alto flute part in the score is not transposed. (6:15, $18.90, Cayambis Music Press, www.cayambismusicpress.com) D.B.S.
--Diane Boyd Schultz

“Reviews,” The Clarinet 45, no. 4 (September 2018): 2.

Juan López-Maya. The Stick and the Mask for unaccompanied bass clarinet. Cayambis, 2017. Duration: 5’30” $18.90

Juan de Dios López-Maya (b. 1962) is a Venezuelan composer and musicologist. His medium-difficulty four-movement work The Stick and the Mask can be played on a bass clarinet without extended low range. The upper range is modest, too, only reaching to clarion A. The four short movements portray in music the grisly plot of a novel by José Manuel Briceño Guerrero. Full of mixed meter and short repeated motifs, the music is often dance-like and includes a few measures with slap tongue, key clicks and flutter tongue.

--Gregory Barrett

“Reviews,” The Clarinet 45, no. 3 (June 2018): 3-4.

Juan López-Maya. Variations on a Theme by José Angel Montero for unaccompanied E-flat clarinet. Cayambis, 2016. Duration: 3’30” $14.90

Venezuelan composer and musicologist Juan de Dios López-Maya received his Ph.D. in humanities at the Universidad Central de Venezuela and preliminary degrees from the Universidad Central de Venezuela and the Instituto Universitario de Estudios Musicales. His catalog includes many works for various chamber ensembles. Many of López-Maya’s compositions have been performed and recorded by Venezuelan ensembles.
This piece was inspired by the works of Venezuelan composer José Ángel Montero (1832-1881). He is mostly known for operatic and religious music. Variations on a Theme by José Ángel Montero for unaccompanied E-flat clarinet is a collection of variations based on Montero’s compositional style. The form is an introduction followed by four variations: Moderato scherzando, Moderato, L’istesso tempo and Allegro.
Variations on a Theme by José Ángel Montero is a fantastic addition to unaccompanied E-flat clarinet repertoire. It can also be performed on B-flat clarinet. It consists of an array of different musical characters. The introduction begins with a happy, straightforward melody followed by the jazzy first variation. The second variation is solemn in character, the third more lively. The final variation is an echo of motivic material found in the introduction.
Despite the short length of this work, López-Maya captures the spirt [sic] of Montero’s music. This work is perfect for performers who are interested in learning more about South American music and is a wonderful addition to solo E-flat clarinet repertoire. I highly recommend this work for advanced high school students to professionals.

--Kristine Dizon

“New Music Reviews,” Flute Talk 37, no. 9 (May/June 2018): 28.

Blanca Estrella de Méscoli. Nocturne for flute, viola and harp

A nocturne is a lyrical piece of a dreamy or romantic character suggestive of night. Typically, nocturnes were written for piano, but this one was composed for flute, viola, and harp. Blanca Estrella de Méscoli (1910-1986) was the first Venezuelan woman to obtain a degree in music composition. With an extensive catalog of chamber works, she led a distinguished career as a composer and as an administrator. This piece is beautifully presented amd [sic] includes a biography of the composer. (4:00, $21.90, Cayambis Music Press, www.cayambismusicpress.com) K.B.J.
Juan Francisco Sans. Canto Aborigen, Seven Recreations on Venezuelan Indigenous Themes for flute and harp

Each movement represents a different region of the country. Using the full range of the flute, these pieces are rhythmically challenging, some with multi-phonics, flutter tonguing and other technical effects. Each of the movements is in a different tempo ranging from slow and meditative to fast and energetic. This edition is well presented with good page turns and a biography of the composer is included. ($36.90, Cayambis Music Press, www.cayambismusicpress.com) K.B.J.
--Katherine Borst Jones

“Reviews,” The Clarinet 45, no. 3 (June 2018): 5-6.

