Heitor Villa-Lobos was one of the foremost figures of Brazilian classical music of the early 20th century. His mostly self-taught writing style merges rhythmic ideas of Stravinsky with baroque dances, French theory and 18th century counterpoint. He was also a strong nationalist who found common ground between Brazilian folk music and the classical tradition, a technique which would eventually generate his well-loved series Bachianas Brasileras. This 1956 recording features four of the nine J.S. Bach-inspired classics, conducted by Villa-Lobos himself. It also contains arguably the best recording of his famous Bachianas, No. 5 for soprano and 8 cellos.

One cannot ignore Bartok's remarkable contribution to educational music for young musicians. Coincidentally he was also one of the 20th century's great ethno-musicologists. His '44 duos for two violins' was written in 1931 as primarily educational compositions and are based around the peasant folk melodies of his native Hungary. Rich in Bartok's characteristic harmonic invention the '44 duos'  also produce an astonishing range of texture and timbre, rhythmic vitality and subtle melodic contour. An intimate look at the compositional devices and detailed skill made famous in his larger works.  

Seperated by 200 years of musical development--from the late Baroque to the 20th century's second Viennese school--this coupling may at first seem odd. However, both styles arose from their fluency in contrapuntal invention and motivic control. The repertoire includes two ricercar from Bach's "Musical Offering", a early cantata (BWV 4), Webern's 1905 string quartet and his stunning "Five Movements for String Quartet op5" (written when he was 22!). The Hilliard Ensemble, Muncheber Kammerorchest, and Christoph Poppen highlight tremendously the connections between these two composers.  

Soft vocals and moody songs surrounded by creative arrangements that sometimes feel like they are on the verge of collapse. Stretched out and contracted rhythms with simple but often obscure sounding harmonies highlight "Stair Keeper". The song "Friend of Mine" shares an uncomfortable but playful bass melody with a subtle and acutely ranged vocal line. A nice touch over its distant and reluctant piano waltz. Also, listen in the album for effective accompanying roles for an extremely exhausted organ and a creaking floor.