339:. Although Ginastera dedicated the five songs of opus 10 to the nationalistic Argentine composer Carlos Lopez Buchardo and his wife Brigida, the opening couplet of "Chacarera" ("A mì me gustan las ñatas y una ñata me ha tocado," or "I like beautiful snub-nosed girls, and one of them has caught my eye") suggests that Ginastera may also have had his new bride Mercedes de Toro (whose nickname was "Ñata") in mind, perhaps composing these pieces as a wedding gift, following
1002:
147:, which catalogues the traditional songs and dances of each province and is used, in turn, to teach these to school children. While not all of the melodies of the opus 10 songs are of actual traditional folk origin, the tunes are, on the whole, more overtly Argentine than those of his other song sets composed during this period (
435:
in the introduction serving to establish "the pentatonic flavor of the succeeding melody" (Wallace, 86). Some scholars suggest that the starkly minimal accompaniment reflects the bleakness of the text, shows the influence on the composer of
Copland's "lean, bony, open-air quality" (Ronald Crichton,
254:
as follows: "A dance in triple meter which originated in Latin
America and was taken up as a form and variations in Spain and Italy in the early seventeenth century, in France soon after. The Latin American chacona had both instrumental and vocal accompaniment. The refrain was constructed upon one
597:. (Buenos Aires: Ediciones Culturales Argentinas, 1967) 21). Of these five songs, "Arrorró" is the only instance where Ginastera has left the text, rhythm, and melody of the source unaltered, just as Brahms and Bartók had done in many of their settings and Copland would do in several of his
357:
While "triste" translated literally means "sad" or "sorrowful," the title of this song is not an adjective but rather, like the rest of the opus 10 songs, an indication of the song or dance type: In this case, it is a nostalgic song of unrequited love. Originating in the
491:, the ubiquitous chord is most frequently spelled as above in Ginastera's compositions, regardless of the tonal center (or lack thereof) of the piece in which the chord appears. Consequently, if "Triste" is to be performed in
666:. It was initially popular in Chile, Mexico, and Peru, but found its greatest prosperity in both the rural and urban areas of Argentina from the late eighteenth through the late nineteenth centuries. In the wake of the
517:
is a graceful eighteenth century scarf dance of
Peruvian origin. The vocal part is based in a repeated four-bar theme, with guitar introduction and postlude. With romantic, often melancholic lyrics sung in a lilting
747:, but Ginastera "adds dissonance and dislocates tones horizontally to lend a polytonal aura to the background, in the instrumental interludes between vocal stanzas, there is a frank espousal of
186:
was soon to follow. Like his forebears', Ginastera's settings accentuate the local color of the original folk elements, with "highly ingratiating combinations of melodic simplicity,
628:
tradition. Whereas
Ginastera's lullaby is ABA with exact ostinati in the A sections, de Falla's is twenty measures of rhythmically identical ostinato with only slight
620:
as well, emphasizes dissonant auxiliary tones (Wallace, 86). Perhaps inspiration for the unobtrusive ostinato accompaniment came from de Falla's lullaby "Nana" in his
444:
strumming their guitars in the wilderness" (Sergio de los Cobos, "Alberto
Ginastera's Three Piano Sonatas: A Reflection of the Composer and his Country" D.M.A. thesis,
412:
In "Triste," Ginastera adds to these characteristics a sense of improvisational abandon, accentuating the hopelessness in this traditional text. The melody combines
108:
and artistic freedom, for which the composer was eventually dismissed from his teaching positions at state-run institutions. In the midst of this unrest, echoing
255:
of a series of typical harmonic schemes (e.g. I-VI-IV-V; I-V-VI-V). Some composers used the same melody throughout the piece, repeating it in the manner of a
830:, 1969: 21). In response to their premiere in Buenos Aires, "Gato" was hailed as "the highest achievement of the five songs...for its sheer dynamic impulse" (
732:
Ginastera's "Gato" is to a certain degree faithful to this traditional six-part form, offering a piano introduction followed by two sections of text, then an
860:
755:" (Wallace, 86). As with "Chacarera," the words of "Gato," though not entirely nonsensical, are more significant for their rhythm than for their meaning.
1025:
1005:
182:
are among the noteworthy examples of composers who had already drawn heavily on folk melodies and texts for their compositions for voice, and
92:, placed musical policy entirely in the hands of "a small group of conservative musicians" (Aaron Copland, "The Composers of South America,"
463:
of E-A-D-G-B-E, representing the open strings of the gaucho's guitar. This chord, with its intensely
Argentine connotations, appears "like
96:
vol. 19 (February 1942) 77). During this period, Alberto
Ginastera allied himself with Argentine intellectuals and artists in criticism of
401:, ed. Higinio Angles and Juaquín Pena, Barcelona (Editorial Labor, S.A., 1954) 2143), the use of lament sighs such as "Ah" or "Ay," and a
709:, a textless section of four or eight musical phrases during which the man stomps his boots in place while the woman struts around him.
