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Argentine Music


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Author Topic: Argentine Music  (Read 671 times)
jowcol
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« on: August 20, 2012, 02:30:46 pm »

Harp Concerto by Alberto Ginastera
Repost from UC



Alberto Ginastera may not really be an "unsung composer " but I've posted the premiere  of his Harp Concerto  , which is a pretty wining blend of his early style (which I like a lot) and his later, more avante garde style (which I need to be in the mood for.)



The following program notes  are from: http://www.floridaorchestra.org/pdf/May14-16GinasterasHarpConcerto.pdf.   If nothing else, Ginastera's comments on the union of the emotional and cerebral goals of art in the second paragraph are very enlightening, and I think this concerto does fit this goal more than some of his other later works.


   
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The Harp Concerto marked a significant turning point in the development of Ginastera’s musical style. The composer categorized his works before the mid-1950s as “Nationalistic,” drawing inspiration and material forthem from the rhythms and melodies of the Argentine folksongs and dances known as musica criolla, though he seldom used literal quotations. This nationalistic music is imbued with the symbolism of the pampas and the “gauchesco” tradition, for which Ginastera became the leading musical spokesman.

    His second style(“Neo-Expressionism”) began around 1958, and encompassed most of his later compositions, works in which he employed such avant-garde techniques as polytonality, serial writing, quarter-tones and other micro intervals, and an extension of instrumental resources. The Harp Concerto stands at the threshold between Ginastera’s two musical idioms, blending the vibrant rhythms and characteristic melodic leadings of indigenous Argentine music with the expanded harmonic, textural and coloristic resources of his gestating later manner. The strongest thread tying together his old and new modes of musical speech is not technical, however, but expressive, as he indicated in writing about his 1961 Piano Concerto: “A work must produce a feeling of comprehension, a flow of attraction between public and artist, independent of structural implications.... Art is first perceived by our senses. It then affects our sentiments and in the end awakens our intelligence. A work which speaks only to the intelligence of man will never reach his heart.... Without sensibility the work of art is only a cold mathematical study, and without intelligence or technique it is only chaos. Thus the perfect formula would be sensitive beauty plus technical skill.” The Harp Concerto is such a work.

    The Concerto follows the traditional three movements, though the form is amended by the inclusion of an extended solo cadenza as the bridge to the finale. The opening movement follows the usual sonata-form pattern: a close-interval main theme is presented by the harp to the accompaniment of whirring figures in the strings and sharp punctuations from the winds and percussion; the second theme, marked in its first measure by a wide-ranging arpeggio from the harp, follows after some soft timpani taps, a brief silence and a sentence of simple prefatory chords from the soloist. The middle of the movement contains a passage of dynamic energy exploiting the rhythmic ambiguity inherent in the movement’s meter (and calling for “collegno” — tapping with the wood of the bow — from the strings) and a development of the main theme initiated by string tremolos and flutter-tonguing on the flutes. The main theme and second theme in abbreviated versions (separated by a brief cadenza) round out the first movement.

The second movement consists of a large central section framed at beginning and end by strongly contrasting music. A lugubrious imitative passage rising from the low strings, a timbre and texture reminiscent of the fugue in Strauss’ Zarathustra, opens the movement. The harp and woodwinds trade expressive comments on the strings’ opening statement. The principal part of the movement is given over to a paragraph of “night music” in which the harp’s snapping figures are set against an eerie, rustling background, a quality perhaps indebted to the slow movements of several of Béla Bartók’s orchestral compositions. The return of the tiny string fugue and the harp’s comments upon it close the movement. A dramatic and virtuosic cadenza serves as the gateway to the finale, a rondo whose structure is marked by the sharp reports of the tom-toms heralding the appearances of the main theme.

As a final note-- there were several versions of this work (the first was in 1956), and some debate about which version was premiered..
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C R Lim
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« Reply #1 on: October 21, 2012, 05:00:08 pm »

Shamus has kindly uploaded a performance of the Piano Concerto by Ernesto Drangosch (1882 - 1925). Is this the same recording which was broadcast last month on Radio Nacional Clasica? Just so I can identify the performers correctly.

I believe the concerto has also been performed by Estela Telerman, but there is no mention of this on her website.

Anyone have any more information?
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kyjo
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« Reply #2 on: October 29, 2012, 08:05:07 pm »

Many thanks to Elroel for his upload of Alberto Williams' Argentine Suite no. 1 for strings Smiley! I'm always grateful to hear more from this composer Smiley.
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fr8nks
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« Reply #3 on: October 30, 2012, 03:58:28 am »

Thanks Elroel for both of the Alberto Williams' works.
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Latvian
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« Reply #4 on: October 30, 2012, 02:27:23 pm »

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Alberto Williams (1862-1952)  - Suite Argentine Nº 1  for String Orchestra


The Stringendo's Vivace Orchestra

Broadcast from a Concerto (unknown date and place)

I can provide some additional detail on the performers in this recording. The correct title of the performing group is "Vivace String Orchestra." They are the most advanced of six string orchestras operated by the Stringendo Music School of the Hudson Valley. The orchestra members are all local high school students. The conductor is Jonathan Handman. I don't recall that I was at this particular concert, but they've played parts or all of the Williams suite on several occasions. Both of my daughters are alumna of this program and I can personally attest to the quality, value, and professionalism of the program. The orchestras often play quite interesting repertoire, and much of it is on YouTube (where this recording likely came from, having been uploaded by the conductor), so you may want to search for other rarities. This particular performance is most likely from about a year or two ago.
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JimL
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« Reply #5 on: October 30, 2012, 02:31:08 pm »

