Carlos Barbosa-Lima is one of the important performers bringing guitar music of the Americas to the public. No better example exists than his recording Ginastera's Sonata. It begins with two pieces by Agustín Barrios. Las Abejas is constructed from rapid scale and arpeggio passages, similar to a baroque composition for solo violin. The melodic and harmonic elements, however, give the piece a distinctly Latin American character. Barbosa-Lima's crisp articulation is the key to his successful interpretation. In contrast to Las Abejas, Fabinina is a relaxed work with a pleasant melody and simple harmonies. Barbosa-Lima's warm tone is particularly effective in the more introspective sections.

    The Concertino De California for Guitar and String Quartet was written by Albert Harris, who is perhaps best known to guitarists from Segovia's recording of his Variations and Fugue on a Theme of Händel. Guitar and string quartet is a combination that is exploited infrequently, the Boccherini guitar quintets being the most numerous and well known. A string quartet can provide many of the characteristics of a full orchestra without the problems of balance and definition that occur when the guitar is accompanied by an orchestra. The Concertino is tonal, but clearly twentieth century in its melodic lines, combining elements of both Spanish and jazz styles. Its first and third movements (Allegro Moderato and Vivace) have sunny characters and are rhythmically active. The San Francisco String Quartet displays a good feel for the nuances of performing with a classical guitarist. Harris' work is a welcome addition to the repertoire.

    Antonio Lauro's Venezuelan Waltz No. 3 "Natalia," is a typical Lauro waltz. The performance is thoroughly enjoyable. A recording of this work also appears on John Williams' Spirit of the Guitar (CBS MK 44898). The major difference between the two performances is the timing of 1:37 on Barbosa-Lima's recording and 2:48 on Williams' recording. Given that the tempi are similar, the difference is attributable primarily to the repeats in Williams' performance.

    The high point of this recording is Barbosa-Lima's performance of Alberto Ginastera's Sonata, Op. 47. Because of Barbosa-Lima's intimate involvement with the piece since its inception, and the fact that it was dedicated to him, his interpretation is of particular interest in illuminating the composer's intentions. Barbosa-Lima's performance can best be characterized as energetic. He captures the relentlessly rhythmic nature of the Scherzo and its contrasting textures; however, I would have preferred more dynamic contrast as well. In the Finale, Barbosa-Lima executes faithfully the composer's desire for "sforzatissimo," "frentico" and "delirante." It is unfortunate that this is Ginastera's only work for solo guitar. Those interested in exploring his other works should consider Ginastera: Harp & Piano Concerti (MHS 513274T). Two other noteworthy, recordings of the Sonata are by Roberto Aussel (Roberto Aussel Plays 20th Century Music, GHA 126.007) and Carlos Bonell (Twentieth Century Music for Guitar, EMI CDC 7 49512 2). It is interesting to note the differences in interpretation, particularly the darker tone that Aussel uses in the opening movement. Crepusculo Em Copacabana by Brazilian guitarist/composer Laurindo Almeida is a quiet, introspective work to which Barbosa-Lima brings a warm, rich tone—particularly in the lower register.

    Radames Gnattali's Sonatina No. 1 for Guitar and Piano is a twenty-minute large-scale work recorded first by Laurindo Almeida in 1967 (Almeida's edition of the score has also been published). Gnattali is no stranger to writing ensemble works for the guitar, having also composed the Concerto brasileira for Guitar and Strings. Writing for guitar and piano is a difficult task, due to the similar characteristics of these two percussive string instruments and their different dynamic ranges. Although the works of nineteenth-century composers Carulli and Diabelli come first to mind when discussing works for guitar and piano, the Sonatina is much closer in character to Claude Bolling's Suite for Classical Guitar and Jazz Piano. Barbosa-Lima has chosen well in selecting pianist Patricia Griggs, who complements his performance with a light touch and an appropriate use of staccato.

    The disc concludes with Amor Sem Fim (Endless Love) by Brazilian composer Thiago de Mello. It is a lovely ballad-like piece for guitar and string quartet that was originally written for choir and string quartet. Barbosa-Lima's heartfelt performance captures the essence of the piece, although a bit more vibrato on the melody notes would have helped to further express the sentiment.

    Barbosa-Lima is to be commended for his selection of material. Most of the works on the recording are infrequently performed or recorded, yet they are accessible to the general audience and have musical substance. Given the caliber of this recording, the author of the liner notes can be perhaps forgiven for including more superlatives ("masterpiece," "historic," "perfect") than facts about the compositions and the performer. Highly recommended.