964:
440:
vol 111 (December 1974) 34), and serves as a musical "imitation of the vast open spaces of the pampas . . . creating an image of the
393:
in the pampa during the nineteenth century, and, though lacking a set form, is characterized by a slow guitar introduction, melodia-
826:’s motoric, energetic rhythm (Sister Mary Ann Hanley, CSJ. "The Compositions for Solo Piano by Alberto Ginastera." D.M.A. thesis,
194:
practices" (David Edward
Wallace. "Alberto Ginastera: An Analysis of His Style and Technique of Composition." Ph.D. dissertation,
930:
924:
853:
88:, the militant revolutionary activity of the late 1930s and early 1940s solidified the power of politicians who, according to
1035:
816:, which Ginastera cited as one of his earliest and most powerful musical influences. Ginastera recommends the use of a "non-
979:
602:
429:
1030:
846:
472:
918:
332:
827:
154:
806:
interludes, in which the raw rhythmic intensity echos "Les
Augures Printaniers / Danses des Adolescentes" in
195:
986:
812:
492:
105:
972:
373:
and under various names in the lyrical tradition of several South
American nations, including Chile,
239:
for one or two couples, which begins with the beating of the feet on the ground while the guitarist
25:
475:, interview by author of this article, 1996) throughout Ginastera's career, in nearly all of the
456:
202:
demands on the pianist while allowing the singer to convey emotion in an understated vocal line.
948:
869:
33:
686:. The form is based on the choreography of the six-part dance for one or two split couples:
425:
892:
807:
668:
650:(or "cat dance") came to the early South American colonies as a descendant of the Spanish
513:
445:
340:
267:-like ground bass, are found in Ginastera's "Chacarera." It has been speculated that the
59:
162:). The setting of such folk songs and folk poetry was not, of course, without precedent:
127:(London: J.M. Dent & Sons, Ltd., 1973) 120), Ginastera composed his opus 10 of 1943,
484:
464:
1019:
900:
674:
632:
shifting. In the arpeggios of the B section of "Arrorró," one sees the influence of
499:
of the E-A-D-G-B-E chord and whether it too should be transposed or left as written.
406:
317:
276:
183:
97:
89:
822:
touch, accenting lightly on the first beat of each measure" to best communicate the
736:(a repetition of the introduction) followed by two sections of text, with vigorous
697:
679:
580:
460:
452:
370:
336:
236:
733:
275:
had a common origin and parallel developments, now reunited appropriately in the
72:
884:
610:
488:
348:
256:
37:
572:
Argentine folk music. In some passages "there is considerable use of extended
748:
557:
432:
417:
394:
726:
637:
629:
625:
577:
480:
402:
215:
199:
101:
85:
46:
179:
109:
24:
are a set of five songs for voice and piano, comprising both entirely new
794:
655:
613:
534:
413:
324:
264:
247:
191:
175:
29:
593:
whose origin has been lost through the centuries" (Pola Suarez Urtubey.
383:
Latin-American Art Music for the Piano by Twelve Contemporary Composers.
744:
705:
683:
633:
617:
606:
590:
573:
569:
565:
561:
441:
378:
374:
328:
321:
283:
260:
232:
228:
818:
476:
468:
385:(New York: G. Schirmer, Inc., 1942) xii). It was disseminated as the
366:
359:
224:
171:
167:
120:
117:
838:
792:, "Gato" (as with some passages of "Chacarera") acquires the virile
507:
496:
421:
240:
187:
682:, but found new vitality in the northern Argentine provinces and
227:
and the northern Argentine interior, with popular variations in
163:
842:
636:’s piano music, comparable, for example, to the left hand of "
560:
accompanying pattern, and while the vocal melody maintains an
564:
tonality, the accompaniment alternates between F major and
116:
as "a declaration of war on the cultural policies of the
541:, 2305). Ginastera's setting enhances the sway of the
533:
meter, it remains "the obligatory dance at all rural
259:." Many of these chaconne characteristics, such as a
802:’s thrusting hemiolas. This is most evident in the
605:
Ginastera sets this well-known Argentine lullaby in
940:
911:
876:
743:Both the vocal melody and the accompaniment are in
143:In these songs, Ginastera draws from the Argentine
343:'s precedent of composing his opus 25 song cycle,
246:There may be a link between the chacarera and the
483:is achieved by playing nearly any series of four
479:in which he composed. Though a similar harmonic
347:, some scholars believe, as a gift to his bride,
198:, 1964: 86). In these pieces, Ginastera places
758:With the vocal part and the right hand of the
854:
263:in a "typical" harmonic scheme and an almost
8:
777:and the left hand in a relentlessly driving
583:underneath the melodic line" (Wallace, 86).