Adriana Verdié. La Voz del Viento for two bass clarinets. Cayambis, 2016. $19.90

Adriana Verdié is an Argentinean composer who currently teaches theory and composition at California State University, Long Beach. She has a handful of other works from Cayambis Music Press that might be of interest to clarinetists, including a clarinet/percussion duo, a clarinet/violin duo, and a wind quintet.
La Voz del Viento (The Voice of the Wind) is described by the composer as “an imaginary travel through a day in the life of wind.” In the brief program notes that are included with the score she lists a series of nine moods that are to be explored, such as “whispering wind,” “dancing wind,” and “icy night wind.” These moods are not delineated within the music itself, so it will be up to the performer to decide where they belong. The piece is one movement, but contains sections that are calm and lyrical, more active and rhythmic, and free with rubato (without exact rhythms).
The piece begins and ends with two bass clarinets, but there is a middle section where each player switches to B- at clarinet. Written in the clarion and altissimo registers, this lyrical section requires considerable control and good intonation between the two players to achieve the desired ethereal effect. As one might expect with a piece about wind, there is flutter tonguing and the indication to “blow air into the instrument.” There is also a multiphonic and a “klezmer bend” in the lower part. The upper range for the bass clarinet is very reasonable for the majority of the piece, though each player does have a high F above the staff. It is published in score format, which will simplify the rehearsal process, but there are several page turns that will have to be worked out. This piece is approximately 10 minutes and 45 seconds in length, and is a good vehicle for exploring the expressive capabilities of the bass clarinet.

--Robyn Jones

“Reviews,” The Clarinet 45, no. 2 (March 2018): 4.

Andrés Carrizo. Impresiones Panameñas for clarinet and piano. Cayambis Music Press, 2016. Duration: 8’30” $23.90

A winner of many composition awards, Andrés Carrizo was introduced to music at an early age. Influenced by his father, a professional jazz musician and arranger, Carrizo studied music in Argentina and the United States under the tutelage of many well-known composers. He is currently director of orchestras at Cape Henry Collegiate School in Virginia Beach, Virginia.
This is a four-movement work, each movement depicting a part of the culture of Carrizo’s homeland. The first movement, “La Denesa,” quotes a popular folk dance in Latin American culture. This dance, which could be put in the ballroom category of dances as far as movement of dancers, is musically very lively. It was originally performed with accordion and violin. Carrizo’s interpretation of this dance makes for a fun and only mildly difficult work to perform on the clarinet.
The second movement, “El Punto” (“The Point”), another popular ballroom dance, is introduced by several glissandos to a high pitch in the clarinet. The piano follows with sustained tremolos that start softly. The music builds with the punctuations of the clarinet to a dramatic glissando in the piano. This leads to the foremost melodic idea, which is subtle and delicate, occasionally using the syncopated rhythms usually associated with this dance. The tempo changes frequently throughout. The movement ends with a trill and tremolo in diminuendo to the end.
The third movement, “Duerme, Duerme, Amor” (“Sleep, Sleep, Love”) may or may not be referring to a famous Spanish film, in which a man grows tired of his wife and gives her sleeping pills so he can pursue his female neighbor. Whatever the inspiration, this movement has a calm, lyric quality; the piano accompanies the clarinet with sustained melodic lines while the clarinet plays a simple, beautiful melody. While listening to this movement, it is easy to reach a state of tranquility.
The fourth movement, “El Tambor de la Alegría” (“The Drum of Joy”) is the most rhythmic of all the movements. It is a children’s folk song that speaks of wanting to be carried to the drum of happiness. Although it is usually accompanied with percussive instruments, Carrizo captures the essence of this lovely tune. I found this work to be enjoyable and would recommend this piece as an introduction to those wanting to experience Latin American music.

--Lori Ardovino


“New Music Reviews,” Flute Talk 37, no. 7 (March 2018): 45.

René Silva. Espejismo 4

Translated as “mirage,” this work makes abundant use of such contemporary techniques as Aeolian sound, partly Aeolian sound, air sounds, key clicks, singing while playing, and singing low voice sounds on the syllable sch. The many variations of tonal focus and similar notations lead to challenging preparation and require strong control of the embouchure. While some of the extended techniques are explained in an accompanying chart, others are not, so assumptions must be made regarding interpretation. The outer sections of this polyphonic work for solo flute have fast-moving notes, but the use of tonal focus manipulation is the most compelling feature. The middle section relies more on natural sound but with the occasional addition of the voice. This work is part of a series for solo instruments by a contemporary Chilean composer. (6:00, $15.90, Cayambis Music Press, www.cayambismusicpress.com) D.B.S.
--Diane Boyd Schultz

We are pleased to announce that four of our compositions were recognized by the National Flute Association (NFA) in its 2018 Newly Published Music Competition. The NFA, with more than 5000 members is the world’s largest organization of flutists, holds a yearly competition that recognizes publishers of new compositions for the flute. Its panel of judges considers both the quality of the publication as well as the quality of the musical content.

