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Alberto Ginastera
April 11, 1916 - June 25, 1983
born in Buenos Aires, Argentina, composed during the Modern period
born in Buenos Aires, Argentina, composed during the Modern period
Emerging on the international music scene in the late '40s, Alberto Ginastera established himself as one of the mid-twentieth century's most distinctive compositional figures. Although he eventually borrowed sonorities and procedures from the serialist and experimentalist movements of the ensuing decades, he did so selectively and undogmatically, synthesizing with ever-increasing sophistication and discretion the echoes of his native Argentina with the expanding compositional palette of the avant-garde.
Ginastera was born in Buenos Aires in 1916, and even in his childhood showed early promise as a performer and composer. His adolescent years were spent in formal studies at the Williams Conservatory, and within a few years of his admittance to the National Conservatory as an undergraduate, his music was receiving national acclaim in prominent performance venues. His initial reputation rested largely on his creative interpretations of and allusions to Argentinean folk materials, as realized in short-form pieces and suites, but by the late '40s and early '50s he had completed a number of more imposing works, such his Piano Sonata No. 1 and his first two string quartets. He had also ventured abroad, first to Tanglewood in 1941, where he became fast friends with Copland, then to other destinations throughout the U.S. in the late '40s, and finally to several venues in Europe during the early '50s, where works such as the Variaciones concertantes and Pampeana No. 3 enjoyed warm receptions. He likewise introduced internationally acclaimed composers to Argentina; he oversaw an ambitious department at Catholic University (1958-1963), and during his tenure as director of the Latin American Centre for Advanced Musical Studies (1963-1971) his invited guests included Messiaen, Nono, Dallapiccola, and Xenakis. Ginastera's works from the '60s, including the opera Don Rodrigo (1963-1964), grew more varied in their methods and ambitious in their scope.
Ginastera worked actively as a composer and champion of new music despite considerable external obstacles; his political views twice put him at odds with the Perón government, which forced his resignation from positions at the National Military Academy and the National University of La Plata (he regained the latter position after Perón's defeat). Personal problems, including marital strife, stifled his productivity in the late '60s, but his divorce and subsequent marriage to cellist Aurora Natola, and his retirement to Switzerland after decades of teaching in Argentina's most prominent musical institutions, gave Ginastera his second wind; his last years were among his most fruitful. ~ J. Neal, Rovi
Ginastera was born in Buenos Aires in 1916, and even in his childhood showed early promise as a performer and composer. His adolescent years were spent in formal studies at the Williams Conservatory, and within a few years of his admittance to the National Conservatory as an undergraduate, his music was receiving national acclaim in prominent performance venues. His initial reputation rested largely on his creative interpretations of and allusions to Argentinean folk materials, as realized in short-form pieces and suites, but by the late '40s and early '50s he had completed a number of more imposing works, such his Piano Sonata No. 1 and his first two string quartets. He had also ventured abroad, first to Tanglewood in 1941, where he became fast friends with Copland, then to other destinations throughout the U.S. in the late '40s, and finally to several venues in Europe during the early '50s, where works such as the Variaciones concertantes and Pampeana No. 3 enjoyed warm receptions. He likewise introduced internationally acclaimed composers to Argentina; he oversaw an ambitious department at Catholic University (1958-1963), and during his tenure as director of the Latin American Centre for Advanced Musical Studies (1963-1971) his invited guests included Messiaen, Nono, Dallapiccola, and Xenakis. Ginastera's works from the '60s, including the opera Don Rodrigo (1963-1964), grew more varied in their methods and ambitious in their scope.
Ginastera worked actively as a composer and champion of new music despite considerable external obstacles; his political views twice put him at odds with the Perón government, which forced his resignation from positions at the National Military Academy and the National University of La Plata (he regained the latter position after Perón's defeat). Personal problems, including marital strife, stifled his productivity in the late '60s, but his divorce and subsequent marriage to cellist Aurora Natola, and his retirement to Switzerland after decades of teaching in Argentina's most prominent musical institutions, gave Ginastera his second wind; his last years were among his most fruitful. ~ J. Neal, Rovi
Selected Discography
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Track List: Alberto Ginastera: The Complete Piano Music, Vol. 1
Title: Danzas Argentinas, 3 Pieces For Piano, Op. 2
Title: Dances From Estancia, Dance Suite From The Ballet, Op. 8a
Title: American Preludes (12) For Piano, Op. 12
Title: Piano Sonata No.1, Op. 22
Title: Pampeana No.2, Rhapsody For Cello & Piano, Op. 21
Title: Argentinian Popular Songs (5), For Voice And Piano, Op. 10
Title: Cello Sonata, Op. 49
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Track List: Complete Piano Music Vol.2
Title: Piezas Infantiles, For Piano (withdrawn By The Composer)
Title: Milonga, For Piano (arranged From "Canción Del Arbol Olvido" Op.2)
Title: Piezas (3), For Piano, Op. 6
Title: Malambo, For Piano, Op. 7
Title: Creole Dance Suite, For Piano, Op. 15
Title: Rondo On Argentine Children's Songs, For Piano, Op. 19
Title: Piano Sonata No.2, Op. 53
Title: Pampeana No.1, For Violin & Piano, Op. 16
Title: Piano Sonata No.3, Op. 54
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Track List: Ginastera: Complete Piano & Organ
Disc 1
Title: Danzas Argentinas, 3 Pieces For Piano, Op. 2
Title: Piezas (3), For Piano, Op. 6
Title: Malambo, For Piano, Op. 7
Title: American Preludes (12) For Piano, Op. 12
Title: Creole Dance Suite, For Piano, Op. 15
Title: Rondo On Argentine Children's Songs, For Piano, Op. 19
Title: Danzas Argentinas Para Los Niños, For Piano (unfinished)
Title: Piezas Infantiles, For Piano (withdrawn By The Composer)
Title: Milonga, For Piano (arranged From "Canción Del Arbol Olvido" Op.2)
Title: Estancia, Ballet, Op. 8
Title: Arrangement: Domenico Zipoli's "Toccata Per Organo", For Piano
Disc 2
Title: Piano Sonata No.1, Op. 22
Title: Piano Sonata No.2, Op. 53
Title: Piano Sonata No.3, Op. 54
Title: Toccata, Villancico & Fugue, For Organ, Op. 18
Title: Variations And Toccata On "Aurora Lucis Rutilat", For Organ, Op. 52
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Track List: Ginastera: Harp Concerto; Estancia; Piano Concerto No. 1
Title: Harp Concerto, Op. 25
Title: Dances From Estancia, Dance Suite From The Ballet, Op. 8a
Title: Piano Concerto No.1, Op. 28
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Track List: Ginastera: Pampeana
Title: Creole Faust Overture, For Orchestra, Op. 9
Title: Pampeana No. 3, For Orchestra, Op. 24
Title: Dances From Estancia, Dance Suite From The Ballet, Op. 8a
Title: Glosses On Themes Of Pablo Casals, For Orchestra, Op. 48
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Track List: Ginastera: Panambí; Estancia
Title: Panambí, Ballet, Op. 1
Title: Estancia, Ballet, Op. 8
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Track List: Ginastera: Piano Concertos Nos. 1 And 2
Title: Piano Concerto No.1, Op. 28
Title: Piano Concerto No.2, Op. 39
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Track List: Ginastera: Popol Vuh
Title: Estancia, Ballet, Op. 8
Title: Creole Dance Suite, For Piano, Op. 15
Title: Panambí, Ballet, Op. 1
Title: Ollantay, 3 Symphonic Movements, For Orchestra, Op. 17
Title: Popol Vuh, For Orchestra, Op. 44
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