495:, the performers must consider the specific
424:pentatonic scales, with the reiterated tone
672:(and its more famous urban descendant, the
369:Indians, this song type appears in various
861:
847:
839:
678:), it fell out of favor in the zones near
451:Accordingly, Ginastera uses his signature
223:, "farm") is deeply rooted in the central
381:, and Argentina (Francisco Curt Lange.
32:, written in 1943 by Argentine composer
405:descent in the final two notes of its
16:Set of five songs by Alberto Ginastera
751:, similar to sections of the earlier
282:This setting exhibits liberal use of
206:The five songs of Ginastera's opus 10
7:
957:Cinco canciones populares argentinas
286:, the result of alternation between
190:folk rhythms, and twentieth century
129:Cinco canciones populares argentinas
28:as well as new settings of existing
21:Cinco canciones populares argentinas
622:Siete canciones populares españolas
40:10. The five songs are as follows:
965:Lamentaciones de Jeremias Propheta
834:, 14 July 1944, in Urtubey, 105).
505:With no relation to the Brazilian
14:
1026:Compositions by Alberto Ginastera
740:interludes between each section.
725:, which is the couple's spirited
252:The New Oxford Companion to Music
1001:
1000:
467:between courses, to cleanse the
589:The arrorró is "a traditional
568:in a manner characteristic of
539:Diccionario de la Musica Labor
399:Diccionario de la Musica Labor
149:Dos Canciones de Silvia Valdèz
1:
471:" (Alison Dalton, violinist,
455:twice in this piece, a tied
420:elements, characteristic of
139:Musical influences and style
133:Five Popular Argentine Songs
712:4) repetition of the march
624:of 1914–15, drawn from the
397:with sparse accompaniment (
1052:
700:steps for each individual
473:Chicago Symphony Orchestra
997:
616:which, though centric to
235:. It is a rapid dance in
160:Las Horas de una Estancia
100:’s policies and signed a
828:University of Cincinnati
601:, including the lullaby
436:"Ginastera's Quartets,"
250:, which is described in
689:1) guitar introduction
243:the introductory bars.
205:
196:Northwestern University
729:around the dance area
1036:Classical song cycles
813:Le Sacre du Printemps
715:5) repetition of the
428:and its embellishing
279:of this composition.
106:democratic principles
80:Historical background
931:Piano Concerto No. 2
925:Piano Concerto No. 1
658:cousins such as the
603:"The Little Horses."
320:remains within the
112:’s 1924 penning of
941:Other compositions
599:Old American Songs
457:thirty second note
145:cancionero popular
123:" (Lajos Lesznai,
114:Hungarian Folksong
1031:1943 compositions
1013:
1012:
980:Sonata for guitar
949:Danzas Argentinas
870:Alberto Ginastera
762:accompaniment in
753:Danzas Argentinas
696:, an exchange of
595:Alberto Ginastera
335:embellishing and
327:of the repeating
34:Alberto Ginastera
1043:
1004:
1003:
863:
856:
849:
840:
791:
790:
789:
788:
776:
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774:
773:
555:
554:
553:
552:
532:
531:
530:
529:
511:, the Argentine
315:
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1051:
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767:
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764:
763:
654:, with several
551:
546:
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528:
523:
522:
521:
520:
519:
485:perfect fourths
446:Rice University
311:
306:
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208:
141:
82:
17:
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5:
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843:
783:
768:
692:2) march with
547:
524:
307:
292:
207:
204:
140:
137:
104:in defense of
81:
78:
77:
76:
68:
63:
55:
50:
15:
13:
10:
9:
6:
4:
3:
2:
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923:
920:
919:Harp Concerto
917:
916:
914:
910:
903:
902:
901:Beatrix Cenci
898:
895:
894:
890:
887:
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719:
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695:
694:paso valseado
690:
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631:
627:
623:
619:
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608:
604:
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596:
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588:
584:
582:
579:
575:
571:
567:
563:
559:
556:meter with a
550:
540:
536:
527:
516:
515:
510:
509:
504:
500:
498:
494:
493:transposition
490:
486:
482:
478:
474:
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466:
462:
458:
454:
449:
448:, 1991: 17).
