Em Concerto [Import]

1. Eu Vim Da Bahia

2. ProcissÃO

3. Domingo No Parque

4. Soy Loco Por Ti, AmÉRica

5. Mamma

6. Mar De Copacabana

7. I Just Called To Say I Love You (SÓ Chamei Porque Te Amo)

8. Filhos De Gandhi

9. Palco

Em Concerto,Gilberto Gil,Wea/Warner,World Music

Average customer rating: What a concert! awesome Mariza Spendid Lovely Portuguese fados - nice CD + DVD set Excellent value for money

Concerto em Lisboa w/Bonus DVD Mariza Manufacturer: Times Square Records ProductGroup: Music Binding: Audio CD Portugal | Continental Europe | Europe | International | Styles | Music General | Continental Europe | Europe | International | Styles | Music General | International | Styles | Music Latin Music | International | Styles | Music | Compilations | Afro Brazilian | Bolero | Brazilian Jazz | Cuban | Flamenco | Latin Jazz | Mambo | Mariachi | Merengue | Salsa | Samba | Tango | Tejano General | Latin Music | Styles | Music International | Styles | Blowout Music | Stores | Music All Blowout Music | Blowout Music | Stores | Music More Titles at Least 25% Off | Blowout Music | Stores | Music Similar Items: Fado Em Mim Transparente Fado Curvo Live in London Art of Amalia ASIN: B000MM1F5A Release Date: 2007-03-13

Tracks:

1. Loucura
2. Medo
3. Maria Lisboa
4. Montras
5. Ha Uma Musica Do Povo
6. Menino Do Bairro Negro
7. Meu Fado Meu
8. Duas Lagrimas De Orvalho
9. Cavaleiro Monge
10. Recusa
11. Ha Palavras Que Nos Beijam
12. Feira De Castro
13. Desejos Vaos
14. Primavera
15. Chuva
16. O Gente Da Minha Terra

Amazon.com

Even if you're not well-versed in Portuguese fado music, it's easy to be swayed by its rich, mournful sense of emotion. Mariza, one of the genre's premiere contemporary vocalists, see fado as an international language. She makes a convincing case on Concerto em Lisboa, a live recording captured duirng her acclaimed performance at the Tower of Belem. It's an alternately elegant and electric showcase, highlighted by Mariza's gorgeous, piercing voice. She's backed by a full orchestra, whose timing and tightness only add to the experience. From the opening strains of "Loucura" through the closing "Ó Gente Da Minha Terra," Mariza is alternately somber and festive, creating a perfect synergy of singer and musicians. The disc's shattering standout track, "Menino Do Bairro Negro," is likely as gorgeous as anything you've heard in any language. --Joey Guerra

Album Description

Mariza's brand new live CD recorded in front of 20,000+ people at the magnificent and picturesque gardens of Torre De Belem in her home town of Lisbon, Portugal. Recorded in 2005, with an orchestra (Sinfonetta de Lisbon) led by Jacques Morelenbaum, the beautiful fado singer transports the listener to a timeless evening in Lisbon.

The special bonus DVD is a documentary called Mariza And The Story Of Fado, which examines the art of fado, its history and development through interviews with and performances by Mariza and other fadistas, musicians and experts. Filmed on location in Lisbon, the program contains archival footage of famous past singers, including the late acclaimed Amalia Rodrigues

Customer Reviews:

What a concert!.......2007-06-29

I was in Belem for see this singer, I think is her greatest concert of all time, if you love this singer, after you will listen this concert you will love more Mariza.

awesome Mariza.......2007-04-11

If you like Mariza, if you like the Fado, you will love this combination. The CD is rich and pure, the DVD is wonderful, like being there. This may be the best yet Mariza , even with the applause....

Spendid.......2007-04-10

The cd of the concert was excellent, but the dvd documents and illuminates the history of the beautiful fado music of Portugal in such a meaningful way. Truly a masterpiece.

Lovely Portuguese fados - nice CD + DVD set.......2007-04-07

The concert CD is lovely, with Mariza soaring over a band led by Brazilian cellist Jaques Morelenbaum (known for his recent live work with Caetano Veloso...) They work through a variety of fado styles, from the weepiest love songs to giddy folk dances, each style performed with good humor and power.

The added bonus documentary film DVD is a real treat, not only for the glimpses of Mariza and other contemporary fado stars, but for its look back at the roots of the genre and its meaning to Portuguese society. Particularly interesting is its examination of fado's political and social significance -- originally the fado was type of left-wing protest song, but it was subverted in the 1930s by the dictatorship that ruled Portugal until the mid-1970s. The junta made fado music into a propaganda tool, emphasizing romantic love and family values, to the exclusion of older themes about hard work and hard times. After the dictatorship toppled, fado fell into disrepute, but regained popularity in the 1980s and '90s when a new generation cast about for a way to guard Portuguese culture from the encroachments of globalized (American) popular entertainment. A fascinating story, laced with many soulful performances.

Excellent value for money.......2007-04-03

This is an excellent package...this is Mariza at her best..her vocals are emotional and captivating, and the bonus DVD documentary about the Story of Fado is so very informative and entertaining at the same time, including not only live footage of Mariza and her contemporaries, but also rare live footage of the doyenne of the genre, Amalia Rodrigues. That said, I am particularly peeved by the comments of your reviewer, D.Parr "dtakoma" who says that the CD could not be downloaded on his MP3 player and calls it a "crime". Mr. Parr, I just downloaded my CD onto my "IPod" with no trouble at all. Perhaps your player is faulty, or you may have an import copy from Europe or a "bootleg"? The true "crime" is in misleading people!!!

