The Mexican Gabriela Ortiz, Carnegie Hall’s composer-in-residence for the 2025 season, is herself a leading composer of her generation. The daughter of folk musicians, her playlist—created specially for Apple Music Classical—naturally foregrounds music with a strong element of street music and dance. Hence the opening track “Inura” by Cuban-born composer Tania León. Ortiz also foregrounds many superb Latina American composers who deserve to be better known. You may recognise some of their names, if not principally as composers, such as the Venezuelan Gabriela Montero, widely admired as a pianist. Try her wonderfully lively and attractive “Latin” Concerto with, naturally, Montero as the soloist. For less familiar but equally exciting talents, try the broad and colourful soundscapes of Ángeles de llama y hielo by fellow Mexican Ana Lara, or the magical sounds of the flute concerto Pitangus Sulphuratus by Venezuelan Adina Ibarra. For something more intimate, there’s the exquisite Constellation for piano and violin by Brazilian Clarice Assad. And for piano alone, there’s the wonderfully spicy and evocative The Armadillo’s Charango by Peruvian Gabriela Lena Frank. Better-known male composers, such as Villa-Lobos, Ginastera, Revueltas and Chávez, are also represented—though not necessarily by the works they are best known for. Try Villa-Lobos’ extraordinary Chôros No. 10, with its big-screen style evocation of Brazil’s tropical landscapes and exuberant use of the popular song “Rasga o coração”, culminating in the exciting participation of a large chorus. Or Ginastera’s punchy Piano Sonata, compellingly performed by Montero. And again, there are lesser-known names worth discovering—the Argentinian Esteban Benzecry’s Violin Concerto is both a wonderful showpiece and full of magical orchestral effects.