447:
443:
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427:
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410:
408:
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396:
392:
388:
384:
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368:
364:
361:
356:
352:
350:
346:
342:
338:
337:passing tones
334:
330:
326:
323:
319:
318:harmonization
316:meters. The
310:
295:
285:
280:
278:
277:neoclassicism
274:
270:
266:
262:
258:
253:
249:
244:
242:
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234:
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177:
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138:
136:
134:
130:
126:
122:
119:
115:
111:
107:
103:
99:
95:
91:
90:Aaron Copland
87:
79:
75:
74:
69:
67:
64:
62:
61:
56:
54:
51:
49:
48:
43:
42:
41:
39:
35:
31:
27:
23:
22:
999:
985:
971:
963:
956:
955:
947:
899:
891:
883:
836:
831:
823:
817:
811:
803:
799:
793:
784:
769:
759:
757:
752:
742:
737:
731:
722:
720:
716:
714:
711:
704:
702:
698:triple-meter
693:
691:
688:
680:Buenos Aires
673:
667:
663:
659:
651:
647:
643:
642:
621:
609:over a slow
598:
594:
586:
585:
581:arpeggiation
548:
538:
525:
512:
506:
502:
501:
461:arpeggiation
453:guitar chord
450:
437:
411:
398:
390:
386:
382:
362:
354:
353:
344:
308:
293:
281:
272:
268:
251:
245:
237:triple meter
220:
214:
211:1. Chacarera
210:
209:
159:
152:
148:
144:
142:
132:
128:
124:
113:
94:Modern Music
93:
83:
70:
65:
57:
52:
44:
26:compositions
20:
19:
18:
885:Don Rodrigo
611:duple meter
489:major third
433:grace notes
349:Clara Wieck
257:ground bass
153:Cantos del
1020:Categories
808:Stravinsky
749:bitonality
723:giro final
626:Andalusian
587:4. Arrorró
558:syncopated
459:ascending
418:pentatonic
395:recitativo
371:modalities
98:Juan Perón
66:4. Arrorró
987:Popol Vuh
832:La Nación
734:interlude
727:promenade
638:Beau Soir
630:chromatic
578:polytonal
481:resonance
403:half-tone
391:payadores
355:2. Triste
333:dissonant
273:chacarera
216:chacarera
200:virtuosic
102:manifesto
86:Argentina
53:2. Triste
47:Chacarera
1006:Category
973:Ollantay
912:Concerto
795:machismo
662:and the
614:ostinato
503:3. Zamba
497:sonority
414:diatonic
341:Schumann
325:tonality
271:and the
269:chaconne
265:ostinato
248:chaconne
192:harmonic
176:de Falla
30:melodies
893:Bomarzo
824:malambo
804:zapateo
800:malambo
798:of the
745:C major
738:zapateo
721:6) the
717:zapateo
706:zapateo
684:Bolivia
669:milonga
660:mis-mis
656:Iberian
652:romanza
644:5. Gato
634:Debussy
607:G major
591:lullaby
574:tertian
570:bimodal
566:D minor
562:F major
535:fiestas
465:sherbet
442:gauchos
430:quartal
389:by the
379:Uruguay
375:Bolivia
365:of the
345:Myrthen
331:, with
329:couplet
322:C major
284:hemiola
261:refrain
233:Bolivia
229:Uruguay
184:Copland
155:Tucumán
36:as his
990:(1983)
982:(1976)
976:(1947)
968:(1946)
960:(1943)
952:(1937)
933:(1972)
927:(1961)
921:(1956)
904:(1971)
896:(1967)
888:(1964)
819:legato
664:perdíz
487:and a
477:genres
469:palate
387:triste
367:Kechua
363:yaraví
360:Andean
241:strums
225:pampas
221:chacra
219:(from
180:Bartók
178:, and
172:Mahler
168:Brahms
158:, and
125:Bartók
121:regime
118:Horthy
110:Bartók
877:Opera
675:tango
514:zamba
508:samba
438:Tempo
422:Incan
407:motif
188:Latin
131:, or
60:Zamba
760:rudo
648:gato
646:The
576:and
416:and
301:and
231:and
213:The
164:Bach
73:Gato
38:opus
810:'s
703:3)
640:."
537:" (
84:In
71:5.
58:3.
45:1.
1022::
409:.
377:,
351:.
174:,
170:,
166:,
151:,
135:.
862:e
855:t
848:v
785:4
770:8
618:G
549:8
526:8
426:G
309:8
294:4
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