Average customer rating: Some wonderful performances in great old stereo Get Mercury Living Presence Before Its Dead

Grofe: Grand Canyon Suite for orchestra No1-5; Herbert: Concerto for cello in Em Manufacturer: Philips ProductGroup: Music Binding: Audio CD Grofé, Ferde | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Herbert | Herbert, Victor | ( H ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Cello | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music Similar Items: Grofe: Death Valley Suite Howard Hanson Conducts Bloch Gershwin: Rhapsody; Concerto for piano in F Howard Hanson Conducts Barber, Piston, Griffes, McCauley, Kennan, Bergsma Gould: Spirituals; Fall River Legend Suite; Barber: Medea Suite ASIN: B0000057MR Release Date: 1995-09-19

Tracks:

1. Grand Canyon Suite: 1. Sunrise
2. Grand Canyon Suite: 2. The Painted Desert
3. Grand Canyon Suite: 3. On The Trail
4. Grand Canyon Suite: 4. Sunset
5. Grand Canyon Suite: 5. Cloudburst
6. Mississippi Suite: 1. Father Of Waters
7. Mississippi Suite: 2. Huckleberry Finn
8. Mississippi Suite: 3. Old Creole Days
9. Mississippi Suite: 4. Mardi Gras
10. Concerto No. 2 In E Minor For Cello And Orchestra, Op. 30: 1. Allegro impetuoso
11. Concerto No. 2 In E Minor For Cello And Orchestra, Op. 30: 2. Lento - Andante tranquillo
12. Concerto No. 2 In E Minor For Cello And Orchestra, Op. 30: 3. Allegro

Amazon.com

Grofe lost no time capitalizing on the spectacular success of his Grand Canyon Suite, churning out several others, of which the Mississippi Suite is probably the best. Both pieces are very well performed by composer/conductor Howard Hanson and his excellent conservatory orchestra. The music itself is charmingly jazzy and very much of its period. Victor Herbert's Cello Concerto is a typically well written work by the famous operetta composer, and it has the singular distinction of having inspired Dvorák to compose his own Cello Concerto--the greatest ever written for the instrument. It's nice to have it back in the catalog in such a sympathetic performance. --David Hurwitz

Customer Reviews:

Some wonderful performances in great old stereo.......2005-08-08

I concur with the other review to get Mercury CDs while they can be gotten. The early stereo sound on these 1958 recordings is valuable not only as a historic benchmark in early stereo production but for the way they project the orchestra in sections.

I find equally winsome the performances of Ferde Grofe's two symphonic suites about the Grand Canyon and Mississippi -- which is about the river, not the state -- and the Victor Herbert Cello Concerto No. 2, which I have heard in more recent recordings not done as well as here. Cellist Georges Miquelle emphasizes the songful aspects of Herbert's friendly score in this memorable performance.

Having just read a review of popular American music in a well-known American classical music magazine, I was displeased to learn they did not recommend this recording for the Grand Canyon Suite, which is surely the meatiest section. The performance here by the Eastman Rochester Orchestra are vividly done with sensitivity to the Wild West aspects of the music. You can probably find a better version of "On the trail" but you'll never hear better work in the Mississippi Suite, which with excellent bass response rises to a level of the better known composition.

I very much enjoyed this small tour of Americana through Howard Hanson's Rochester forces circa 1958. I found the recording not wanting in any area and the players -- with a small accommodation necessary for a thin string tone -- being otherwise up to the task and turning in really memorable performances of the Mississippi Suite and Herbert concerto.

Get Mercury Living Presence Before Its Dead.......2003-08-16

When I first started collecting classical CDs, I only had a few Mercury Living Presence (MLP) titles. In my quest to get the absolute best, or at least a definitive recording, of the major works of the standard repertoire, MLP discs rarely topped the critics' lists. In fact, only three MLP recordings have been earmarked as "Essential Recordings" by amazon -- Tchaikovsky's 1812 Overture, Byron Janis performing Rachmaninov's 2nd & 3rd Piano Concertos, and Yehudi Menuhin performing Bartok's 2nd Violin Concerto, all three with Antal Dorati as conductor. It is also safe to say that three other titles are equally essential for their historical value alone. They are Tchaikovsky's Swan Lake by Dorati (the first recording of the complete ballet), Janis performing Liszt's Piano Concertos (the first recordings made in the Soviet Union by American technicians, musical staff and equipment), and Kubelik's Chicago Symphony performance of Pictures at an Exhibition (one of, if not the single best mono recording ever, and the one that led the New York Times critic to coin the phrase "Living Presence," from which the label named its series). But how does a CD line go from having a half-dozen must have recordings, to being this reviewer's all-time favorite classical label?

The answer: consistently magical performances, captured in brilliant golden-age stereo sound, that offer a slightly different take on your typical interpretation of the great works. While MLP titles may not offer the best standard account of a work, they always surprise you and open you up to all the possibilities that the music has to offer. For example, this performance of Grofe's Grand Canyon and Mississippi Suites (and Herbert's Cello Concerto No. 2) by Howard Hanson and the Eastman-Rochester Orchestra may not be the consensus first choice recording -- the composer himself made memorable recordings for EMI, which have been available on budget-line CDs. But I constantly come back to this disc for a different perspective, and its vibrancy and splendor never disappoint me. Maybe that is why collectors prize these recordings, because they are a breath of fresh air in a homogenized world of listening. Of course, collectors love a challenge too, and MLP CDs are becoming increasingly hard to find. It has taken years for me to finally find all of the MLP CDs released to date, and unfortunately I don't think there will be any new releases forthcoming. So collectors, and even those who aspire to be, should pick up as many Mercury Living Presence discs as possible now, before they all die.