Are the movements listed?
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Latvian
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« Reply #6 on: October 30, 2012, 02:43:34 pm »

The movement names are in the file names when you download: Hueya, Milonga, Vidalita, Gato.
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Elroel
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« Reply #7 on: October 30, 2012, 03:17:39 pm »

Hi JimL & Latvian

The tape where these works come from, was send to me by my cousin in the USA. I think according to the other things on that tape, it is probably from 2010. I downloaded the files from Youtube and compared them to the one I posted here. The pieces are only diffrent in times, so perhaps they were cleaned and listening to both, I think Maris is right, they are from the same source.

Regards

Elroel
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Latvian
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« Reply #8 on: November 01, 2012, 02:09:22 am »

These performers also usually perform works (or parts of works) on more than one concert, so if timings are a bit off, it could also be from a different occasion, though with the same performers. 2010 sounds about right -- my younger daughter played in the group at that time, and I remember the orchestra played the entire Williams suite on more than one occasion, and excerpts at other times.
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jowcol
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« Reply #9 on: April 29, 2013, 12:07:58 pm »

Music of Juan Jose Castro


From the collection of Karl Miller


1.  Cry of the Sierras
2.  Outro

(1947)
New York Philharmonic
Zubin Mehta, conductor
(5 Oct 1982)

3-6 Piano Concerto (1941)
Jesus Maria Sanroma, Piano
Mexican National SO, Herrera de la Fuente, Cond.

7. Corales criollos No. 3
8. Outro.

New York Philharmonic; Ernest Ansermet, Cond
Mar 23, 1958

9-12: Violin Concerto (1965)
Georg Maench, Violin
Buffalo Philharmonic Orchestra, Lukas Foss, Cond.

All recordings are sourced from personal recordings or broadcasts.  To the best of my knowledge, none of these has been released in digital form.


Wikipedia bio

Juan José Castro (March 7, 1895 – September 3, 1968) was an Argentine composer and conductor.

Born in Avellaneda, Castro studied piano and violin under Manuel Posadas and composition under Eduarno Fornarini, in Buenos Aires. In the 1920s he was awarded the Europa Prize, and then went on to study in Paris at the Schola Cantorum under Vincent d'Indy and Édouard Risler. Returning to Buenos Aires in 1925, he was named conductor of the Renacimiento Chamber Orchestra in 1928 and the Teatro Colón in 1930. From 1939 to 1943 he was a professor at the Buenos Aires Conservatory.

Castro's international career began in the 1940s. In 1947 he conducted the Havana Philharmonic, and the Sodre Orchestra in Uruguay in 1949. In 1952-53 he was the conductor of the Melbourne Symphony Orchestra (then known as the Victorian Symphony Orchestra) in Australia.[1] He returned to the Americas and conducted the National Symphony in Buenos Aires from 1956-1960. From 1960 to 1964, he was director of the Conservatory of Music of Puerto Rico.
Castro's brothers, José María and Washington, were also both composers. Juan José Castro married the daughter of the composer Julián Aguirre. He died in Buenos Aires in 1968, aged 73.




There is also a bio here, that I won't reproduce. 
http://ostinato.tripod.com/castro.html


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« Reply #10 on: April 29, 2013, 09:57:52 pm »

Not much to add, except that according to Gerard Béhague it was the the third of the Corales criollos (1953) which won a prize at the 1954 Latin American Music Festival, not No. 2 as cited by the anonymous contributor to the biography on the Fundación Ostinato website.

Béhage adds - "Rarely does Castro resort to direct quotations of folk materials. ... Some of (his) most skillful references to various Argentine national musical genres are found in the Corales criollos, nos. 1 & 2 (are) for piano, No. 3, for orchestra."
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gabriel
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« Reply #11 on: May 10, 2016, 04:51:27 pm »

Thanks to Neil McGowan, who says:
"Regrettably I will never, ever again download anything from mediafire - it is a pirate service full of malware and viruses. I wish this site would impose a ban on mediafire"

I guess nobody wants malware and viruses. What service do you suggest, Neil?
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Latvian
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« Reply #12 on: May 10, 2016, 10:00:37 pm »

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"Regrettably I will never, ever again download anything from mediafire - it is a pirate service full of malware and viruses. I wish this site would impose a ban on mediafire"

I've been using Mediafire for years with no significant problems, and continue to do so. When I download other people's Mediafire files, sometimes I get an unwanted pop-up page, but never with anything malicious. Just a minor nuisance to close it. Mega and Zippyshare work OK for me, too, but some of the other services that some bloggers use are horrible, requiring lengthy searching to find a download tab that won't give you unwanted software and/or malware. Others won't give you a reasonable download speed unless you send them payment.

I wonder if the adware/malware arrived on your computer from other sources and is targeting Mediafire? I don't know, just speculating, based on my experience.
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Gauk
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« Reply #13 on: May 15, 2016, 08:34:21 am »

I don't have any problem with Mediafire either - it's a commercial company and not in its interest to annoy paying customers, I use it for large work files as well as music.
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