alternatively
CD: MDT

This set and the Björling box - recently reviewed by me - in EMI’s Icon series offer a lot that is well-known – and deservedly so. Many of these recordings are among the best available. This is just as it should be for the wider musical public. Specialist collectors need to look further afield.
 
Many of these recordings I have known for ages. Beecham’s La bohème was one of my earliest complete sets. I also acquired a Faust highlights record. The first half of CD 4 has been a favourite of mine since the mid-1960s, originally under the LP title ‘A World of Song’. The zarzuela arias, Chants d’Auvergne and early operatic arias on CD 1 as well as many of the Spanish songs have also frequently been on my turntables or in my CD players in various disguises.
 
Longstanding familiarity with works of art also has a reverse side: one tends to take the interpretations for granted and overlook faults that fresh ears may detect. There is also another angle: perfectionism in a performance is not always a guarantee of the deepest experience from the listeners’ point of view. On the contrary certain idiosyncrasies can often heighten the enjoyment and technical blemishes are easy to overlook if the feeling and insight are right.
 
From this preamble readers may conclude that Victoria de los Angeles is not always free from defects. Up high she could at times be shrill. With advancing years the delivery was not always free from strain and occasionally her tone could become pinched when she tried to scale down and sing intimately. Against this the defence could line up evidence en masse to contradict the prosecution: the warmth, the feeling, the style, the nobility and – yes, also the humour and the frivolous charm – but paired with innocence and mildness. On the operatic stage she was no tigress. Though she was a natural choice for weak, vulnerable characters like Mimi and Butterfly she was also a superb scheming Rosina in Il barbiere di Siviglia and she also took on Carmen. I don’t know what she was like on stage in that role but hearing the generous excerpts from the Beecham recording (CD 3 tr. 9-13) she is no bloodless creature. There is however a certain aristocracy about her, and in that respect she has a deal in common with her compatriot Teresa Berganza.
 
For once the subheading of the box, ‘The Voice of an Angel’, is no mere hype. There are few other singers that so readily match that soubriquet. On the first disc, where the first nine titles come from a 1954 recital recorded in Rome, she is at her loveliest. Her Desdemona is so deeply felt. Porgi, amor from Le nozze di Figaro reminds us that she was a highly successful Mozart singer at the outset of her career and, even, a fine Wagnerian. There were hardly any other Wagner roles that were within her scope, but Elisabeth as well as Elsa are very convincingly interpreted. I am especially fond of her dreamy Elsa, a reading to set beside Régine Crespin’s recording, also on EMI, from the mid-1960s. In the Spanish items, from La vida breve and the two songs by Turina she is truly on home ground. These are among her very earliest recordings – from the late 1940s. The Vida breve arias were in fact her debut recording for EMI, the company for which she recorded exclusively during most of her career. Bachianas brasileiras No. 5 with the composer conducting is also a valuable inclusion.
 
On CD 2 there are excerpts from several of her complete opera recordings in Italian. Her Mimi is the loveliest anywhere, challenged – possibly – only by Mirella Freni. The third act of the Beecham recording is arguably the best of all; here we get only her touching aria Donde lieta usci, but on the aforementioned Björling set we get the full last fifteen minutes. It is always preferable to have the complete recordings but for those satisfied with the plums, this is more than acceptable. Her only two recording ventures into Verdi are also represented with a vulnerable Maria Boccanegra and three excerpts from La traviata – frailer than most – where she is ably partnered by Carlo del Monte in the Brindisi. Her contribution to Puccini’s Il trittico is also legendary and just weeks ago I praised her when the whole trio was issued in EMI’s GROC series (review). She recorded Il barbiere di Siviglia twice and is represented here with a riveting Una voce poco fa from the Glyndebourne-based stereo remake with Vittorio Gui conducting and Sesto Bruscantini an unforgettable Figaro. She also recorded Madama Butterfly twice. The first set, conducted by Gavazzeni and with an ardent Giuseppe Di Stefano as Pinkerton, was reviewed on MusicWeb International last year (2008). It is, to my mind, preferable to the later one, from which the excerpts here are culled. There are two reasons for that: Santini’s conducting is rather bland and Jussi Björling, for all his excellence, had a voice already marked by heart problems, which were to cut his life short less than a year after the recording was made. De los Angeles herself was also in marginally fresher voice on the earlier set – but this does not imply that her singing here is anything less than ravishing.
 
