Jan Vogler's new album was recorded in a small studio in New York. He teamed with the fantastic Finnish guitarist Ismo Eskelinen for this recording. ''Songbook'' presents partly pieces originally written for cello and guitar such as 3 Nocturnes by Friedrich Burgmüller (1806-1874) and the first movement of the Sonata for Guitar and Cello by Brazilian composer Radames Gnattali (1906-1988). ''Songbook'' also features several famous works in arrangements for guitar and cello: Cantabile by Niccolo Paganini (1782-1840), the Gymnopedie No. 1 by Erik Satie (1866-1925), the Suite Popular Espanola by Manuel de Falla (1876-1946) as well as the famous Aria from Bachianas Brasileiras by the most famous South American composer Heitor Villa-Lobos (1887-1959).

Rooted in European music, native folk traditions and often infused by jazz, Brazilian music encompasses a huge variety of dance forms and songs. Prize-winning guitarist Pedro Aguiar has selected a panoramic recital to illustrate these elements which include the choro and music rich in melody and rhythmic vitality. From Villa-Lobos, whose Choros No. 1 is one of the most popular guitar solos ever written, through to the work of the revered Dilermando Reis, and on to contemporary examples of the genre, this is music of dazzling virtuosity and finesse.

[Villa Lobos] ‘incorporates nationalistic musical elements of Brazil along with melodic, lullaby-like themes, to make a truly contrasting and interesting three-movement work.’ (Classic FM) ‘Brazilian sonorities and rhythms are a perfect match for the saxophone’ (WFMT) [Glazunov] ‘persistence paid off for Raschèr, who badgered Glazunov to write him a concerto. The Russian relented and the result – three short, pleasingly lyrical movements – was premiered by Raschèr’ (BBC Music Magazine) ‘Glaznov’s Quartet is a foundational piece for the instrument’ (WFMT)

Frank Bungarten has taken on a significant task: an entire album of works by legendary Brazilian composer Heitor Villa-Lobos. The composer's music is lush, complex, and richly textured, which is not a surprise given that Villa-Lobos was classically trained. But Villa-Lobos also incorporated inspiration from music of native Brazilian peoples and African cultures, so one cannot consider him purely a formal art music composer. Thus it takes a very skilled musician to be able to technically master the music and to convey the emotion and rhythms. Bungarten is perhaps most successful in the first set of works, Suite populaire brésilienne, which is a set of five dances.

This is one of the better sounding Villa-Lobos Cds out there. Albeit, quite obscure. Krivine and the Lyon Orchestra play beautifully on 2 of Villa Lobos better known widely recorded Bachianas (2 & 5) and the under recorded Amazonas suite. And Aussel is simply terrific with the Guitar Concerto.

Heitor Villa-Lobos is widely recognised as Brazil’s most important composer, whose style reflects his country and his era: rooted in 20-th century European modernism, he developed his own unique style, blending all colours, smells and sounds of his homeland into his rich, exuberant and vibrant music. Villa-Lobos wrote an immense oeuvre. An important place hold his guitar works, the perfect instrument to present his own style, fusing Latin-American folk-inspired elements with more “learned” European forms, like Etudes and Preludes. The complete guitar works of Villa Lobos, played by one of the best classical guitarists of today, Frédéric Zigante.

Brazilian classical guitarist Plínio Fernandes presents his debut album Saudade. Brimming with youthful excitement and enchanting lyricism, the album reveals an artist full of heart and wide-ranging expression. A love letter to his home country, Saudade presents his two passions: the popular songs of Brazil and the classical tradition of Villa-Lobos. The result is an entrancing collection of works for solo guitar featuring duets with Maria Rita, Sheku Kanneh-Mason, and Braimah Kanneh-Mason.

Heitor Villa-Lobos' two numbered cello concerti come from the opposite ends of his output; the first Grande Concerto dates from 1915 and the second from 1953. In between there is another concertante work, the Fantasia for cello and orchestra, which is contemporaneous with the Bachianas Brasileiras No. 5 for soprano and eight cellos that remains Villa-Lobos' most popular work. In this MD&G issue, Heitor Villa-Lobos: Concertos for Violoncello and Orchestra, cellist Ulrich Schmid is heard with the Nordwestdeutsche Philharmonie under conductor Dominique Roggen in the numbered concertos only, although there easily would have been enough room on the 42-minute-long disc to accommodate the Fantasia as well.

I think these songs are among the most beautiful pieces of music ever written. Compared to the absolutely unbelievably exuberant and emotional recording of Frederica von Stade/Antonio de Almeida, the tempo of most songs here seems slow, drawn out and not quite in harmony with the character of the songs. Of course, the voice of Te Kanawa is beautiful and the sound of the orchestra is rich in detail.