The 53-year-old Brazilian cellist - chosen for stardom in his twenties by the elderly Herbert von Karajan as a partner for Anne-Sophie Mutter in the Brahms Double Concerto - has wisely opted for a slow-burn career, and his recent records for Avie, including the Beethoven sontats and Bach suites, are the rewarding results. Here he tackles central classical cello repertoire: the two extant and most convincingly authenticated Haydn concertos, the bread in this unconventional Clovis Pereira sandwich. The Brazilian composer (b 1932) is a traditionalist whose Concertino absorbs folk music from the Mata zone of northeastern Brazil into a broadly traditional idiom: think Joaquin Rodrigo or even Malcolm Arnold with a Brazilian accent. It's an attractive, accessible work that, at just over 20 minutes, never outlives its welcome. It makes a welcome contract to the two Haydn concertos, certainly the finest 18th-century works of their kind, but perhaps not absolutely top-drawer Haydn, apart from the zesty final of the C major - the earlier of the two. Both are post-1945 discoveries, and their attribution to Haydn has been questioned, but, thanks to recordings by modern cellists, they are now firmly established favourites. Meneses takes his place alonside the greats in these now familiar concertos with his beautiful tone - a gorgeous singing cantilena in the two adagios - and mercurial temperament in the C major's allegro molto. The Northernn Sinfonia are willing accomplices in urbane, genial performances that would grace any collection.