Christine Labroche replies to my query with a list of the tempi and movement names for a CD by this composer. Incidentally, I've since written to Sierra and got in reply a listing that wasn't quite as thorough as hers! Christine adds: >I don't have the CD but as I am intrigued by and quite appreciative of >the cello concerto you mention above - Carlos Prieto's cello is >impressive... Indeed, it's the Piatti Stradivarius, and if I take your thrust I'd agree that he's an artist of the highest stature. Although he's recorded the better-known -- the Bach cello suites, Dsch's First, Ginastera, Piazzola, Gerhard, Falla, etc. -- Prieto thankfully also covers less-known composers of considerable excellence. I mean cello concertos by Federico Ibarra, Celso Garrido-Lecca, John Kinsella, Camargo Guarnieri, Arturo Marquez, Samuel Zyman, Carlos Chavez's movement for a concerto for cello & orch. Also pieces for cello/piano by many impressive, hitherto unknown-to-me composers: Manuel Castillo, Tomas Marco, Manuel Enriquez, RX Rodriguez ...and others as well. >...tell us more about Roberto Sierra's music? Well, beyond what I said, namely that Sierra (b 1953) worked with Ligeti and teaches at Cornell, I think since you've got the cello concerto you probably have your hands of very telling music. It's strong, muscular music that isn't shy to go far, challenge the listener, and explore new ways of being musical. The Ligeti exposure shows, though not in any copy-cat way: in the daring to forge paths elsewhere, and the brilliant dissonances; not so much in exploring sonorities. I've just about completed a review of the CD with that concerto: I find it one of the most rewarding cello concerto CDs, period! A rich variety of works, all superbly played: from jazzy (Tousssaint), to folk-based (Marquez), through abstruse, or at least challenging and very 21st century: the Sierra. Sierra's clarinet CD, which began this note, is still undergoing digestion. But the piano trio -- on 'Voces Americanas: Voices of Change,' CRI 773 -- is truly stupendous, and from the first hearing. It strikes me as more folk-inspired than the concerto. Confident, assured, melodious, a fresh work that's full of mood and musical changes, rich with ideas and unexpected turns. I detect a touch of jazz in the piano -- again, unlike in the concerto -- some interesting cello pizzicato, and the violin takes a nice melodious lead in the 2nd movement. Far better than any common-or-garden piano trio. He's one to look out for. What do you have by Sierra? What am I missing? Bert Bailey