Average customer rating:

Elgar: Enigma Variations Op36; Concerto for cello in Em Manufacturer: Angel Records ProductGroup: Music Binding: Audio CD All Works by Elgar | Elgar, Sir Edward | ( E ) | Featured Composers, A-Z | Classical | Styles | Music Concertinos | Concertos | Forms & Genres | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Elegies | Requiems, Elegies & Tombeau | Forms & Genres | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Cello | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music ASIN: B000002S2G Release Date: 1991-08-16

Tracks:

1. Variations On A Original Theme ('Enigma') Op. 36 Theme (Andante)
2. Enigma Variations I C.A.E. (The Composer's Wife)
3. Enigma Variations II H.D.S.P. (Hew David Steuart-Powell)
4. Enigma Variations III R.B.T. (Richard Baxter Townshend)\
5. Enigma Variations IV W.M.B. (William Meath Baker)
6. Enigma Variations V R.P.A. (Richard Penrose Arnold)
7. Enigma Variations VI Ysobel (Isabel Fitton)
8. Enigma Variations VII Troyte (Troyte Griffith)
9. Enigma Variations VIII W.N. (Winifred Norbury)
10. Enigma Variations IX Nimrod (A.J.Jaeger)
11. Enigma Variations X Intermezzo Dorabella (Dora Penny)
12. Enigma Variations XI G.R.S. (George Robertson Sinclair)
13. Enigma Variations XII B.G.N. (Basil G. Nevinson)
14. Enigma Variations XIII Romanza:***(Lady Mary Lygon)
15. Enigma Variations XIV Finale: E.D.U. (the composer)
16. Introduction and Allegro Op. 47
17. Cello Concerto In minor Op. 85 I Adagio-Moderato
18. Cello Concerto In minor II Lento-Allegro molto
19. Cello Concerto In Minor III Adagio
20. Cello Concerto In E Minor IV Allegro, ma non troppo
21. Elegy Op. 58

Average customer rating: Genuine Magic Another Great Chopin Recording From Ax, Mackerras Et Al. Egad! The earlier reviewer is full of garbage! Chopin: piano concerto no 1 Beware!

Chopin: Piano Concerto No. 1 in Em/ Variations, Op. 2 Manufacturer: Sony ProductGroup: Music Binding: Audio CD Waltzes | Ballets & Dances | Classical | Styles | Music All Works by Chopin | Chopin, Frédéric | ( C ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music Ax, Emanuel | ( A ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Chopin: Piano Concerto No.2 in Fm/Grand Fantasia Rubinstein: Piano Concerto No. 4; Scharwenka: Piano Concerto No. 1 Brahms: Piano Concertos Nos. 1 & 2 Chopin: Piano Concertos Nos. 1 & 2 Brahms: Music for Two Pianos ASIN: B00000I9G7 Release Date: 1999-03-16

Tracks:

1. Concerto No. 1 For Piano And Orchstra In E Minor, Op. 11: I. Allegro maestoso
2. Concerto No. 1 For Piano And Orchstra In E Minor, Op. 11: II. Romanze. Larghetto
3. Concerto No. 1 For Piano And Orchstra In E Minor, Op. 11: III. Rondo. Vivace
4. Grande Valse brillante In A Minor (Lento), Op. 34, No. 2
5. Variations On 'La ci darem la mano,' Op. 2 For Piano And Orchestra: I. Introduction - Largo - Poco piu mosso; II. - VI. Variation I-V

Amazon.com essential recording

In his second volume of Chopin on a mid-19th-century Érard, Ax continues to demonstrate both the qualities of the instrument and his own artistry. The best test of the disc is the second movement of the concerto, in which Ax makes the Érard sing, plays with artistic flexibility and taste, and interacts beautifully and convincingly with the period-instrument orchestra. (Chopin's often-maligned orchestration sounds better than usual with these instruments.) Ax turns the waltz into a miniature tone poem in an exquisite performance. The early variations, which led Schumann to proclaim Chopin a genius, sound like fluff today, but these players make it entertaining. This disc is both an artistic experience and a musical education. --Leslie Gerber

Customer Reviews:

Genuine Magic.......2007-07-10

If you like your Chopin pianism percussive, or even merely aggressive, this CD is not for you. The 1851 instrument has a gentle and rarified sound, and a fortissimo here can't be compared with the results of a rabid assault on a contemporary Steinway or Bosendorfer.

The performance overall is fairly loose-limbed, a surprise from Mackerras who usually errs on the side of trim efficiency. I do not consider the relaxed tempi a result of sleepwalking, but rather a reaction to the bell-like resonance of the keyboard sound. Often musicians will slow down if the beauty of their work surprises them, to prolong and deepen the happiness, and that's my explanation for what happens on this CD.

This is a great second version of the concerto to own. It will force you to reexamine a lot of your assumptions about Chopin, unless of course your temperament does not allow for such things.

Another Great Chopin Recording From Ax, Mackerras Et Al........2001-12-20

Emanuel Ax follows up his excellent performance of Chopin's 2nd Piano Concerto with this splendid version of the first concerto, which again is also performed on a vintage 1851 Erard piano. Just as he did with the first concerto, Ax is content to give an understated performance, that is still replete with drama. It is one which certainly works well on this instrument. Again, he is superbly backed by Mackerras and the period instrument ensemble Orchestra Of The Age Of Enlightenment. Those who prefer Argerich's dramatic interpretations may find this recording a bit of a disappointment. However, I think Ax's interpretation is as valid as hers. Once more, the sound quality is exceptional.

Egad! The earlier reviewer is full of garbage!.......2001-05-21

...

Ax has, in my estimation, a brilliance for being subtle. His playing won't jump out and smack you upside the head (such as Kempff's playing does to me) - you have to be paying attention. His playing will provide the listener with sheer delight to the sense, if the senses are tuned into what he is doing.

This CD is no exception. Although is all-around great, the most shining gem on this CD is the second movement of the Chopin Concerto. Here, Ax does an exceptionally brilliant interpretation - and he is backed by an orchestra wonderfully sympathetic to his style of playing. He doesn't "jump out," and neither do that (they couldn't anyways; they're on period instruments).

But don't just take my word for it - buy it and hear it yourself! ...this CD is a delight. More than that, it's fun!

Chopin: piano concerto no 1.......2000-11-29

I own ths cd and it has the most incredible music on it.

