Born in Buenos Aires in 1916, Alberto Ginastera lived to become unquestionably the most significant figure in Argentine music in the 20th century. This CD combines Ginastera's deep interest in the authentic folk music of his country alongside the more radical compositional techniques which gave his music such individual personality. Commissioned in 1941 for Lincoln Kirstein's Ballet Caravan, the 1943 Suite made from Estancia became the piece that launched Ginastera's international fame - the spectacular Danza Final is perhaps Ginastera's most celebrated essay in the style of the Malambo - an exhilarating explosion of kinetic energy. Also in 1943, Ginastera composed his Overture to the Creole Faust, and it is, in a way an appendix to the Estancia dances, since it again deals with the life of the gauchos. Ollantay is nearly a symphony. Composed in 1947 for Erich Kleiber, the three movement work takes its inspiration from a poem from the early Incan period. Pampeana No. 3 is even closer to the symphony that Ginastera never wrote. Pampeana No. 3, like Ollantay, is also in three movements. The title recalls rhythms and melodies of the Argentine pampas, and the second movement contains one of the most extraordinary rhythmic tours-de-force in all of Ginastera's output. The Odense Symphony Orchestra continues their new series on Bridge with this outstanding recording. Bridge discs which also feature the Odense Symphony Orchestra include: Bridge 9129 (Villa-Lobos Symphonic Music), Bridge 9122 (Poul Ruders Edition, Vol. 3) and Bridge 9100 (Nielsen Violin Concerto).

GINASTERA Glosses on Themes of Pablo Casals: op. 46 for string quintet and string orchestra; 1 op. 48 for orchestra 1. Variaciones concertantes 2 • Gisêle Ben-Dor, cond; 1 London SO; 2 Israel CO • NAXOS 8.572249 (58:46)


Naxos is doing well by Ginastera. The label has recorded much of his chamber music, including the complete string quartets, and reissued two significant recordings of his orchestral music. This is the second of those reissues, recorded in 1995 and originally available on the Koch label.


The main point of interest in this program is the inclusion of both versions of the late masterwork Glosses on Themes of Pablo Casals. The version for strings came first, written to celebrate the centenary of the beloved Catalan cellist in 1975. (Ginastera’s cellist wife, Aurora, had been one of Casals’ disciples.) Two years later Rostropovich, then at the helm of the National Symphony Orchestra of Washington, D.C., asked the composer for a new work and the result was the second version, fully scored and considerably re-thought in orchestral terms, so much so that it warranted a different opus number.


The work is more of an imaginative deconstruction and decoration of themes than a straightforward set of variations, hence the title “glosses.” Several pieces by Casals are quoted: in the first movement, a solemn chorale from his Prayer to the Virgin of Montserrat , an ardent love song in the second movement, and in the penultimate fourth movement the cellist’s well-known encore piece Song of the Birds . In this work, Ginastera’s musical interests come together: his distant Catalan roots and (in the concluding sardana ) Argentinean dance rhythms, along with the textural intricacies of his late orchestral style, bracingly avant-garde at the time.


While the orchestral version is a true showpiece with many fascinating and effective moments—I love the Gabrieli-style brass scoring of the chorale theme in the first movement—the string version has greater strength and unity. The work’s free-form structure feels less piecemeal when held together by string timbres. I know of a couple of fine recordings of the full orchestral version postdating this one, but none of the string version. It is an asset to be able to compare both on one disc, and a salutary reminder of the composer’s fastidious ear for texture. The London Symphony plays beautifully for Gisêle Ben-Dor, a specialist in Latin American music.


In between the two Glosses comes a set of genuine variations, the Variaciones Concertantes for chamber orchestra of 1953. The original theme is built on a chord of rising fourths, equating to the open strings of a guitar. A string ensemble provides the backdrop to a series of variations featuring one or two wind soloists per variation. All the forces come together in the final movement, which employs a favorite stamping dance rhythm of the composer, the malambo . A popular and oft-recorded work, it receives a fine performance from the Israel Chamber Orchestra.


