Ginastera staeted as a nationalist composer, which was a very fruitful step for him. He gave Argentina some national masterpieces. Then, he turned to more international modern language. This concerto dates from that period. It is a very impressive work. At the beginning, the soloist is facing some scarce percussions in the orchestra, which enters with sustained chords some moments later. This initiates a fruitful dialog between the soloist and the orchestra. The score ends in the high treble of the cello; like a whisper. The score is very beautiful, somehow aloof. An excellent recording.
Feels like there is some 12 tone composition going on...I guess I find it hard as a composer to be comfortable with something that feels mainly like mood music (the 1st movement) in that we have the recurring explosions of percussion and brass and discontinuous cello meanderings, but no forward movement. More about sonorities and textures and moods. Which I think a lot of music of that era and even today seems a preoccupation of contemporary composers of classical music. It has been so coopted by Hollywood and doesn't seem very avante garde if you can hear these kinds of sounds in your average horror movie. The presto movement also studiously avoids going anywhere, even though it is aurally quite interesting and fun to listen to. The trio is hauntingly beautiful. At the end we get the largo amoroso which has for the 1st time in the piece a genuine melody. Somebody described it here as aloof. A cold beauty perhaps. The sound effects are heavy in the last movement....and I'm never sure when pieces are so engaged in novel sounds just what musically they may be trying to say.
Sorta kinda agree with your overall sentiment. Whether or not this is a work of serialism is debatable. What is not is that as a concerto it is without doubt a masterpiece regardless of genre.
Nice blend of styles: Northern European, rhumba, atonality, yadda, yadda...a first rank concerto. His string quartets and symphonic poems are not quite as brilliant. His concertos however are incredible.
Ginastera staeted as a nationalist composer, which was a very fruitful step for him. He gave Argentina some national masterpieces. Then, he turned to more international modern language. This concerto dates from that period. It is a very impressive work. At the beginning, the soloist is facing some scarce percussions in the orchestra, which enters with sustained chords some moments later. This initiates a fruitful dialog between the soloist and the orchestra. The score ends in the high treble of the cello; like a whisper. The score is very beautiful, somehow aloof. An excellent recording.
What beautiful writing for the cello, and a first-rate performance too!
LOVE IT - NEVER HEARD IT BEFORE - THANKS YOU TUBE..
What a terrific piece. Easily the most original thing Ginastera wrote.
Would love to see it live!
ME TOO
Thanks for the upload. Wonderful post!
Fantastic! 0:00 is a good place to start.
La obra de Ginastera es bellísima....
nice
Always a beautiful post !
Tranks
Es muy lindo y siempre esta todo loo q uno busca
quite good...
Feels like there is some 12 tone composition going on...I guess I find it hard as a composer to be comfortable with something that feels mainly like mood music (the 1st movement) in that we have the recurring explosions of percussion and brass and discontinuous cello meanderings, but no forward movement. More about sonorities and textures and moods. Which I think a lot of music of that era and even today seems a preoccupation of contemporary composers of classical music. It has been so coopted by Hollywood and doesn't seem very avante garde if you can hear these kinds of sounds in your average horror movie. The presto movement also studiously avoids going anywhere, even though it is aurally quite interesting and fun to listen to. The trio is hauntingly beautiful. At the end we get the largo amoroso which has for the 1st time in the piece a genuine melody. Somebody described it here as aloof. A cold beauty perhaps. The sound effects are heavy in the last movement....and I'm never sure when pieces are so engaged in novel sounds just what musically they may be trying to say.
Sorta kinda agree with your overall sentiment. Whether or not this is a work of serialism is debatable. What is not is that as a concerto it is without doubt a masterpiece regardless of genre.
I: 0:00
II: 12:27
III: 22:35
Qué grande Ginastera!... A la altura de Stravinsky, de Bártok!
Almost....close!
Nice blend of styles: Northern European, rhumba, atonality, yadda, yadda...a first rank concerto. His string quartets and symphonic poems are not quite as brilliant. His concertos however are incredible.
Se dejó influenciar por la pelotudéz de los 50´s.