The French excerpts on CD 3 are, if possible, even more attractive. Her Manon with Monteux has been the benchmark version ever since it was released. The stereo remake of Faust with the same forces as on the five year older mono version also has claims to be the most recommendable – in spite of some discrepancies in the sound. Gedda is a supreme Faust - the only one to surpass him among vintage sets is his compatriot Björling on the live broadcast from the Met 1950 (now on Naxos, see review). The Werther excerpts, recorded ten years after Faust, reveal a slight deterioration in tone quality – the years hadn’t passed unnoticed. Such is her charm that one doesn’t mind. EMI’s Les Contes d’Hoffmann from the mid-1960s was, I believe, intended to be the recording that out-did all the competition. With Gedda in the title role and de los Angeles, Schwarzkopf and Callas as the three heroines, this might well have happened. But Callas dropped out and the rest of the cast didn’t quite live up to expectations. Still Victoria de los Angeles’ Antonia is stylish and sensitive. Almost half an hour from Beecham’s classic Carmen is included on this disc. Her less than animal approach contrasts with Maria Callas’ larger-than-life reading. De los Angeles offers an alluring interpretation – understated perhaps but human – and proves that there is more than one way of making Carmen come alive. Gedda is again superb and de los Angeles has tiger claws hidden behind the noble façade.
 
The popular songs on CD 4 are, as I have already implied, indelibly etched into my memory in these versions. Hearing them again was a true trip of nostalgia. Several of them are art songs, though with discreet orchestral backing to suit a wider audience. Listen, for example, to her phrasing of the old schlager La paloma. Has it ever been sung with such lovely inflexions?
 
I believe that one has to be more or less born into the zarzuela tradition. In recorded history only Spanish singers have really made their mark in this sometimes elusive repertoire. Conchita Supervia before the war and then de los Angeles, Berganza and Caballé are certainly the finest exponents. I love all three of them and can’t really prefer one above the others but de los Angeles certainly pulls a certain string in my nervous system. Of present day singers Ana Maria Sánchez is a worthy successor, more overtly dramatic.
 
Canteloube’s Chants d’Auvergne have been successfully recorded a number of times during the last fifty years or so. I have for many years now had a special liking for Frederica von Stade and feel a healthy respect towards Kiri Te Kanawa, maybe the most beautiful of all. I haven’t heard Véronique Gens, but her Naxos recordings of the songs have received almost unanimous praise. Being French she is also linguistically closer to the idiom. On the other hand the Auvergne dialects are at least as close to Spanish as to French – readers with a closer knowledge may like to contradict me. I have always felt that Victoria de los Angeles’s recordings – originally issued on two LPs – had a stamp of authenticity. The drawback with them is that they were made rather late in her career. The majority were set down as late as September 1974, when she was past fifty. Is there a sharper edge to her voice? It is hard to tell if it is the acoustic or the voice, but it is easy to be lenient with this when there is so much feeling, humour and sense of style – her hallmarks as always.
 
All of this is material that I am familiar with. On the last two discs there are things I haven’t come across before. CD 6, devoted to art songs, opens with a dozen French songs. She was always a masterly interpreter of that repertoire. La Flûte enchantée is enchanting and Georges Prêtre makes the most of the luminous and transparent orchestration. Duparc with orchestra is less common but the intimate atmosphere of L’invitation au voyage is retained even so. The Debussy and Fauré songs are precious miniatures. It is good to have two more Hahn songs – she sings his L’Enamourée in the popular programme on CD 4. The Schubert and Brahms songs are old friends from a Seraphim anthology of German Lieder, bought in the 1970s. Vergebliches Ständchen, lively and engaged, is especially communicative.
 
The duets with Dietrich Fischer-Dieskau are also little gems, sung with the utmost simplicity. Dvořák’s Möglichkeit has haunted me for days since I first played it. The concluding two songs are from the famous Royal Festival Hall concert that paid homage to Gerald Moore. The recording is more distant but fully acceptable and it’s a pity there wasn’t room for Rossini’s Cat Duet with Schwarzkopf.
 
On the final disc we get some highlights from her native Spanish repertoire – and not only the best known works. Manuel de Falla’s two colourful ballets are splendid openers with the introduction to El sombrero de tres picos dramatic and uplifting with chorus and rolling timpani and lovely singing in the excerpts from El amor brujo. I grew up with the roughly contemporaneous RCA recording with Leontyne Price, Fritz Reiner and the Chicago Symphony. De los Angeles lacks those raw, primitive chest-notes relished by Price but darkens the timbre in that direction in a more refined reading. Giulini draws playing from the Philharmonia Orchestra to challenge even the Chicago sound.
 
