A small section from the prolific output of Hector Villa-Lobos has been released this month in an album by Victor. The works chosen, while not the very best of this composer, do give an idea of his versatility and individualty of style. The first number, an Introduction, Prelude and Fugue for eight cellos in the style of Bach, called "Bachinas Brasileras," shows Villa-Lobos's ability to absorb influences and still remain fresh and vital. The cello is his own instrument, and the magnificent sonorities he wrings from it in ensemble approach at times the effect of a full string orchestra, particularly in the rich and lyrical Introduction, which employs melodies from Brazilian jazz to excellent effect. The Prelude and Fugue show a scholarly understanding of Bach worthy of the most erudite academician, yet there is plenty of original vigor; one doesn't feel that this is just another exercise in composition being backed over. Villa-Lobos handles the counter-point perfectly smoothly, and inside this frame-work gives free rein to his own ideas. In the Fugue possibly he confines himself more rigidly to his master--every element, down to the very intervals, is after Bach, so that the highly syncopated rhythm seems a trifle artificial and forced. But the piece as a whole is remarkably successful, and shows what can be done by someone with imagination working in traditional forms.

The "Nonetto" for chamber orchestra and chorus which follows is less successful, chiefly because having no formal pattern into which to throw his ideas, and imposing no mental limitations on himself, the composer dilates and drifts around to such an extent that the thing does not jell. It becomes more a series of stunning effects than a clearly discernible whole. Still, for what they are, the effects, caused by a varied and beautifully recorded percussion and passionate inter-jections from the chorus, are extremely striking. Also effective is "The Ox-Cart Driver's Song" for soprano and piano, sung by Elsic Houston with plenty of barbaric yawp. The song is impressive even if you don't care for barbaric yawp; if you do, it's doubly powerful. The last selection in the album, "Quatuor" for flute, harp, celesta, and women's voices, is something of a disappointment. Written during a period of strong Debussy influence, it is overly imitative, and except for the delightful last movement lacks the imagination and freshness of the other pieces.

The Budapest String Quartet, just before it left Victor to sign up with Columbia, recorded the Mozart "Hunting" Quartet, now being released. This is one of those six wonderful quartets dedicated to Haydn, which prompted the older master to say to Leopold Mozart that "Before God and as I am honest man, your son is the greatest composer I have ever known, personally or by name." And Haydn was right. The Budapest Quartet plays this music with impeccable balance and finish. . . . Another accomplished artist, Robert Casadesus, plays Ravel's "Valses Nobles et Sentimentales" in a Columbia album. You will not find in these waltzes the fruity charm of Chopin's waltzes, or the lilt of Johann Strauss, but rather an astringent wryness that almost belies the adjectives in the title. . . Finally, there is the love music from Tristan and Isolde by Stokowski and the Youth Orchestra, on Columbia, one of the least tolerable productions this fallen master has turned out. The performance is tame, muddily recorded, and the substitution of flute, oboe, and other whatnots for the solo voices, makes the whole thing a very uninteresting item indeed.