The eighties decade, the flourishing. Javier´s enthusiasm to enter upon new compositions and his knowledge (and performance) of some works by Mexican composers for solo clarinet, facilitated the resolution to produce a set of recordings that included as many as possible works composed for solo clarinet throughout the 20th century and present; comprising well known oeuvre, unpublished scores and manuscripts and commissions for Javier to increase his repertoire as a soloist. But to take the next step we had to answer us the question: How many works composed, by Mexicans, for solo clarinet do we have acquaintance with? Here we will listen to a part of the research outcome that sums up a few more than 40 works so far and counting... Into these first two volumes are presented a wide variety of works conceived on multiple forms, and written in a rich diversity of styles by composers born along six decades. An interesting issue founded on classifying the scores chronologically for this collection, was that even though the compositions dates cover from the fifties to the first decade of the 21st century, it is since the eighties when writing for solo clarinet became more frequent. It is in this decade where the majority of the works included in the present volume concentrate, while the remaining of the same consists of two compositions written in the first years of this century. In this occasion we have the première of Paisajes emocionales, composed in 2008 by Jesús Lara (1976) and dedicated to Javier Vinasco. A trip where the passenger stares at the window watching his travel through an ample and contrasting outdoor countryside, that catches his thoughts while he takes a look at the near and far of the landscape. In his mind, he passes again captivated images that interpolate and show up at different speeds as fragments of a message revealing itself, in a non-lineal time frame and reconstructed in the memory. Second Persian Gulf War internet transmissions as well as synthesized sounds are raw material to create the electronic sequence for Maldita Guerra!!!, from year 2005, and composed by Hugo Rosales (1956). The piece depicts the destruction and violence vortex of the combat, by means of sounds threateningly surrounding a couple of thematic ideas whose climax is reached with the explosion of a bomb that leaves behind itself great sorrow and desolation. We present other composition by Hugo Rosales from year 1987, El Güije, composed during a residence in Cuba. The piece portrays a fantastic and legendary elf that dwells the popular tradition from that country. A restless melody with fast and colorful ornamentations describes his elusive nature, whilst the frolicsome laugh reveals his roguish temper. Although he has never perpetrated a serious misdeed, tales always end when he is the one persecuted. Another work from the same year is Tres Movimientos by José Luís Wario (1936), that it is casted into a traditional form and with movements in a fast-slow-fast disposition. The first one is featured by melodies with trills and turns building up climatic instants by means of sequences. Conjunct and wavy contours with held notes in the treble register shape the second one. In the last movement, there is a prevalence of melodic lines descending in cascade and finishing with a jump to the opposite direction. Also from 1987, we find Tlapizalli, dedicated to Jesús Villa Rojo, who published "El clarinete y sus posibilidades" (1975), where it is explained the graphical system Manuel Enríquez (1926-1994) adopted to write this piece. Herein the extensive timbre capacity of the clarinet is explored ranging from saturated sounds to breath sounds employing new techniques, just as the search for new forms with the inclusion of a random modular section that may change in every performance. With the recording of this work we commemorate the 15th memorial anniversary of an important figure from 20th century music in México. Going back in the course of the same decade comes year 1986 with Cantar de un alma ausente by Mariana Villanueva (1964). A work in a slow, delicate and lyrical mood; composed in a modal language, and in a direct way without any fancy techniques; an early creation by a young composer. Long and intimate melodies with broad low tones and softened highs, momentarily become more intense and then grow dimmer until fading out in memory. The piece is dedicated to Luís Humberto Ramos. In that same year pianist and composer Max Lifchitz (1948), who lives in The United States since 1966, wrote Yellow Ribbons #26 as a part of a series of short compositions for different instrumental ensembles including Yellow Ribbon #6 and #13 also, although these two pieces are from 1982. Technically demanding, these works of passionate energy and passages of deep melancholy, share a field of related metronomic speeds and motivic-melodic material, structured in different order to change the form of each one of the pieces. Javier Vinasco is currently one of the most distinguished clarinet players in Latin America. He devotes a significant amount of his work to the performance and diffusion of the music from his continent. He has recorded for Cero Records and Música de Cámara Latinoamericana; in 2008 he was nominated for the Grammy Latino award for his record Astor Piazzolla Heitor Villa-Lobos. Several composers have written works dedicated to him and among them: Diego Vega, Nathan Buonviri, Alejandro Colavita, Manuel de Elías, Víctor Rasgado, Andrés Posada, and Jesús Lara. In 2008 he joined faculty at the Universidad EAFIT in Medellín, Colombia, as a full time teacher, with academic activities in clarinet teaching and chamber music, research and as principal clarinet for the Sinfónica EAFIT. He has been member of several orchestras, among them: Filarmónica de Bogotá, Sinfónica del Valle, Banda Departamental del Valle; and also have been professor at the Pontificia Universidad Javeriana, Universidad de los Andes in Bogotá, Conservatorio Antonio María Valencia in Cali, and Universidad de Colima in México. Throughout his musical career, Javier has studied with Emilio Montoya, Francesco Belli, Roberto Mantilla and Luís Humberto Ramos. He is currently in pursuit of a Doctoral degree in Music at the UNAM in Mexico City under the tutorage of Dr. Roberto Kolb Neuhaus.