To offer three world premiere recordings among these four 18th_century concertos is enterprising enough, so we can forgive Jan Vogler for choosing as his opening work the currently much-favoured A major Cello Concerto of CPE Bach. This is the fourth recording I have reviewed in the last year-and-a-bit (there was also a fifth in its flute version), but luckily it is a work that can take the exposure, its taut outer movements and darkly emotional central Largo in particular making it an obvious draw for cellists. Vogler's performance - the first I have encountered on a modern cello - does not quite have the rhetorical drama of some others but sings soulfully in the Largo and dances athletically through the fast movements.

The “new” works show more variety than you might at first think. Hasse is not noted as an orchestral composer, and his Neapolitan-style concerto is the most old-fashioned here with its fugue and occasional Corellian flavours, as well as being the least convincing in its directionlessness. The concerto (possibly) by Michael Haydn, dating from around 1800, also rambles rather in its long first movement, though shows more character and strength of purpose thereafter. More interesting to my mind is the work by Friedrich Hartmann Graf, an unassuming composer from Augsburg whose concerto - written around 1780 - is full of sunny Classical grace, with some high-lying stuff for the soloist and, to end, a delectable hunting rondo with main theme in suave harmonics.

Vogler's playing is technically assured and sturdily lyrical throughout all four works, and though you sometimes get the feeling that Reinhard Goebel would like the music to go faster (especially in the CPE Bach), he receives full-bodied but strongly defined support from the Munich Chamber Orchestra.