This has always been one of the most satisfying discs in the Ginastera catalog. If you missed it the first time around, you now have a bargain opportunity to remedy that error.


FANFARE: Phillip Scott


"Alberto Ginastera’s Variaciones Concertantes are a series of variations scored primarily for very small groups of instruments, with the full orchestra only entering for a brilliant malambo folk-dance finale. As a result the piece sounds like a richly varied chamber epic, and the different textures and colours never grow old. I found the Variaciones very easy to enjoy, and you will too: the lovely thematic material is presented first by the solo cello and harp, then in a sequence of delectable solos for flute, clarinet, viola and horn with spare orchestral accompaniment, plus a surprising appearance by the double bass. This colorful but exceedingly simple orchestration demands a clear, intimate sound picture and superb first-chair playing, both of which are manifest here. The various soloists of the Israel Chamber Orchestra are not intimidated by the spotlight, and Uruguayan-born conductor Gisele Ben-Dor keeps the music flowing well. This is a work which adventurous (and virtuosic) ensembles ought to consider programming into their concerts, and the present performance has me quite excited for a live performance of the Variaciones scheduled for my hometown next spring.

There are three recordings of the Variaciones Concertantes readily available. This Naxos release is in fact a reissue of an old Koch recording; another, featuring the Richmond Sinfonia from Virginia, is available in America on the Elan label. The Richmond group certainly plays well, but its sound is not as idiomatic, lacking a certain Latin-ness; moreover, a few of the solos (particularly the cello’s) are less than appealing. I have not heard the third recording, featuring the Europa Symphony on Arte Nova, but cannot see how it would preclude a recommendation for this excellent, and very modestly priced, reissue.

The rest of the music on this album is not as immediately appealing, but makes for interesting close listening. The program begins with the orchestral version of the Glosses sobre temes de Pau Casals and, after the Variaciones, concludes with the original instrumentation of those Glosses, for string quintet and string orchestra. The full version is genuinely creepy music, often sounding as if it arrived from another planet. There are ruggedly atonal sections here, whirlwinds of fierce and bizarre orchestral colors, and snatches of the lyrical tunes Pau (better known as Pablo) Casals originally wrote. The opening moments are the first and almost the last passages of lyrical repose; the “Sardane” is particularly hair-raising. The final movement, marked “Conclusio delirant,” is a wild ride, but rather fun. This orchestral version was, interestingly, premiered in 1978 under the baton of Mstislav Rostropovich.

Originally, however, these Glosses were scored for string quintet and string orchestra. If you are not one for repeat listening to the same work, rest assured that these two renditions make for rewarding comparison. They sound like two different pieces (and were published under two different opus numbers.) If anything, the original, pared-down version is even more engaging, with the soloists presenting the Casals material while the orchestra buzzes about them like a swarm of wasps. Even in the delirious final movement, I never really missed the greater color and variety of the full orchestra.

In sum, the repetition in this program will be cause for hesitation for some buyers, who might be intrigued by the more substantial coupling on the Elan disc (a phenomenal performance by Santiago Rodriguez of Castelnuovo-Tedesco’s First Piano Concerto). Even so, I did enjoy playing this album straight through. The Variaciones Concertantes are an immense pleasure; consider the Glosses a welcome bonus."

-- Brian Reinhart, MusicWeb International

This generously filled set is a splendid achievement by both Naxos and Viani.

