Ginastera (Buenos Aires) was married to a cellist, his inspiration to write numerous works for cello. He is a true master in integrating the folk-music of his country into his works, that show a great variety: symphonic music, chamber-music, ballet, opera, songs, choirmusic. Pampeana no. 2 (1950), a rhapsody for cello, inspired by the Argentinean pampa is an exuberant piece, full of virtuosity. In this version for cello-octet two soloists engage in a lively discussion.

David Leisner is on extraordinarily versatile musician with a multifaceted career as electrifying performing artist, a distinguished composer, and a master teacher. Regarded as one of America’s leading classical guitarists, his superb musicianship and provocative programming have been applauded by critics and audiences around the world.

The connection between Wales and the harp is a long-standing one, and Mathias's part in it began 12 years before his Harp Concerto was written, with Improvisations for harp solo; even a Welshman has to learn how to cope with such an idiosyncratic instrument. He learned his lessons well—even using semitone pedal glissandos in the second movement, and he keeps the harp audible by alternating its solo passages with orchestral ones or, when the two are working together treating the orchestra with a light touch (the celesta is used as a particularly effective companion to the harp), at other times resorting to the more familiar across-the-strings sweep. Two movements have declared Welsh associations: the first juxtaposes but does not develop three themes the second is a 'bardic' elegy; the last is simply ''joyful and rhythmic''. The whole makes pleasing listening appealing to the emotions and imagination rather than the intellect.

These soulful Spanish and Argentinean songs arranged by violist Kim Kashkashian and pianist Robert Levin are well suited to their expressive and expansive playing. Most of the songs, ranging from works by Granados, de Falla, and Montsalvatge to early Ginastera, are written in a late romantic to early modern idiom, and many incorporate a strong folk element. The selections include rowdy, rhythmically charged dance-like songs, tender lullabies, and many flavors of love songs, from the exultant to the despairing. In addition to the better-known composers, Argentineans Carlos Guastavino and Carlos López-Buchardo make extraordinarily fine contributions. The choices of repertoire are excellent; each one of these songs is a jewel, and the ordering of the selections artful, including the surprisingly effective repetition of two songs at different points in the program. The transcriptions are inventive and imaginative, with the vocal lines idiomatically adapted for the viola's expressive capabilities.