Swedish-based BIS has made several forays into Latin American repertoire, most memorably with the Cuban Ernesto Lecuona. Now, in what I hope is the start of a cycle, come the Second (1945) and Third (1952) Symphonies by the Brazilian, Mozart Camargo Guarnieri (1907-93). Probably the best-known Brazilian composer after Villa-Lobos, there are currently only a smattering of available recordings of his music, though Chandos has issued the Concerto for strings and percussion (10/00).

Guarnieri’s compositions tend to be more structured than Villa-Lobos’s and, if they lack the mercurial spark that electrified the latter’s finest inspirations, he is often more consistently satisfying. Comparisons of the Second Symphony, titled Uirapurú and dedicated to Villa-Lobos, with the latter’s brilliant 1917 symphonic poem encapsulate these differences. The later Third Symphony, written to underline a debate against serialism in local musical circles at the time, follows (like No 2) Guarnieri’s standard symphonic layout of two outer fast movements around a rather longer slow movement.

Both are attractive works, positive in outlook though not without pathos. The scoring shows Guarnieri had learned from Copland (an early champion and dedicatee of the filler, the 1942 Concert Overture) and Harris and while there are occasional resonances of others – the brass writing in No 2’s central Terno sounds like 1930s Vaughan Williams – rarely Villa-Lobos. Sound and performances are extremely good.