Five Duets, by Peruvian composer Sadiel Cuentas (and published by Cayambis Music Press) was declared the winner in the category of flute duets and trios. Il giardino della casa, by Peruvian composer Antonio Gervasoni, (published by Cayambis Music Press) was declared the winner in the duets with other instruments category. Venezuelan composer Juan Francisco Sans’s piece, Canto aborigen, (also published by Cayambis Music Press) was declared a finalist in the same category. A piece by Argentine composer Gerardo Dirié, Overwintering, was also selected as a finalist in the category of mixed ensembles. Cayambis Music Press publishes a large number of Gerardo’s instrumental works.



“New Music Reviews,” Flute Talk 37, no. 4 (December 2017): 31.

José Gabriel Núñez Romberg. Fantasia Concertante

The work is structured in the form of figurative variations on two popular themes, a gigue and an Italian song (which was used by Saint-Saëns in one of his paraphrases for piano). The music is flavorful, light, and agile in both the flute and piano parts. The subtitle says "Venezuelan Masters of the Fin de Siécle." Certainly, the style is dated, but the work is at the same time charming and attractive. (5:00, $21.90, Cayambis Music Press, www.cayambismusicpress.com) A.B.R.
--Anne Bither Reynolds

ITEA Journal 44, no. 4 (Summer 2017). The Black Cat: Based on a Tale by Edgar Allan Poe.
Unaccompanied bass tuba. Armando Luis Ramírez. Cayambis Music Press. www.cayambismusicpress.com. CMP 1081. 2014.

Range: EEE-flat to f1
Difficulty: Level IV

Puerto Rican composer Armando Luis Ramírez studied, and now teaches at the Puerto Rico Conservatory of Music. His professors included Amaury Veray and Ignacio Morales Nieva. He also studied with Dr. Maurice Wright and Richard Brodhead while completing graduate work at Temple University. He has written in a variety of genres including chamber, orchestral, and film.

The connection between literature and music is one that goes back for centuries, but also one that was particularly strong during the Romantic Era (1820-1900). Countless lieder, programmatic pieces, and other musical works were based on the poetry and stories by Romantic writers which explored the macabre and the occult.

The Black Cat is a short story by Edgar Allan Poe, first published in the Saturday Evening Post in 1843. It is often discussed alongside the more famous The Tell-Tale Heart, as both deals with a concealed murder that the perpetrator eventually reveals. Ramírez's work for solo tuba, while not explicitly programmatic, does draw inspiration from Poe's story as evidenced by the included quote on the title page: “This hideous murder accomplished, I set myself forthwith, and with entire deliberation, to the task of concealing the body…”

As you might expect from a piece that characterizes murder, this work is full of violent gestures including fortissimo outbursts, harsh articulations, sudden shifts in tempi, and rapid chromatic passages. While this piece does include a relatively wide range (see above), and several extended techniques (flutter-tongue, multi-phonics, slap-tongue, and exaggerated vibrato), I do find it quite approachable for the advanced college student. Most important, however, in performing this piece, one would need a keen ability to exaggerate the various gestures, dynamics, and extended techniques. Otherwise, as with many avante-garde works, the performance risks falling flat. This looks to be a work that would be great fun to perform and hear- especially if you are a fan of Mr. Poe.
--Brian Gallion

“Reviews,” The Clarinet 44, no. 2 (March 2017): 3.