Beware!.......2000-11-17

I heard Emanuel Ax play the Chopin Concerto No. 1 in concert. It was stunning. I immediately bought this CD, hoping it would replicate the experience. I was dismayed that not only did this historic piano sound honky-tonk and tinny, but the high registers were out of tune as well. I didn't make it through an entire listening of the CD - it was simply too painful! I'm scared to give it another chance. I would NOT recommend this recording to anyone who wants to relax and enjoy the beauty of Chopin!!

Average customer rating: Inspired Mendelssohn! The Best Single Mendelssohn CD ever! Waste of Time? Nina hanan is right, these are bad concertos MENDELSSOHN WITH METTLE!!!

Mendelssohn: The Two Piano Concertos;Violin Concerto in Em Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | Concertos | Forms & Genres | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music All Works by Mendelssohn | Mendelssohn, Felix | ( M ) | Featured Composers, A-Z | Classical | Styles | Music CDs $7 - $10 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music ASIN: B0000027AX Release Date: 1991-08-19

Tracks:

1. Concerto For Piano & Orchestra No.1 In G Minor, Op.25: I. Molto allegro con fuoco
2. Concerto For Piano & Orchestra No.1 In G Minor, Op.25: II. Andante
3. Concerto For Piano & Orchestra No.1 In G Minor, Op.25: III. Presto; Molto allegro e vivace
4. Concerto For Piano & Orchestra No.2 In D Minor, Op.40: I. Allegro appasionato
5. Concerto For Piano & Orchestra No.2 In D Minor, Op.40: II. Adagio: Molto sostenuto
6. Concerto For Piano & Orchestra No.2 In D Minor, Op.40: III. Finale: Presto scherzando
7. Concerto For Violin & Orchestra In E Minor, Op.64: I. Allegro molto appasionato
8. Concerto For Violin & Orchestra In E Minor, Op.64: II. Andante - Allegretto non troppo
9. Concerto For Violin & Orchestra In E Minor, Op.64: III. Allegro molto vivace

Customer Reviews:

Inspired Mendelssohn!.......2006-02-02

Consider these four joined variables: Eugene Ormandy ' prodigious baton, the excel and overpowering sound of this superb Orchestra and the presence of such artistic status: the legendary Isaac Stern and his supreme tonal register, filled of imagination and splendid vibrato, giving what to my mind is the most exquisite Mendelssohn ever recorded and finally the succesful contribution of this one thousand carats pianist: Rudolf Serkin.

I must insist in the fact both soloists were permamanet guests in Prades. And that, by itself, established an axiomatic enhancement in both of them. All the musicians in Prades became still better performers; there was a special and enriching atmosphere that undoubtedly permeated the psique, spirit and bliss of all of them.

In what Mendelssohn Piano Concertos, I shoulkd name just two other interpreters: John Ogdon and Rena Kyriakou are fundamental recordings that would integrate the reduced collection in this particular genre. Serkin plays both scores with brightness, transparency and fluency; his distinguished pianissimos and superb fingering crown these works, supported, evidently for this glorious ensemble.

In what Violin Concerto concerns, Stern illuminates the score. This hard to play piece is far to be considered just a simple and essential romantic piece. Stern goes toward the flame and core of this brilliant work with his cvharacteristic and admirable expressiveness.

This is a succesful and more than rewarding acquisition, due there are not so many performances that can include so many merits.

The Best Single Mendelssohn CD ever!.......2003-09-12

And it's cheap. This recording has compilation has popped up in various incarnations for a while now and is easily available at almost any used outlet. Even the new price is a tremendous bargain. It features Felix Mendelssohn's 3 best concerti played by soloists and conductor with great affinity for this literature and perform it with fondness and sparkling panache. It clocks in at just over 69 minutes, which isn't bad at all. Amazingly, this is also the only CD (known to me) that contains this obvious combination of kindred pieces.

The pieces on the disc are Mendelssohn's Piano Concerti 1 & 2 (soloist: Rudolf Serkin) plus his Violin Concerto 2 (soloist: Isaac Stern). They and the Philadelphia Orchestra are conducted by Eugene Ormandy. In short, this is Mendelssohn heaven. The recordings, originally made around 1959, are bright, spacious, and clear; you can hardly get better from recordings made in the 21st Century.

Mendelssohn wrote 4 piano concerti. The other 2 are duo-piano works composed earlier in his career (presumably for himself and Fanny to perform as soloists), and a lot of fun in their own right. He composed these works, in g (that is, G Minor) and d, for his own concert use. Mendelssohn is amazing: whereas so many composers regard minor keys as hallmarks of sturm, drang, and angst, he makes them sound at least as deliriously happy as any major. If the typical German piano concerto (Beethoven, Brahms, that bunch) is heavy-duty red wine to be drunk with dishes with names of at least 2 words and many syllables, the Mendelssohn concerti are the lightest champagne - and they are truly clear and sparkling.

Contrary to opinions one sees now and then, this isn't a sign that Mendelssohn's concerti are inherently inferior to, for instance, Brahms'. Mendelssohn's models were the piano concerti of Mozart, which are frequently virtuosic display pieces tempered by Mozart's melodic genius. These are virtuosic display pieces tempered by Mendelssohn's melodic genius. OK, let's say they're somehow not the equal of Brahms' concerti; they're certainly the equal of Mozart's, and that's about as good as it gets.
The pattern of the concerti is typical: a meltingly beautiful slow movement sandwiched between two dazzling fast movements. Like Dvorak, and even more so than Mozart, Mendelssohn decorates his works with fleeting and temporary melodies most composers would build entire movements around. Each of the fast movements is an exhilarating roller-coaster ride of the sort no composer would outdo until Tchaikovsky's 1st. As to the slow movements: just try not to hum along. Serkin responds to the challenges of these concerti with tremendous elan, a dazzling affirmation of why he's on the short list of truly great pianists of the mid-20th Century. Ormandy is by temperament a fabulous interpreter of Mendelssohn's bubbly music.
Mendelssohn's Violin Concerto 2 is usually referred to only as "Violin Concerto in e", but there is a #1 - a juvenile work in d (1822). The 2nd Concerto (1844) is easily the most ingratiatingly beautiful violin concerto ever written (just ahead of the Bruch #1 ... also in a minor key, by the way). This is another case of "just try not to hum along". The primary theme of the 1st movement alone is on the very short list of best-known themes in the symphonic literature. The 1st movement altogether is one of the most passionate in the entire concerto literature. The 2nd movement, attached to the first by a single sustained note, is a love song for soloist and orchestra. The 3rd movement if full of the sort of wildness that would later be seen in the works of Wieniawski, Paganini, and Sarasate. Isaac Stern is fully the equal of Jascha Heifetz in this rendition, his tone more lush and ripe.