Victoria de los Angeles recorded Siete canciones populares españolas as early as 1951 with Gerald Moore at the piano (recently issued by Nimbus, see review). There is little to choose between that version and the one on this disc, recorded ten years later with Gonzalo Soriano. Among competing recordings Teresa Berganza’s is a favourite, but since she is accompanied by guitar it is not strictly a competitor, rather an alternative. Montsalvatge’s Cinco canciones negras was also recorded by Berganza, with piano accompaniment, while de los Angeles prefers the more colourful orchestral version. Both readings are highly attractive. The Canciones sefardies are enormously beautiful, sung with simple naturalness and the arrangements add further beauty, the flute blending exquisitely with the voice. In Lorca’s Canciones populares españolas her voice is at its creamiest. They are sung lightly and are rhythmically alive.
 
Of the remaining items the long aria from Goyescas is a masterpiece. Valverde’s Clavelitos! is full of joy. In Adiós, Granada she accompanies herself on the guitar in her own arrangement.
 
Seven discs well-filled with ‘The Voice of an Angel’ may seem a daunting prospect. However with beauty of tone, charming delivery and the singer’s communicative personality there isn’t a dull moment. There is anyway no need to play it through from beginning to end. This box is a treasure-trove to pick and choose from and as such it should last a lifetime.
 
Göran Forsling
 
Full Tracklist
CD 1 [76:04]
The Early Recordings
Giuseppe VERDI 1813–1901
 
1 Surta è la notte…Ernani! Ernani, involami (Ernani, Act I)
2 Era più calmo…Piangea cantando (Otello, Act IV)
 
3 Ave Maria (Otello, Act IV)
 
Gioachino ROSSINI 1792–1868
4 Nacqui all’affano…Non più mesta (La Cenerentola, Act II)
 
Pietro MASCAGNI 1863–1945 
5 Voi lo sapete, o mamma (Cavalleria rusticana)
 
Alfredo CATALANI 1854–1893
6 Ebben? ne andrò lontana (La Wally, Act I)
 
Wolfgang Amadeus MOZART 1756–1791
7 Porgi, amor (Le nozze di Figaro, Act II)
 
Richard WAGNER 1813–1883
8 Dich teure Halle (Tannhäuser, Act II)
9 Einsam in trüben Tagen (Lohengrin, Act I)
Gianella Borelli mezzo-soprano (2)
Orchestra del Teatro dell’Opera di Roma / Giuseppe Morelli
 
Manuel de FALLA 1876–1946 
La vida breve (Shaw)
10 Vivan los que rien! (Act I) 
11 Alli está! Riyendo (Act II)
Philharmonia Orchestra / Stanford Robinson
 
Joaquín TURINA 1882–1949
12 Saeta en formas de Salve (S. & J. Quintero)
13 Poema en forma de canciones (Campoamor) -
III. Cantares
Philharmonia Orchestra / Walter Susskind
 
Heitor VILLA-LOBOS 1887–1959
Bachianas brasileiras No.5
14 I: Aria (Cantilena) (1938) 
15 II: Dança (Martelo) (1945)
Orchestre National de la Radiodiffusion Française /
Heitor Villa-Lobos 
rec. August 1954 (1-9); March 1948 (10, 11); May 1949 (12, 13); June 1956 (14, 15)
 
CD 2 [75:58]
Great Italian Operas
Giacomo PUCCINI 1858–1924
La bohème (Illica & Giacosa)
 
1 Sì. Mi chiamano Mimì (Act I) 
2 O soave fanciulla (Act I)
3 Addio…D’onde lieta uscì (Act III)
Jussi Björling tenor · Robert Merrill baritone (2)
RCA Victor Orchestra / Sir Thomas Beecham
 
VERDI
4 Come in quest’ora bruna (Simon Boccanegra, Act I)
Orchestra del Teatro dell’Opera di Roma / Gabriele Santini
 
Ruggero LEONCAVALLO 1858-1919
5 Quel fiamma…Hui! Stridono lassù (Pagliacci)
RCA Victor Orchestra / Renato Cellini
 
PUCCINI 
6 Senza mamma (Suor Angelica)
Orchestra del Teatro dell Opera di Roma / Tullio Serafin
 
PUCCINI 
7 O mio babbino caro (Gianni Schicchi)
Orchestra del Teatro dell Opera di Roma / Gabriele Santini
 