Ginastera wrote works for piano throughout his entire composing life. However, a good deal of it was composed during his early nationalistic period and is replete with folksong and folk-inflection. His early piano works show the young composer grappling with various influences including Debussy, Ravel and Bartók, although the latter’s influence will play a much more important part in the mature works. So, most of the early works speak for themselves and do not call for much comment, the more so that they are fairly well-known through various earlier recordings including those made several years ago by Barbara Nissman on Newport Classic. Nevertheless, this complete recording of Ginastera’s piano output includes a few works that have never appeared before, although they do not add that much to his reputation. These are quite enjoyable and certainly well worth having. Although I was aware of the existence of a set titled Piezas infantiles composed in 1934 but apparently withdrawn by the composer, I was totally unaware of a second set seemingly composed in 1942. These delightful short suites, as well as the unfinished Danzas argentinas para los niños, do not pale when compared to some other, better-known pieces such as the early Danzas argentinas Op.2, the Suite de danzas criollas Op.15 and the Rondo sobre temas infantiles argentinas Op.19; and all these straightforward and simple pieces are as satisfying to play as to listen to: the mark of a true master. Of the other early works, mention may be made of Malambo Op.7 (1940) and Pequeña danza (1955), both from the ballet Estancia Op.8, and of Milonga Op.3 No.1, actually based on the song Canción para él árbol del olvido. The 12 Preludios americanos Op.12 (1944) are the summing-up of Ginastera’s so-called first period. Some of them are short tributes to friends (Aaron Copland and Villa-Lobos); others take the form of etudes. The set as a whole clearly shows how far Ginastera has progressed over the years since his first Argentine pieces.

After 1945 Ginastera reached his maturity and, although his music was still imbued with folk elements, these were now considerably more subtle and more integrated into the composer’s thinking in a way comparable to Bartók’s so-called ‘imaginary folklore’. This is the case of his three piano sonatas (1952, 1981 and 1983). Both the Piano Sonata No.1 Op.22 and the Piano Sonata No.2 Op.53 written thirty years later are amongst Ginastera’s masterpieces. In these powerfully eloquent works the folk elements are sublimated and serve as rhythmic and formal patterns on which Ginastera developed tightly knit harmonic and formal structures. The outer movements are often quite lively and full of vital energy, whereas the slow movements undoubtedly hint at Bartók’s ‘night music’ movements, albeit with Ginastera’s entirely personal accent. The Piano Sonata No.3 Op.55 is Ginastera’s last completed work. It was composed for and dedicated to Barbara Nissman. It is a short, compact piece in toccata style of great verve, all over in the space of five minutes.

This complete recording of Ginastera’s piano music also offers the composer’s works for organ. These are very rarely heard, let alone recorded; and this adds considerable extra value to this most welcome set. Toccata, Villancico y Fuga Op.18 was completed in 1947. In this work, the models are no longer to be found in folk music, but rather in the Baroque, although Ginastera firmly puts his own personal imprint on the music. The central Villancico (a Christmas carol) is particularly beautiful. Much later, in 1980, Ginastera composed his substantial Variazioni e Toccata sopra “Aurora lucis rutilat” Op.52. Compared to the earlier work, this is a truly virtuosic work bearing all the fingerprints of mature Ginastera. It is a demanding, but strongly gripping piece of music that compares most favourably with some of Messiaen’s organ works. I am in no doubt about it: it is one of his great masterpieces but complex and demanding, which is why it is not likely to be heard very often. I hope though that this fine performance will fire the imagination of other organists.

This generously filled set is a splendid achievement by both Naxos and Viani. Here we have the complete keyboard output by one of the 20th century’s greatest composers. As such it also provides a comprehensive survey of Ginastera’s stylistic evolution over the years, from short folk-inflected pieces to substantial mature works such as the three piano sonatas and the magnificent Variazioni e Toccata Op.52.

Hubert Culot, ClassicsToday.com

Alberto Ginastera was one of the most admired and respected musical voices of the twentieth century, who successfully fused the strong traditional influences of his national heritage with experimental, contemporary, and classical techniques. The two Cello Concertos are among his most innovative, brilliant and technically formidable compositions. The First Concerto, the definitive version of which was premièred by Ginastera’s second wife Aurora Nátola in 1978, is notable for the provocative singing lines, Latin dance rhythms and virtuosity of its solo part, and the intense colours and abundant percussion of the orchestral accompaniment. The Second Concerto, composed as a 10th wedding anniversary tribute ‘To my dear Aurora’, makes more prominent use of Argentine folk elements. It includes a brilliant depiction of the rising sun, percussion instruments portraying sounds of the jungle, and a celebratory rustic finale.