This CD has everything: a perfect combination of similar pieces, given outstanding performances by some of the greatest performers of their time - and a recording that is still, almost half a century later, a sonic hallmark. And did I say before that it's cheap?

Waste of Time?.......2003-06-02

One wonders, if the other reviewers are indeed correct, why such great artists such as Rudolf Serkin and Isaac Stern would waste their time recording less-than-masterpieces. While I do admit that the concertos of Mendelssohn are not his strongest musical compositions, and because of this, perhaps lack the profundity of the concertos of Beethoven, Mozart, Schumann, Brahms and others, I will not admit that they are wastes of time. Who ever said that great music must always be profound? Why is it not enough sometimes to simply write pieces that are fun, enjoyable to listen to and play and are full of life? I think that is the reason that such great artists such as those listed above would "waste their time" with this kind of music. But enough in defense of Mendelssohn (needless to say the greatest child composer of all time - his reputation was secure even at age seventeen, when he had finished the String Octet and the Overture to a Midsummer Night's Dream....comparably even Mozart at that age had written nothing of equal stature). But, as I said before...on to the performances. Serkin brings to these concertos, I believe, exactly what they need, namely strength. One can play these two concertos as if they were light pieces, and this is how so many performances of them are (in which case, we need not only blame the music, but the performance mentality as well). But, to play them not only with the light scherzo-like attitude, but with virtuosity and power, elevates this music even further. It is up to the performer to bring this music to life, and I can only be ecstatic that Serkin "wasted his time" recording these concerti. Stern's performance of the Violin concerto is not my benchmark for the piece, though he offers some interesting ideas throughout. His articulation is crisp, and his concept is always present, though he may be out of tune occasionally. For any Stern fanatics...buy it...it is surely worth having.

Nina hanan is right, these are bad concertos.......2002-06-25

I won't even discuss the violin concerto, since it is a universal favorite. The piano concertos, on the other hand, are childish works that border on the insipid. Even Mendelssohn's most eminent biographer, Phillip Radcliffe, found his works for piano and orchestra to be the least inspired of his oeuvre. These concertos each attempt some kind of con fuoco/appasionato profundity, but, like much of Mendelssohn, they to lack any depth. Of course these concertos suffer when placed next the greats (e.g., Mozart, Beethoven, Brahms, etc) but I owuld even rank them below those by unknown composers such as Reinecke, Moscheles, and Field. Of course, all the performances are excellent.

MENDELSSOHN WITH METTLE!!!.......2001-08-05

Of the many Mendelssohn piano concerto recordings that have passed through these ears, Serkin's with Ormandy has remained my favorite since the LP era, and Sony was exceedingly wise to transfer them, early on (1991), to CD, coupled with Stern's sturdy performance of the E minor Violin Concerto. So, somebody was on the ball (for once).

Piano Concerto No. 1 in G minor, Op. 25 (written by Mendelssohn in his early twenties, hard to believe), his most popular, and for excellent reasons, is a work that grabs you immediately--- and never lets go. From the outset, the orchestra roils open, fomenting, and Serkin surges in, full-throttle--- truly "con fuoco"!--- his fiery and stunning virtuosity leaving you gasping for air. His is a force that gathers momentum like a coming tornado. No "prissy" Mendelssohn here: not with the Serkin/Ormandy electricity creating sparks at every turn, and spiralling us about like rag dolls. Doubtless, this is about as thrilling as it gets (without completely imploding). Serkin's daring panache, his execution of brilliant runs, double-noting that defies description, octaves and fabulous chordal sequences that are full and dead-on create a totality of such exciting proportions that, frankly, it peaks at darn near orgasmic level. It's pure, unadulterated musical tension at its finest. That's why when the tender secondary development appears, which we need badly, we are lulled by the brief respite, but only lulled--- because then, suddenly, in a whirlwind of almost impishly devilish delight, Mendelssohn lets all hell break loose again... until he seques flawlessly into the second movement Andante without interruption.

And, ah, what an Andante this is, and what a manipulator that Felix! From the throes of an almost unbearable adrenalin rush, he slows to a crawl and proceeds to drain our emotions further by the apposition of the most lyrical and tender sentiments. Serkin's playing here is as gentle as I've ever heard him, and Ormandy never intrudes on the pianist's ponderings; he caresses them. The interweaving of these two consummate artists is a wonder. Listen, for example, to Serkin's handling of the solo closing notes of the Andante... as the movement now seques, again, flawlessly, into the Presto finale... and we are shocked out of our reverie, yet a second time!, by a brass fanfare--- the Philadelphians playing their hearts out!--- and Serkin re-enters with a forward cascading thrust that delights, uplifts, intoxicates, his fingerwork dazzling... Ormandy's violins shimmering... and everyone, including us, sitting on the edge of our seats in a rivetting expectation of the fabulous conclusion to come... which comes, inevitably, and, yes, fabulously. Mr. Serkin, bravo!

