Villa-Lobos

Bachianas brasileiras —No1: Preludio, Modinha; No 2: Aria, 0 Canto da nossa terra; No 3: Aria, Modinha"; No 4: Aria, Cantiga; No 5: Aria, Canrilena'; No 6: Aria, Chorok; No 7: Preludio, Ponteio; No 8: Aria,

Modinha; No 9: Preludio & Fuga 'Leila Guimaraès sop hNorton Morozowiczfl cNoël Devos In "Nelson Freire pf

Brazil Symphony Orchestra / Isaac Karabtchevsky Iris (D 3001 966(61' • DDD) From Iris 3001 843 (2/02) Sampler? Teaser? Highlights? None describes this collection of 'best bits'

Isaac Karabtchevsky's recordings of the nine Bachianiss (not complete as they excluded the piano and vocal originals of Nos 4 and 9, let alone alternative scorings and versions of Nos 5 and were recorded in 1987, reissued later as a three-disc set. The present excerpt of preludes and arias contains just one complete work, the Ninth in its string-orchestral guise. One could argue that the Aria (Cantilena) of No 5, for some reason placed first, out of numerical and chronological sequence, constitutes another as this was its original form, the additional Dança (Martelo) - not given here - only added in 1945.

It is hard to know quite what the point of the disc is, given the profusion of sets featuring the full versions of all nine suites. If intended as a taster for the full cycle, the disc scarcely merits full price; if as highlights or as some species of super-Bachiana then it sells Villa-Lobos and Karabtchevsky's nicely judged interpretations short, being ultimately musically unsatisfying. On its own terms the collection is not without charm and gives an indication of the accomplished and idiomatic playing of the Brazil SO, although later sets have surpassed them. The acoustical picture is variable, most notably for the movements from Nos 1 and 5 which are close, almost in-your-face, compared to those from Nos 7 and 8 which are more recessed. Those from Nos 2 and 3 are just right. Guy Rickards