GINASTERA Pampeana No. 2. 5 canciones populares argentinas (arr. Kosower). Puneña No. 2, “Homage à Paul Sacher.” Cello Sonata • Mark Kosower (vc); Jee-Won Oh (pn) • NAXOS 8.570569 (52:10)


Ginastera was one of those composers who, in continually evolving and experimenting, could not easily be pinned down stylistically. His famous Harp Concerto, written for Osian Ellis, is as different from his stark, atonal opera Bomarzo (still one of the neglected masterpieces of the 20th century) as night is from day. Yet despite his evolution, he did break his music into three styles: objective nationalism, subjective nationalism, and neo-Expressionism. Cellist Mark Kosower presents all three styles here by transcribing the Cinco canciones populares (“Five Popular Songs”), music of objective nationalism, from their original voice setting to the cello. The CD, however, starts with a subjective work, the Pampeana No. 2 , in which folk music is never actually quoted but suggested in his original themes. Compressing four sections into one continuous piece lasting only nine minutes, Ginastera tried to capture the alternating feelings of ebullience, awe, and melancholy that crossing the pampas evoked in him. It is a marvelous piece, played with tremendous élan by Kosower and Oh.


I found this transcription of the five popular Argentine songs to be effective but not entirely convincing as cello music. It’s the sort of piece that I’m sure I would enjoy in a live concert setting, but listening on record, I found myself becoming restless. Some of this, however, stems from Oh’s piano accompaniment, which I found carefully crafted but emotionally cold. Kosower plays with warmth of tone and generous spirit, but these are still songs. I want to hear a voice, I want to hear words. Falla’s Popular Spanish Songs works for the violin; these do not translate quite as well, at least not for me.


Ginatsera’s neo-Expressionist period, his last and longest (1958–1983), is the one that includes both the unaccompanied Puneña No. 2 and the Cello Sonata. The first work is intended to capture the feelings of the mysterious world of the Inca Empire, and is divided into two movements, a melancholy love song (“Harawi”) and a wild carnival dance (“Wayno karnavalito”). I personally found Kosower’s performance of the first movement to be lacking in atmosphere. Whether this is due to the actual music or merely his interpretation of it is difficult to determine. In the second movement, Kosower has great energy for the Argentinean rhythms, and the highly imaginative writing (including octave glisses into the stratosphere and rapid finger triplets) brings out some wonderful effects on the cello. This was, for me, one of the highlights of the entire recital, and I was sorry when it was over.


The Cello Sonata is a real masterpiece in every respect. From its opening jagged rhythms to the sizzling finale, this is a work that constantly entertains as it challenges the listener. Despite an almost constant use of bitonality and tone clusters, there is an almost modal feeling to the first movement—at least, until the music melts down into the collegamento section. The music still hovers around tone clusters, but its range is tightly circumscribed. The second movement, an Adagio passionato, is extremely odd. To begin with, the music moves at a snail’s pace, more of a Lento than an Adagio. For another, there is no forward propulsion at all. In a way, this sounds like subconscious music, very close to the effects created by “automatic composers.” Every phrase sounds as if it were being improvised into being—at least, until the piano begins a more energetic rumbling, followed later on by dramatic singing, flourishes, and suspenseful silences in the cadenza. The third movement, Presto mormoroso, is a murmuring piece that begins with a note here and there, the instruments alternating as if in dialogue. Both instruments climb into the upper registers as piano flourishes suspend time at the movement’s midpoint. The change in pitch begins the musical inversion; at the cello’s reentry, the two instruments play in retrograde back to the beginning, disappearing into nothingness. The final movement is an uninhibited romp, starting in marcato clusters before moving into wild passages combining sonata form with a toccata and complex interplay between the two instruments. As Kosower puts it in the liner notes, “The explosive nature of the music is fueled by syncopated dance rhythms including the Karnavalito, obsessive running sixteenth notes, sudden shifts in material, and a boldness of character.”