The D minor Piano Concerto, Op. 40 (written in Mendelssohn's late twenties), although good, has always remained subordinate to the Op. 25, and probably for these reasons: It's quite obviously derivative of Op. 25 (almost a vague doppleganger) and far less inspired. Mendelssohn, himself, noted that it was written "in haste" for a concert tour of England, and it shows. Regardless, though, with the strength of Serkin and Ormandy behind it, the Op. 40 gets a better-than-expected reading, with a particularly beautiful Adagio.

As a "bonus," Sony gives us a good, though not altogether outstanding, performance of the E Minor Violin Concerto, Op. 64 with Isaac Stern (one of my favorite "rough and ready" violinists). There are many felicities here, not the least of which is the rousing Allegro finale, but overall the concerto, to me, seems a tad perfunctory. However, I'd rather have it on this reissue than not.

Amazingly enough, all these concertos come from 1959 recordings and, regardless of age, have been transferred to CD fresh and firm. The piano image, in particular, closely-miked and upfront, is phenomenal, never hidden or subservient, and allows us to hear every note, as well as more than a little huffing and puffing from Serkin himself (but I find this adds a nice human element to the mix). Ormandy's orchestral forces (both Philadelphia and Columbia Symphonies) come off superbly under his usual bold, warm direction. The recordings defy their age magnificently.

This is an outstanding bargain--- if for the Op. 25, alone, which must be heard to be believed: Mendelssohn with all the stops pulled! And Serkin at his zenith. Don't let this one pass you by. All other competition pales by comparison.

[Running time: 69:31]

Average customer rating:

Ernesto Nazareth: Music for the Solo Piano Manufacturer: Koch Int'l Classics ProductGroup: Music Binding: Audio CD Polkas | Ballets & Dances | Classical | Styles | Music Tangos | Ballets & Dances | Classical | Styles | Music Waltzes | Ballets & Dances | Classical | Styles | Music Impromptus | Short Forms | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Similar Items: Ernesto Nazareth: Tangos, Waltzes and Polkas Ernesto Nazareth: A Collection Of His Finest Piano Works Brazilian Ragtime Ernesto Lecuona: The Complete Piano Music, Volume 4 Rags & Tangos [Australia] ASIN: B000BJNTU8 Release Date: 2005-11-22

Tracks:

1. Brejeiro
2. Odeon
3. Ven Ca. Branquinha
4. Fon-Fon
5. Gaucho
6. De Julho
7. Sarabeque
8. Dengozo
9. Carioca
10. Nene
11. Espalhafatoso
12. Adiev
13. Improviso
14. Andante Expressivo
15. Voce Bem Sabe
16. Ameno Reseda
17. A Fonte Do Sospiro
18. Apanhei-Te Cavaquino
19. Coracao Que Sente
20. Passaros Em Festa
21. Saudade
22. Expansiva
23. Confidencias
24. Faceira
25. Elite-Club

Average customer rating:

Gershwin Performs Gershwin: Rare Recordings 1931-1935 Manufacturer: Music Masters Jazz ProductGroup: Music Binding: Audio CD All Works by Gershwin | Gershwin, George | ( G ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Preludes | Forms & Genres | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Jazz | Styles | Music Traditional Jazz General | Traditional Jazz & Ragtime | Jazz | Styles | Music Vocal Jazz General | Vocal Jazz | Jazz | Styles | Music General | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music English | Languages | Opera & Vocal | Styles | Music General | Pop | Styles | Music General | Oldies | Pop | Styles | Music Traditional Pop | Oldies | Pop | Styles | Music Tin Pan Alley | Oldies | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music General | Musicals | Broadway & Vocalists | Styles | Music Traditional Vocal Pop | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Soundtracks | Styles | Music Similar Items: Plays George Gershwin The Gershwin Plays Gershwin: The Piano Rolls, Vol. 2 George Gershwin Memorial Concert George Gershwin: His Life and Work Levant Plays Gershwin ASIN: B000000FMO Release Date: 1991-08-13

Tracks:

1. 'Music by Gershwin' Radio Program, February.19, 1934: Signature
2. 'Music by Gershwin' Radio Program, February.19, 1934: Of Thee I Sing: Overture
3. 'Music by Gershwin' Radio Program, February.19, 1934: The Man I Love
4. 'Music by Gershwin' Radio Program, February.19, 1934: I Got Rhythm
5. 'Music by Gershwin' Radio Program, February.19, 1934: Commercial
6. 'Music by Gershwin' Radio Program, February.19, 1934: Swanee; Sign-off
7. 'Music by Gershwin' Radio Program, April.30, 1934: Signature
8. 'Music by Gershwin' Radio Program, April.30, 1934: Mine
9. 'Music by Gershwin' Radio Program, April.30, 1934: Variations On 'I Got Rhythm'
10. 'Music by Gershwin' Radio Program, April.30, 1934: Love Is Sweeping The Country
11. 'Music by Gershwin' Radio Program, April.30, 1934: Commercial
12. 'Music by Gershwin' Radio Program, April.30, 1934: Wintergreen For President; Sign-Off
13. Rudy Vallee 'Fleischmann Hour' Radio Program, November 10, 1932: Variations On 'Fascinating Rhythm'.
14. Rudy Vallee 'Fleischmann Hour' Radio Program, November.10, 1932: Second Prelude
15. Rudy Vallee 'Fleischmann Hour' Radio Program, November.10, 1932: Interview
16. Rudy Vallee 'Fleischmann Hour' Radio Program, November.10, 1932: I Got Rhythm
17. Second Rhapsody Rehearsal Performance, June.26, 1931
18. Porgy And Bess Rehearsal Performance, July.19, 1935: Introduction; Summertime
19. Porgy And Bess Rehearsal Performance, July.19, 1935: A Woman Is A Sometime Thing
20. Porgy And Bess Rehearsal Performance, July.19, 1935: Act 1, Scene 1: Finale
21. Porgy And Bess Rehearsal Performance, July.19, 1935: My Man's Gone Now
22. Porgy And Bess Rehearsal Performance, July.19, 1935: Bess, You Is My Woman Now