ROSSINI
8 Una voce poco fa (Il barbiere di Siviglia, Act I)
Royal Philharmonic Orchestra / Vittorio Gui
 
VERDI
La traviata (Piave)
9 Libiamo (Brindisi) (Act I) 
10 È strano!…Ah, fors’è lui…Sempre libera (Act I)
11 Teneste la promessa…Addio del passato (Act III)
Carlo del Monte tenor (9 & 10)
Coro e Orchestra del Teatro dell’Opera di Roma / Tullio Serafin
 
PUCCINI
Madama Butterfly (Illica & Giacosa)
12 Quanto cielo!…Ancora un passo or via (Act I) 
13 Bimba dagli occhi (Act I) 
14 Un bel dì vedremo (Act II) 
15 Con onor muore (Act II)
Jussi Björling tenor (13 & 15) · Mario Sereni baritone (12)
Coro e Orchestra del Theatro dell’Opera di Roma /
Gabriele Santini
rec. March & April 1956 (1-3); September 1957 (4); January 1953 (5); June 1957 (6); July 1958 (7); September 1962 (8); June & October 1959 (9-11); September & October 1959 (12-15)
 
 
CD 3 [77:53]
Great French Operas
Jules MASSENET 1842-1912
Manon (Meilhac & Gille)
 
1 Allons !...Adieu, notre petite table (Act II) (O’Reilly) 
2 Je marche sur tous les chemins…Obéissons (Act III) (O’Reilly)
Chœurs et Orchestre du Théâtre National de l’Opéra-Comique
Pierre Monteux
 
Charles GOUNOD 1818-1893
Faust (Barbier & Carré)
3 Un bouquet !…Ô Dieu ! que de bijoux !...Ah ! je ris (Act III) 
4 Il se fait tard !... Ô nuit d’amour (Act III) 
5 Ah ! c’est la voix du bien-aimé !...Anges pur (Act V)
Nicolai Gedda tenor (4 & 5) · Boris Christoff bass (4 & 5)
Orchestre du Théâtre National de l’Opéra / André Cluytens
 
MASSENET
Werther (Blau, Milliet & Hartmann) 
6 Werther ! Werther ! …Ces letters (Act III) 
7 Va ! laisse couler mes larmes !...Les larmes qu’on ne pleure pas (Act III)
Orchestre de Paris / Georges Prêtre
 
Jacques OFFENBACH 1819-1880
8 Elle a fui, la tourterelle (Les Contes d’Hoffmann, Act IV)
Orchestre de la Société des Concerts du Conservatoire /
André Cluytens
 
Georges BIZET 1838-1875
Carmen (Meilhac & Halévy) 
9 Quand je vous aimerai ?...L’amour est un oiseau rebelle (Habanera) (Act I) 
10 Près des ramparts de Séville (Seguédille) (Act I) 
11 Les tringles des sistres tintaient (Chanson bohème) (Act II) 
12 Voyons, que j’essaie à mon tour (Act III) 
13 C’est toi ! C’est moi ! (Act IV)
Nicolai Gedda tenor (10 & 13) ·
Denise Monteil soprano (11 & 12)
Marcelle Croisier & Monique Linval mezzo-sopranos
(11 & 12)
Matrise, Chœurs et Orchestre National da la Radiodiffusion Française
Sir Thomas Beecham 
rec. May-June 1955 (1, 2); September & October 1958 (3-5); September 1968 & June 1969 (6, 7); September, October & December 1964 & February 1965 (8); June 1958 & September & October 1959 (9-13)
 
CD 4 [79:48]
Popular Songs & Zarzuela Arias
Felix MENDELSSOHN 1809–1847
1 Auf Flügeln des Gesanges Op.34, No.2 (Heine)
 
Edvard GRIEG 1843–1897
2 Ich liebe dich Op.5 No.3 (Andersen trnsl. Holstein)
 
Johannes BRAHMS 1833–1897
3 Wiegenlied Op.49 No.4 (Scherer)
 
Antonín DVOŘÁK 1841–1904
4 Als die alte Mutter Op.55 No.4 (Heyduk)
 
Jean-Paul MARTINI 1741–1816
5 Plaisir d’amour (Florian)
 
Reynaldo HAHN 1875–1947
6 L’Enamourée (de Banville)
 
Léo DELIBES 1836–1891
7 Les filles de Cadix (de Musset)
 
Traditional arr. STANFORD 1852–1924
8 An Irish Lullaby (Graves)
 
Geni SADERO 1886–1961 
9 Era la vo (Sicilian lullaby)
 
