Flores, like any other work of MARIA DE ALVEAR, deals with the ideal of inner freedom. This is not a mere claim, it is manifested in the shape of the piece itself. Written in a for the composer typical mixture of composition and notated improvisation the text leaves a certain scope to the seven instrumentalists as to the elaboration of the rhythm and at times also the intonation. The score has almost no directives for the parts of the two singers: what and how the singing is performed is mostly developed within the rehearsals. [...] Also defined are the modi of the different parts and the style of vocal performance: Amelia Cuni follows classical Indian dhrupad ragas, MARIA DE ALVEAR synthesizes elements of Spanish and Arabic vocal traditions. (Raoul Mörchen)