Amazon.com

More interesting (and--predictably--less mechanical) than his piano rolls, Gershwin Performs Gershwin showcases the Gershwin-conducted rehearsal sessions for Second Rhapsody and Porgy and Bess along with two Gershwin radio specials recorded in the early '30s titled Music by Gershwin. These are period pieces, for sure--the sound is shoddy, and the radio spots' commercials are as entrancing as the music that's being played. But, yes, that is Gershwin conducting and playing piano, and this is as close as we'll get to hearing these familiar tunes being played the way he wanted them. --Jason Verlinde

Average customer rating:

Gershwin Concert Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD All Works by Gershwin | Gershwin, George | ( G ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Preludes | Forms & Genres | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music CDs $7 - $10 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music ASIN: B000004266 Release Date: 1996-06-11

Tracks:

1. Suite from Girl Crazy
2. Oh, Kay !- Overture
3. Funny Face- Overture
4. Let 'em Eat Cake- Overture
5. Of Thee I Sing
6. Of Thee I Sing- 'Wintergreen for President'
7. 3 Preludes
8. Rhapsody No. 2 for piano & Orchestra

Average customer rating:

Brahms Violin Concerto in D, Op.77: Mendelssohn Violin Concerto in Em, Op.64 Johannes Brahms , Felix Mendelssohn Bartholdy , Henryk Szeryng , conductor Bernard Haitink , and Amsterdam Concertgebouw Orchestra Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD General | Classical | Styles | Music ASIN: B00000E35W Release Date: 1990-10-25

Average customer rating: The best Villa Lobos available Historic It was okay in the early days when V-L was unrecorded For Villalobos Fans Only

Villa-Lobos par lui-même Heitor Villa-Lobos , Orchestre National de la Radio diffusion Française , French Radio Choir , Fernand Benedetti , Victoria de Los Angeles , René Alix , Louis Martini , Maria Kareska , Manoel Braune , Fernand Dufrene , Orchestre de la Radio France , Rene Plessier , Maurice Cliquennois , Aline Van Barentzen , Henri Branschwak , Magda Tagliaferro , and Felicia Blumental Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Duets | Chamber Music | Classical | Styles | Music Octets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Villa-Lobos, Heitor | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music General | Early Music | Historical Periods | Classical | Styles | Music General | Villa-Lobos, Heitor | Composers | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Symphonies | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music Modern & 20th Century | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music Bargain Box Sets | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music Similar Items: Villa-Lobos: Choros 1-7 Villa-Lobos: Forest of the Amazon ASIN: B000002SBL Release Date: 1991-04-05

Tracks:

1. Descobrimento do Brasil: Premiere Suite: Introducao - Alegria
2. Descobrimento do Brasil: Deuxieme Suite: Impressao Moura (Cancao)
3. Descobrimento do Brasil: Deuxieme Suite: Adagio sentimental
4. Descobrimento do Brasil: Deuxieme Suite: Cascavel
5. Descobrimento do Brasil: Troisieme Suite: Impressao Iberica
6. Descobrimento do Brasil: Troiseme Suite: Festa nas selvas
7. Descobrimento do Brasil: Troiseme Suite: Ualaloce
8. Descobrimento do Brasil: Quatrieme Suite: Procissao da Cruz (Visao dos Navegantes)
9. Descobrimento do Brasil: Quatrieme Suite: Primeira Missa no Brazil
10. Invocacao em defesa da Patria

Tracks:

1. Bachianas Brasileiras No. 1, pour ensemble de violoncelles: I. Introduction (Embolada)
2. Bachianas Brasileiras No. 1, pour ensemble de violoncelles: II. Prelude (Modinha)
3. Bachianas Brasileiras No. 1, pour ensemble de violoncelles: III. Fugue (Conversa)
4. Bachianas Brasileiras No. 2, pour orchestre: I. Prelude (Canto do capadocio)
5. Bachianas Brasileiras No. 2, pour orchestre: II. Aria (Canto da nossa terra)
6. Bachianas Brasileiras No. 2, pour orchestre: III. Danse (Lembranca do Sertao)
7. Bachianas Brasileiras No. 2, pour orchestre: IV. Toccata (O Trenzinho do Caipira)
8. Bachianas Brasileiras No. 3 pour piano et orchestre: I. Prelude (Ponteio)
9. Bachianas Brasileiras No. 3 pour piano et orchestre: II. Fantaisie (Devaneio)
10. Bachianas Brasileiras No. 3 pour piano et orchestre: III. Aria (Modinha)
11. Bachianas Brasileiras No. 3 pour piano et orchestre: IV. Toccata (Picapau)

Tracks:

1. Bachianas Brasileiras No. 4, pour orchestre: I. Prelude (Introducao)
2. Bachianas Brasileiras No. 4, pour orchestre: II. Choral (Canto do Sertao)
3. Bachianas Brasileiras No. 4, pour orchestre: III. Aria (Cantiga)
4. Bachianas Brasileiras No. 4, pour orchestre: IV. Danse (Miudinho)
5. Bachianas Brasileiras No. 5 pour soprano et 8 violoncelles: I. Aria (Cantilena)
6. Bachianas Brasileiras No. 5 pour soprano et 8 violoncelles: II. Danse (Martelo)
7. Bachianas Brasileiras No. 6 pour flute et basson: I. Aria (Choro)
8. Bachianas Brasileiras No. 6 pour flute et basson: II. Fantaise
9. Bachianas Brasileiras No. 7 pour orchestre: I. Prelude (Ponteio)
10. Bachianas Brasileiras No. 7 pour orchestre: II. Gigue (Quadrilha Caipira)
11. Bachianas Brasileiras No. 7 pour orchestre: III. Toccata (Desafio)
12. Bachianas Brasileiras No. 7 pour orchestre: IV. Fugue (Conversa)

Tracks:

1. Bachianas Brasileiras No. 8, pour orchestre: I. Prelude
2. Bachianas Brasileiras No. 8, pour orchestre: II. Aria (Modinha)
3. Bachianas Brasileiras No. 8, pour orchestre: III. Toccata (Catira Batida)
4. Bachianas Brasileiras No. 8, pour orchestre: IV. Fugue
5. Bachianas Brasileiras No. 9, pour archestre a cordes: Prelude (vagaroso e mistico) et fugue (poco apressado)
6. Choros No. 2, pour flute et clarinette
7. Choros No. 5, pour piano 'Alma Brasileira'
8. Choros No. 10 'Rasga o coracao', pour choeur et orchestre
9. 2 Choros (bis), pour violon et violoncelle: I. Modere
10. 2 Choros (bis), pour violon et violoncelle: II. Lent

Tracks:

1. Choros No. 11, pour piano et orchestre: I. Premiere partie
2. Choros No. 11, pour piano et orchestre: II. Deuxieme partie
3. Choros No. 11, pour piano et orchestre: III. Troisieme partie
4. Qu'est-ce qu'um Choros? (Villa-Lobos parle)

Tracks:

1. Momoprecoce, Fantasia pour piano et orchestre sur le carnaval des enfants bresiliens
2. Concerto No. 5, pour piano et orchestre: Allegro non troppo
3. Concerto No. 5, pour piano et orchestre: II. Poco adagio
4. Concerto No. 5, pour piano et orchestre: III. Allegretto scherzando
5. Concerto No. 5, pour piano et orchestre: IV. Allegro
6. Symphonie No. 4 'A Victoria': I. Allegro impetuoso
7. Symphonie No. 4 'A Victoria': II. Andante
8. Symphonie No. 4 'A Victoria': III. Lento
9. Symphonie No. 4 'A Victoria': IV. Allegro (avec fanfare)

Customer Reviews:

The best Villa Lobos available.......2006-03-24

About the album : this is the best recording available in the market. Conducted by the own Villa , this is a historic recording , plent of brightness. Perfect remasterized.

About Amazon.con : fast and reliable mail service. stuffs have arrived good packaged and factory sealed. Great service

Historic.......2004-01-31

Opposite Rio de Janeiro's small Villa Lobos museum -- in what was his last home -- is a modern apartment building. Its name is Edificio Sebastiao Bach. VL would have loved it: he adored Bach above all other composers. Hence the 'Bachianas Brasilieras' (which, however, owe little to Bach beyond their joy in sound and intricacy in structure).

What previous reviewers have said is true. The sound on these disks is abominable. A much better job could be done -- and should have been done -- of remastering the originals. That won't happen unless there's a sudden renewal of interest in the music of this Brazilian master.

Further, the the performances -- and the composer's conducting -- are generally lackluster. Still, any VL lover should not be without this set. Toscanini no doubt did a better job with Brahms's symphonies. But who wouldn't give his soul for a recording of Brahms himself conducting the four of them?

One special recommendation: the 'Choros' stand close to the summit of VL's art, more so than the BBs. A dance not a choral form, the 'choro' is both universally appealing and quintessentially Brazilian.

It was okay in the early days when V-L was unrecorded.......2003-09-25

This set comprises a huge array of Villa-Lobos' works conducted by himself and, sorry to say, none too well. He seems to lack the sensitivity other interpreters can bring to his work - he's far from alone in this situation - many composers have fallen into the same trap. The textures are thick, the sound cluttered (mono it might be but surely the engineers could have done better?) and the music simply lacks the excitement of which it is capable to no small degree. In part, the orcehstra is barely capable of performing such music. Stravinsky was one thing - Villa-Lobos' internal rhythmic complexity and stubbornly awkward manuscript writing is something aside. He did not always notate in the simplest way.

Probably the best item in the set is the "Discovery of Brazil Suite". At least it received an audience and was not re-recorded until very recently. Some of the Bachianas have been handled better by others but at least this recording was a first complete set. Only the No. 5 was otherwise known.

I have to confess that if I'd encountered Villa-Lobos through these performances I doubt I'd have followed through. Thankfully I came in via the accomplished and brilliant performance of his Quintette en forme de Choros by the New York Wind Quintet. Later, I encountered the LPs of the "Discovery of Brazil Suite", credible but flat, compared with other recordings appearing around the same time. Compare, for instance, his own 1958 recording of Forest of the Amazon in which he shows how well he can conduct if he tries, not to forget the superb hi-fi stereo recording that really let light and air into the performance.

Nonetheless, I bought this set on the strength of price and to have the "Discovery" Suite on CD, along with a couple of his Bachianas. I would not recommend these discs as an introduction to the composer. Do not be tempted by its modest price!

For Villalobos Fans Only.......2000-05-01

There is one reason and one reason only to buy this box set of historical recordings made by Villalobos himself in the 1950s: a fanatic admiration for the works of this composer. But you should know that if you love this music, you should be prepared to buy other, more recent, recordings of these works. These are mono recordings, and the sound textures you expect from this composer are therefore muddled and flattened (the beautiful Choros No. 2 is the biggest victim here, which sounds so flat that you will miss the playful contrasts between the flute and the clarinet). You should also know that Villalobos is not a great conductor, but the lack of precision in the playing is often compensated by the emotional weigth he gives to his performances (he appears to have been a crowd pleaser). There are many pleasures, however, and I listen to disc number 3, which includes the Bachianas Brasileiras 4-7 so often that it has become a soundtrack to my life. Bachianas 4 and 7 deserve more listeners. The famous Bachiana Brasileira No. 5 included in this set, is sung by Victoria de los Angeles beautifully, but this performance is also available in a single CD anthology. I am giving this set three stars: one for the historic importance of these EMI records, one for the affordability and completeness of the box set itself (it is a bargain at $6 per CD), and one for the emotional significance of hearing these performances conducted by Villalobos (I am a Latin American and this music fills me with both pleasure and pride).

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