Sebastián IRADIER 1809–1865
10 La paloma
 
Jayme OVALLE 1894–1955
11 Azulão (Bandeira)
 
Pablo LUNA 1880–1942
12 De España vengo (El niño judío)
 
Ruperto CHAPÍ 1851–1909
13 Carceleras (Las hijas del Zebedeo)
Sinfonia of London / Rafael Frühbeck de Burgos
 
Jerónimo GIMÉNEZ 1854–1923
La tempranica
14 Zapateado 
15 Canción de la tempranica
 
CHAPÍ
16 Canción de Pastora (La patria chica) 
17 Canción de la gitana (La chavala)
 
Federico CHUECA 1846–1908 ·
Joaquín VALVERDE 1846–1910
La gran vía 
18 Tango de la menegilda 
19 Chotís del eliseo madrilène
 
José SERRANO 1873–1941
20 Romanza de Gloria (Los de Aragón) 
21 Canción de la gitana (La alegría del batallón)
22 Escena lírica (Los claveles)
 
Vicente LLEÓ 1870–1922
23 Couplets babilónicos (La corte del Faraón)
 
Fernández CABALLERO 1835–1906 
24 Romanza de Pilar (Gigantes y cabezudos)
 
Francisco BARBIERI 1823–1894
25 Canción de Paloma (El barberillo de Lavapiés)
Coro de Cámara del Real (15 & 19)
Profesores de la Orquesta Nacional de España
Rafael Frühbeck de Burgos 
rec. April 1964 (1-13); July & September 1967 (14-25)
 
CD 5 [70:33]
Chants d’Auvergne (arr.Joseph CANTELOUBE 1879–1957)
 
1 La Pastoura als camps (Series I, No.1)
2 Baïléro (I/2)
Trois Bourrées (I/3)
3 1. L’aïo dè rotso
4 2. Ound’ onorèn gorda
5 3. Obal, din lou Limouzi
6 L’Antouèno (II/2)
7 La Pastrouletta è lou Chibalié (II/3)
8 La Délaïssádp (II/4)
9 Lo Calhé (Bourrée)
10 Lo Fiolairé (III/1)
11 Passo pel prat (Grande) (III/2)
12 Lou Boussu (III/3)
13 Brezairola (III/4)
14 Malurous qu’o uno fenno (Bourrée) (III/5)
15 Oï, ayaï (IV/2)
16 Pour l’enfant (IV/3)
17 Chut, chut (IV/4)
18 Pastorale (IV/5)
19 Lou Coucut (IV/6)
20 Obal, din lo coumbèle (V/1)
21 Là-haut, sur le rocher (V/3) 
22 Hé! beyla-z-y dau fé (Bourrée) (V/4)
23 Tè, l’co, tè! (V/6)
24 Uno jionto postouro (Regret) (V/7)
Orchestre des Concerts Lamoureux / Jean-Pierre Jacquillat 
rec. February 1969 & September 1974
 
CD 6 [74:32]
Art Songs and Lieder
Maurice RAVEL 1875–1937
1 La Flûte enchantée (Shéhérazade)
 
Henri DUPARC 1848–1933
2 L’Invitation au voyage
Orchestre de la Société des Concerts du Conservatoire /
Georges Prêtre
 
Claude DEBUSSY 1862–1918
Fêtes galantes (1er recueil)
3 En sourdine 
4 Fantoches
5 Clair de lune
 
HAHN
6 Trois jours de vendange 
7 Le Rossignol des lilas
 
Gabriel FAURÉ 1845–1924
8 Tristesse, Op.6, No.2 
9 Au bord de l’eau Op.8, No.1
10 Les Roses d’Ispahan Op.39, No.4 
11 Toujours (No.2 de Trois Poèmes d’un jour Op.21)
Gonzalo Soriano piano
 
Alessandro SCARLATTI 1660–1725 
12 Le violette
 
George Frideric HANDEL 1685–1759
13 O! had I Jubal’s lyre (Joshua)
 
Franz SCHUBERT 1797–1828 
14 Der Tod und das Mädchen D531
15 Wohin? (No.2 from Die schöne Müllerin, D795)
16 An die Musik D547
 
BRAHMS
17 Dein blaues Auge Op.59, No.8
18 Vergebliches Ständchen Op.84, No.4
Gerald Moore piano
 
Henry PURCELL 1659–1695 
19 Let us wander (arr. Moffat) 
20 Lost is my quiet (arr. Moffat)
 