Alvaro Zúñiga. Marinera limeña 1 for unaccompanied clarinet. Cayambis, 2016. Duration: 2’45” $15.90

Alvaro Zúñiga teaches music theory in Lima, Peru, at the National Conservatory and the Orson Welles Institute. His Marinera limeña 1 is named after a flirtatious Peruvian dance. Zúñiga’s take on this idiom suggests fancy footwork due to varying meters and syncopation. Musical themes recur to keep the form coherent. Of medium difficulty, a scampering chromatic style is linked with register leaps and abrupt changes in dynamics. This is a fun piece to play, with a tonally ambiguous ending. The Cayambis website shows the first page of the score.

--Gregory Barrett


We see that the Missouri State High School Activities Association (MSHSAA) approved the following works for their 2017 Prescribed Graded Music List.



We are pleased to announce that three of our compositions were recognized by the National Flute Association (NFA) in its 2017 Newly Published Music Competition. The NFA, with more than 5000 members is the world’s largest organization of flutists, holds a yearly competition that recognizes publishers of new compositions for the flute. Its panel of judges considers both the quality of the publication as well as the quality of the musical content.

…y el aire estaba cargado…, by Argentine composer Adriana Verdié (and published by Cayambis Music Press) was declared a finalist in the category of chamber works for flute and other instruments. Panamanian composer Andrés Carrizo’s piece, Panamanian Impressions, (also published by Cayambis Music Press) received an honorable mention in the flute and piano category. A piece by Venezuelan composer Andrés Levell, Cuento infantil sin palabras, was also selected as an honorable mention in the category of chamber music for flutes. Cayambis Music Press publishes a large number of Andrés’s instrumental works.



On July 14, 2016 we were notified that one of our editions, Samuel Robles’s Dos miniaturas, was selected for inclusion on the MBDA (Maryland Band Directors Association) solo and ensemble list.


We are pleased to announce that three of our compositions were recognized by the National Flute Association (NFA) in its 2016 Newly Published Music Competition. The NFA, with more than 5000 members is the world’s largest organization of flutists, holds a yearly competition that recognizes publishers of new compositions for the flute. Its panel of judges considers both the quality of the publication as well as the quality of the musical content.

Lu, by Chilean composer Boris Alvarado (and published by Cayambis Music Press) was declared the winner in the category of solo music for flute. Peruvian composer Sadiel Cuentas’s piece, Electrocanon, (also published by Cayambis Music Press) was a finalist in the same category. A piece by Brazilian composer Edson Beltrami, Variations for Flute Trio, was selected as a finalist in the category of chamber music for flutes. Cayambis Music Press publishes a large number of Edson’s instrumental works.



“Reviews,” The Clarinet 43, no. 2 (March 2016): 64-65.

Antonio Gervasoni. The Garden of the Shadows for wind octet. Cayambis Music Press, 2013. Score and parts $36.90 Duration: 8’30”
Focused on promotion Latin American chamber music, Cayambis Music Press offers several works by Peruvian composer Antonio Gervasoni. He is professor of music composition for film at the Universidad Peruana de Ciencias Aplicadas in Lima.

Gervasoni’s four-movement octet for two flutes, two oboes (second oboe doubles on English horn), two clarinets and two bassoons was inspired by two works from English literature, H. G. Wells’ The Time Machine and Robert Graves’ I, Claudius. Each brief movement in the octet effectively portrays a mood. The first movement, “The Garden,” is somber, legato and in slow tempo. Gervasoni uses each instrument in a comfortable register and sensitively blends their colors. “The Hunt” emphasizes staccato rhythmic pulse in fast tempo. Simple meter changes keep the thrill in the hunt. “The Adoration of the Black Moon” is languorous at its outset with a streamlined texture of just one flute, oboe, clarinet and bassoon. The English horn is added and then goes mute again. The concluding movement, “The Feast,” recalls the motoric orientation of “The Hunt” but is far richer in variety of meter--a conductor would be a great aid.

Gervasoni’s harmonic style is moderately dissonant and his score is nuanced with regard to dynamic markings and articulations. This is a moderately difficult work within reach of college-level chamber ensembles.
--Gregory Barrett

On January 23, 2016 we were notified that fifteen pieces for flute were selected for inclusion on the VBODA (Virginia Band and Orchestra Directors Association) solo and ensemble list.
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