In Volume V of ‘Concert Cameos’ Maestro Rosario Bourdon leads the Philharmonia Orchestra in infectiously rhythmic interpretations of a group of dances, marches and other rhythmic manifestations of daily life. The program consists of four waltzes (Invitation To The Dance, At The Inn, Castillane and A La Bien-Aimee), two marches (St. Cecile and Guard Mount), a modern interpretation of an old French dance, two rustic scenes of movement (Angelus depicting the peasants walking to church on a Sunday morning and Sunday Evening evoking their dancing later in the day) and a lullaby. There is drama in these rhythms of daily living and the composers, most of whom were writers for the dramatic stage, make the most of it. Massenet, composer of such operas as ‘Manon’ and ‘Thais’ is represented not only by excerpts from his descriptive ‘Alsacian Scenes’ and ‘Picturesque Scenes,’ but also by a portion of another of his most famous operas, ‘Le Cid.’ The writer of ‘St. Cecile,’ Hugh Schubert, composed musical scores for many of the Ziegfeld Follies. And the popular Guard Mount is taken from Georges Bizet’s masterpiece of musical drama ‘Carmen.’ Finally, the music of Carl Maria von Weber’s Invitation To The Dance is so inherently dramatic that it has been used for the ballet, ‘Spectre Of The Rose.’