Joseph HAYDN 1732–1809
21 Schlaf in deiner engen Kammer
 
Johann Christian BACH 1735–1782 
22 Ah! lamenta, oh bella Irene
 
Ludwig van BEETHOVEN 1770–1827
Irish Songs 
23 Oh! would I were but that sweet linnet WoO154, No.9 
24 He promised me at parting WoO154, No.12
25 They bid me slight my Dermot dear WoO152, No.18
 
DVOŘÁK
26 Möglichkeit Op.38, No.1 
27 Der Apfel Op.38, No.2
 
Pyotr Ilyich TCHAIKOVSKY 1840–1893
28 Schottische Ballade Op.46, No.2
Dietrich-Fischer Dieskau baritone
Eduard Drolc violin (21, 23 & 25) ·
Irmgard Poppen cello (21, 23 & 25)
Gerald Moore piano
 
BRAHMS
29 Sapphische Ode Op.94, No.4
 
MOZART
30 La Partenza K436
Elisabeth Schwarzkopf soprano (30) ·
Dietrich Fischer Dieskau baritone (30)
Gerald Moore piano
rec. February 1962 (1, 2); January 1966 (3-11); September 1960 (12-18); December 1960 (19-28); February 1968 (29, 30)
 
CD 7 [78:39]
Songs of Spain
FALLA
1 El sombrero de tres picos – Introduction
Philharmonia Orchestra with Chorus /
Rafael Frühbeck de Burgos
 
El amor brujo
2 Canción del amor dolido
3 Canción del fuego fatuo
4 Danza del juego de amor
5 Final: Las campanas del amanecer
Philharmonia Orchestra / Carlo Maria Giulini
 
Siete canciones populares españolas
6 El paño moruno
7 Seguidilla murciana
8 Asturiana
9 Jota
10 Nana
11 Canción
12 Polo
Gonzalo Soriano piano
 
Xavier MONTSALVATGE 1912–2002
Cinco canciones negras (1946)
13 Cuba dentro de un piano (Alberti) 
14 Chévre (Guillén) 
15 Punto de habanera (Lujan)
16 Canción de cuna para dormer a un negrito (Valdes) 
17 Canto negro (Guillén)
Orchestre de la Société des Concerts du Conservatoire
Rafael Frühbeck de Burgos
 
Canciones Sefardíes arr. Manuel VALLS 1920–1984 
18 La rosa enflorece
19 Ven querida
20 Adió, querida 
21 Durme, durme, hermozo hijico
22 Paxaro d’hermosura
23 Avrix, mi galanica
24 Irme quiero, la mi madre
25 Ya viene el cativo
26 Yo m’enamori d’un aire
27 Una matica de ruda
Jean-Claude Gérard flute · Oscar Ghiglia guitar
 
Canciones populares españolas arr. Federico Garcia LORCA 1899–1936 
28 Anda, jaleo
29 Los cuatro muleros
30 Las tres hojas
31 Los mozos de Monleón
32 Las morillas de Jaén
33 Sevillanas del siglo XVIII
Miguel Zanetti piano
 
Eduardo TOLDRÁ 1895–1962
34 Cançó de grumet (A l’ombra del Leidoner)
Gonzalo Soriano piano
 
Enrique GRANADOS 1867–1916
Colección de tonadillas, escritas en estilo antiguo (Periquet)
35 2 Callejeo 
36 7 El tra la la y el punteado
 
Jesús GURIDI 1886–1961
37 Jota (Seis canciones castellanas, No.5)
Gerald Moore piano
 
GRANADOS
38 La maja y el ruiseñor (Goyescas)
New Philharmonia Orchestra / Rafael Frühbeck de Burgos
 
VALVERDE 
39 Clavelitos! (Cadenas)
 
Joaquín NIN 1879–1949 
40 Granadina (Cantos populares españolas, No.7)
Gerald Moore piano
 
Tomás BARRERA 1870–1938 ·
Rafael CALLEJA 1874–1938 
41 Adiós, Granada (Cases) (arr. Victoria de los Angeles)
Victoria de los Angeles guitar
 
GRANADOS
Canciones amatorias (Traditional) 
42 Iban al pinar
43 Gracia mía
Alicia de Larrocha piano
rec. October & December 1963 & April 1964 (1); October 1961 & April 1964 (2-5); December 1961 & January 1962 (6-12); February 1962 (13-17); February 1969 (18-27); May 1970 (28-33); December 1961 & January 1962 (34); September 1960 (35-37, 39-41); April 1969 (38); November 1971 (42, 43)

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