Overall, the performance of the Sonata is quite good; even pianist Oh plays with more boldness than on the other pieces. It is certainly finer than the poorly recorded version by Carter Brey and Christopher O’Riley (Helicon) and, in the recording by the Sonata’s dedicatee, Aurora Natola (Pierian), her superb work is undercut by the rhythmically driving but lead-footed playing of pianist Barbara Nissman. I feel that the other performances could be improved on somewhat, but this is still an interesting disc and a good place to start in these works.

FANFARE: Lynn René Bayley

For Omar Massa, it is important to break new ground to bring the music of Buenos Aires into the 21st century. This task requires him to be creative and searching, without forgetting his roots and the past. This is his passion: to write contemporary tango. In Argentina, tango embodies the so-called "way of life" and apart from the fact that it is not as popular today as it was in the days of his grandparents or in the "Golden Age", many people still gather in the nights of Buenos Aires to surrender to the music, the dance and the poetry of tango. For Omar Mass, the tango is still a hidden treasure of the nights of Buenos Aires. To deal with its mystery, its mysticism, is a very wonderful ritual for him. Together with Markus Däunert and Kim Barbier, Massa presents music that is almost congenial for exploring and exploring extreme ranges of sound possibilities. The classical musicians Däunert and Barbier discover new sides of themselves through the Argentine tango.

---------------------------------------

REVIEWS:

The Massa Trio plays their own pieces as well as those of Piazzolla with gripping intensity, with glowing colors and passionate rhythms. Consequently, I rank this outstandingly recorded SACD as one of the most exciting and immersive tango recordings in my collection.

© 2022 Pizzicato

-------------------

Lovers of Latin American music will find some interesting things to discover in this release.

The extensive liner notes give full details of each of the works. So, there is no need for me to elaborate on that. Listeners should nonetheless be aware that not all is easy on the ears. Although Massa, in his personal note believes that “Tango is a form of meditation”, some of his dances may arouse powerful emotion. But that is all part of the discovery trip, though I take it that for insiders Piazzolla and Ginastera are familiar ground.

All of it was captured by Manfred Schumacher in Ars Produktion’s notably fine resolution in full (!) surround. Why not try it out?

© 2022 HRAudio.net

GINASTERA String Quartets: No. 1; No. 2; No. 3 1 • Ens? Qrt; Lucy Shelton (sop) 1 • NAXOS 8.570780 (73:31 Text and Translation)


More than most, Ginastera’s compositional output may be divided into three stylistic periods. His early works, using an impressionist language, were nationalistic in influence and drew heavily on Argentine dance rhythms. During his middle period, he expanded the scope of his tonality while remaining attached to his Hispanic roots, and in his late works he turned to contemporary avant-garde idioms. In my view, his best work comes from the middle period: the brilliant Harp Concerto and the succinct Variaciones concertantes. He was more individual than in his early impressionistic mode, and paradoxically more individual than he was to become after he adopted the standard stylistic traits of the 1960s and 1970s. His first two string quartets date from the beginning and end of that middle period.


Ginastera’s quartets demand a high level of virtuosity from the performers. Extreme dynamics, high harmonics, and syncopated rhythms requiring tight ensemble appear throughout. The First Quartet of 1948 is notable for its light-footed Scherzo ( vivacissimo ), its atmospheric slow movement ( calmo e poetico ), and a vigorous, stamping finale ( allegramente rustico ).


A similar wispy Scherzo movement occurs in the Second Quartet (1958, rev. 1968), but there it is deconstructed. In five movements, the Second Quartet contains an “extra” movement built from a series of cadenzas from each of the instruments ( libero e rapsodico ), before plunging into its own modernized version of a dance-inflected finale. The first movement presents a 12-tone theme, the first use of that technique in the composer’s work.


By the time of the Third Quartet, Ginastera had left his previous formal procedures behind. He introduced a soprano soloist, as did Schoenberg in his Second Quartet—a precedent of which the status-conscious Argentine composer was well aware. He set texts by Jiménez, Lorca, and Alberti, illuminating the soprano’s vocalizing and occasional spoken declamation with a series of ingenious string effects. The imagery and atmosphere of the poems dictate the musical form, so the task for the musicians is to reproduce specific moods, on top of the considerable technical challenges.


