# B.D. rd. 1- Ginastera



## Chi_townPhilly (Apr 21, 2007)

Let me be the first to introduce myself... Alberto Ginastera (pronounced JEE nah-stair' ah, after the fashion of my native country [Argentina] and my Catalan/Italian ancestry). If I were fully in the land of the living, I would be 93 years old today, April 11. I'm sure that if I were alive now, I'd still have fresh ideas for composition- after all, shortly before I left, I said in all honesty that I had enough musical ideas to occupy me until the age of 100. I'll speak more of this later--










Millions were introduced to my music via _Toccata_, a free but still outstanding adaptation of the last movement of Piano Concerto # 1: _Toccata Concertata_, realized by Keith Emerson and found on Emerson, Lake & Palmer's album "Brain Salad Surgery." I'm bemused that two generations of classical music commentators overlook mentioning this when speaking of the Concerto. Perhaps they think that noticing it is beneath them. for my part, I've never has anything but praise for this rendition. I'm grateful to Mr. Emerson not only for bringing that music to a larger audience, but also for seeking my input before its release.

To begin with my earliest productive years, you may well know of my first ballet, _Panambí_, but you may not know that I began work on it at age 19. A suite from this ballet was performed in 1937, and the ballet itself came to the stage in 1940. Around this time, I honored a governmental commissioner's request for a work featuring Argentine country life by composing the more renowned ballet _Estancia_. It's possibly my most famous work- the centerpiece of my first career period: "Objective Nationalism."










I was lucky enough to be noticed by Aaron Copland, who flattered me by making the complimentary if politically incorrect statement that I was "the white hope of Argentinian music." During World War II, I held a pair of teaching positions in my home country- and maintained a lifelong devotion to instruction. After the War, I went to the United States as a Guggenheim Award recipient, and further cemented the mutually respectful friendship with Copland. I of course eventually returned to Argentina. By the end of the decade, I incorporated new influences into my next compositional period: "Subjective Nationalism." Well-known pieces from that period include the three _Pampeanas_ and the Chamber Orchestra work _Variaciones Concertantes_.

Another flattering if not sought-after comment came from my countryman Mario Davidovsky, who said that from the early 1950s going forward, I was "the most powerful man in South American music." As the 50s ended, I again moved on. Not only did I begin spending increasing amounts of time in Europe (eventually settling in Switzerland), but I also moved into the final and most productive phase of my career: "Neo-Expressionism." From that period dates the _Concertos_ (two for Piano, one for Harp), and the trio of operas _Don Rodrigo_, _Bomarzo_ and _Beatrix Cenci_. It's possible that _Bomarzo_ is the best-known Spanish-language opera of all- Falla's _La Vida Breve_ is its only serious rival. I left your company for the first time on June 25, 1983.

As for the reasons I seek to remain among the living, I'll leave you with two: first is my continued devotion to music. I was quite serious when I said that I retained ideas for writing music until the very last. I continued to compose in the hospital room where I passed away. The second is the impact of my absence, not merely on my own country, but on the entire Latin-American region. This region continues to produce an increasing number of influential artists and composers. While I can scarcely take credit for the emergence of figures such as Vinay, Argerich, Carreras, Dudamel and Gojilov, I suppose that my role in helping this region find its artistic voice in the world could not have hurt the climate that allowed these artists to fluorish.

Please, let me have the chance to see at least one more birthday. *Alberto Ginastera*

P.S.: recommended introductions- you could do worse that going straight to Emerson's _Toccata_, followed by essaying the entire Piano Concerto # 1. The ballet suite from _Estancia_ is well worth hearing. To see the softer side, pay close attention to the _Danza del trigo_ from that work. It'll compare favorably with Satie's _Gymnopedie #3_.


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## EarlyCuyler (Mar 28, 2009)

I love _Popol Vuh_ an absolute blast to listen to. Not to mention Martha Argerich playing _Danzas Argentinas_


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## PostMinimalist (May 14, 2008)

An amazing start to the debate. A blazing pace has been set by Mr. Ginastera, and now the others know what they are up against!
A brilliant introduction full of interesting nuggets of information. Who said this wouldn't be educational?
FC.

@EarlyCuyler
I don't understand the Popol Vuh mention. Do they have anything to do with Ginastera?


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## Elgarian (Jul 30, 2008)

After such an impressive defence, I think this man should not merely keep his place in the balloon, but _be given his own cushion to sit on, with his initials embroidered on it_.

If they're all going to be this good, maybe we could think about calling in balloon-patching experts?


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## Chi_townPhilly (Apr 21, 2007)

post-minimalist said:


> I don't understand the Popol Vuh mention. Do they have anything to do with Ginastera?


_Ah, sí... entonces_... *Popol Vuh*! The orchestral suite _final_, a compositional commission for the Philadelphia Orchestra (of course, the regional connection to my present medium should be readily apparent).

_De veras_, it's the belief of many composers that their latest efforts are their most significant ones. Still, like Bartók and Janáček before me, I really think I was on to something in my more experienced years! *A.G.*


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## islandersbob (May 30, 2008)

Señor Ginastera,

that is quite a resume that you have, I'm impressed. You have me swayed, but your composer tree seems regional to Latin-America. Don't get me wrong, some very good composers studied under your tutelege, but sadly no heavyweights. Anyway, I have one question:

Would you write a piece to commemorate Argentina's best golfer, Angel Cabrera, and his recent Masters win? If so, what type of piece would it be?


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## Chi_townPhilly (Apr 21, 2007)

islandersbob said:


> Señor Ginastera,
> 
> that is quite a resume that you have, I'm impressed. You have me swayed, but your composer tree seems regional to Latin-America. Don't get me wrong, some very good composers studied under your tutelege, but sadly no heavyweights.


_Buenas tardes_, *islandersbob*... _y gracias!

Pues..._there is tutelage, and there is influence. Osvaldo Golijov, although not directly a student, would be as familiar with my output as R. Strauss would be with the output of Wagner. _Tambien_, I did directly instruct master dance composer Ástor Piazzolla, who in turn influenced Golijov- at least according to what Golijov tells us.

If, among composers now alive, Golijov isn't a heavyweight, then the term has no meaning at this time...


islandersbob said:


> Would you write a piece to comemmerate Argentina's best golfer, Angel Cabrera, and his recent Masters win? If so, what type of piece would it be?


Although I'm very delighted by Angel Cabrera and his _mejór segundo_ it is my nature to leave the musical sporting tributes to others. It's not like we haven't had this opportunity before [_fútbol! Copa Mundial 1978_]-an event that happened 5 years before my first date of passing!


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## World Violist (May 31, 2007)

This I found most convincing. I may well invest in some of your works' recordings when I have a mind to.

I heard your second string quartet last summer. It was quite the amazing experience. Before that there was a lecture on your music and the multitude of effects used in the string quartet; in that lecture they played bits of the first piano concerto and the Emerson, Lake & Palmer "Toccata". Most fascinating, I must say.

WV


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## myaskovsky2002 (Oct 3, 2010)

Go to my thread: I made my Bomarzo DVD. You would certainly enjoy it.

Martin


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