These fine performances constitute the only complete cycle currently available of the 17 string quartets that pepper Villa-Lobos' entire career. The suite-like, five-movement No. 1, with its adorable "like a jumping bean" finale, is deceptive. Most of these are resoundingly neo-classical works full of acerbic harmonies and typically busy counterpoint, with few overtly nationalistic elements. Of course they sound just like Villa-Lobos, who was himself something of a "nationalistic element" when you come right down to it. The series reaches its culmination in the large works composed around the time of the Second World War, Nos. 7-11, which really do constitute landmark 20th century contributions to the form on a par with those of Shostakovich and Bartók.
This 6-CD set of "Villa-Lobos par lui-même" ("Villa Lobos performed by himself") presents the complete recordings made for Pathé between 1954 and 1958 and conducted by, or (in the case of the occasional Bachianas Brasileiras or Chôros scored for piano or duet) made under the supervision of the composer. As many of his contemporaries who made Paris their second home (Enescu comes to mind), Villa-Lobos shared his life between his native Brazil and Paris. Thus it has an important historical value.
Here's an easy call: these are the finest recordings of these works currently available. In reviewing the individual releases, I had perhaps one small reservation concerning the disc containing Bachianas Brasileiras No. 4, but this evaporates in the face of the achievement as a whole. Both cycles, the Bachianas Brasileiras and the Choros, constitute two of the most original, colorful, and enjoyable collections of works by any 20th-century composer. They belong in every serious record collection, and they have never been so consistently well performed and recorded. At last, Villa-Lobos' compatriots have managed to do his quirky genius full justice. The excellent disc of solo guitar music makes a fine and thoughtful bonus, and at seven discs for the price of three, you'd have to be insane not to grab this set immediately.
A lot has been said about Anna Moffo's early vocal decline and mismanaged carreer but let's not forget what a lovely singer she was in her prime. This recital from the early 1970's let us hear "late Moffo" though she was not yet 40. There is a slight hoarseness and unsteadiness in the voice that was not present in earlier recordings but it is still by any means a beautiful instrument used with skill. This recital also reminds us what a verstatile artist she was - she sings arias from the italian bel canto and verismo repertoire, french lyric and also german operettas and she passes from one to the other with considerable naturalness, ease and charm..
LONDON, Dec. 18— The Soviet-born cellist Mstislav Rostropovich played in a benefit concert for Armenian earthquake victims Saturday night, after postponing a visit to India in order to participate in the event.
''It was very important for me to take part in this concert,'' the 61-year-old musician said before a last-minute rehearsal with the flutist James Galway, the conductor Andre Previn and other musicians who rearranged their schedules and donated time to perform….