Previous recordings of all three quartets exist, though only one currently available brings them together on a single CD: the Cuarteto Latinoamericano (on Élan). I have not heard that disc, but I have the Latinoamericano recording of Quartet No. 1 in a mixed program from the same label (which may or may not be the same performance): they bring genuine excitement and tight ensemble to the piece, but are equally matched by the Ens? on this new release.


The original performers of the Third Quartet, Benita Valente and the Juilliard Quartet, recorded the work for the Bridge label in an interesting mixed recital that is well worth hearing for the couplings by Harbison and Wernick. Valente sings with great control and understanding, but the recording was made some 27 years after the event, by which time her voice had lost much of its bloom.


On the new disc, Lucy Shelton is a revelation: she brings pure tone and a wide range of vocal color to her interpretation. (Valente is more convincing in the relatively few spoken passages.) The U.S.-based Ens? Quartet plays with warmth and unanimity, meeting all the technical and interpretive hurdles with apparent ease. Naxos’s sound is excellent, the timing is generous, and a translation of the poetry is provided, making this CD the version of choice, regardless of price.


FANFARE: Phillip Scott

Throughout his musical career, Argentinean composer Alberto Ginastera artfully incorporated the folk music and dance forms of his native land into increasingly modernist creations. From the populist to the avant-garde, his work was created using an architectural approach that effectively set his music apart. Ginastera: One Hundred is released in celebration of the centennial anniversary of Ginastera’s birth. The work serves as a musical ‘thank you’ from world-renowned harpist Yolanda Kondonassis, whose career has been heavily influenced by Ginastera. She has performed his Harp Concerto nearly 200 times. Alongside the Harp Concerto is Danzas Argentinas, with its themes that evoke Argentinean history and culture juxtaposed with modernist structures. This is the work which catapulted Ginastera into fame in his home country. Finally, Pampeana No. 1 shows influences from Aaron Copland, with whom Ginastera studied, and Sonata for Guitar, which is the composer’s only work for Argentina’s national instrument.

Ginastera: Piano Concertos Nos. 1 & 2

For the five works on this disc, Ginastera drew upon Argentine and other Meso- and South American subjects. Evocative of native influences, the life of the gaucho on the pampas, and influenced by the music of his time, they span the composer’s entire creative life, from his first acknowledged work, the ballet score Panambí, and the Inca-inspired Ollantay, to the Mayan mythological compendium Popol Vuh, which occupied him for about eight years and remained unfinished. These exciting, richly orchestrated works abound in the beauty and energy of dance.

Ginastera's two early ballets continue to sustain his reputation among music lovers, even though he wrote quite a bit of worthwhile music in a variety of styles (including one of the most exciting and appealing dodecaphonic piano concertos ever). The two suites, which include less than half of each ballet, omit a great deal of colorful, attractive music. Gisèle Ben-Dor originally recorded this disc for Conifer, magnificently both in terms of playing and sound, so it's wonderful that Naxos has rescued these performances from oblivion. Even if you were only interested in the music from the two suites, this would be the preferred version to have (just listen to Estancia's final Malambo, and you'll be sold), so you might as well have it all. In any event, there is no competition for the complete works, and at the price this is a steal. If you missed this release the first time around, you have no excuse now. [12/5/2006]--David Hurwitz, ClassicsToday.com

Crossroads where people meet. Crossroads at which composers were compelled to leave their personal, family, and linguistic homes. In the second half of the last century, these musicians experienced flight, expulsion, and exile, and fortunately found their “home” in their music and in their artistic environment. The works for violoncello recorded here describe a journey through various worlds, at the end of which one is probably certain to have arrived at home again – but enriched by insights into the interstices in which different musical cultures suddenly grow together – and possibly with a different feeling for the term “home.” During the past centuries, the violoncello as a solo instrument has increasingly been entrusted with virtuoso works of strong character. This instrument, like no other, can sing of the different emotional states, describe landscapes, lament hardships, and extend an invitation to dance. The works brought together on this recording bear witness to this.