Alberto Ginastera

1.1. Birth and Early Life

Ginastera was born in Buenos Aires, Argentina, on April 11, 1916. His family background was diverse, with a Spanish father and an Italian mother. While his surname is often pronounced with a Spanish 'J' sound (xinaˈsteɾa_{hee-nah-STEH-rah}^Spanish), Ginastera himself preferred the Catalan and Italian pronunciation, which features a soft 'G' similar to that in the English word 'George' (dʒinaˈsteːra_{jee-nah-STEH-rah}^Catalan). This preference highlights his nuanced cultural heritage.

1.2. Education and Early Career

Ginastera pursued his formal musical education at the Williams Conservatory in Buenos Aires, from which he graduated in 1938. Following his graduation, he embarked on a teaching career, holding positions at institutions such as the Liceo Militar General San Martín. A pivotal period in his artistic development occurred during a visit to the United States from 1945 to 1947, where he studied with the influential American composer Aaron Copland at Tanglewood. Upon returning to Buenos Aires, Ginastera continued his teaching endeavors and was instrumental in co-founding the Argentine Composers League. In 1949, he established the Institute of Music and Performing Arts, which is now known as the Gilardo Gilardi Conservatory. From 1953, he also served as a professor at the National Conservatory. Ginastera's dedication to education extended to his many notable students, who included the renowned Ástor Piazzolla (who studied with him in 1941), Alcides Lanza, Jorge Antunes, Waldo de los Ríos, Jacqueline Nova, Blás Atehortua, and Rafael Aponte-Ledée.

1.3. Later Life and Death

In 1968, Ginastera relocated back to the United States. Two years later, in 1970, he moved to Europe, settling there for the remainder of his life. He passed away in Geneva, Switzerland, on June 25, 1983, at the age of 67. His final resting place is the Cimetière des Rois in Geneva. Throughout his prolific career, Ginastera explored a vast array of compositional techniques, creating works that spanned nearly every genre except electronic music.

2.1. Musical Characteristics and Influences

A core feature of Ginastera's early style was his deep engagement with Argentine folk music and the gaucho tradition. The gaucho, a landless native horseman of the plains, served as a powerful symbol of Argentina, and Ginastera integrated this imagery and musical heritage into his compositions. His music often featured ostinato figures, creating a clear and rhythmic drive. Over time, his style progressed from overt nationalism to more abstract and modern techniques. This evolution saw him incorporate elements of primitivism and atonality, eventually leading to the use of twelve-tone technique and microtones in his later works.

2.2. Periodization of Works

Ginastera himself divided his compositional career into three periods, each marked by a distinct approach to musical language and the integration of traditional Argentine elements:

• Objective Nationalism (1934-1948): In this initial period, Ginastera directly incorporated Argentine folk themes into his compositions in a straightforward manner. Works from this era often feature recognizable melodies and rhythms derived from traditional sources, presented with clarity and directness.
• Subjective Nationalism (1948-1958): During this phase, Ginastera's approach to traditional elements became more abstracted. While the Argentine character remained distinctly present, folk influences were no longer directly quoted but rather transformed and integrated into a more personal and refined musical language. The essence of Argentine individuality persisted, albeit through more subtle means.
• Neo-Expressionism (1958-1983): This final period saw Ginastera move towards a highly modern and experimental style. Folk elements, though still present, were further abstracted and often integrated through serial techniques, including twelve-tone technique and microtones. This era is characterized by a more complex and often dissonant musical vocabulary, reflecting a move towards expressionism and a broader exploration of contemporary compositional methods.

3.1. Opera

Ginastera composed three significant operas, each exploring intense dramatic themes:

• Don Rodrigo, Op. 31 (1963-1964)
• Bomarzo, Op. 34 (1966-1967): This opera caused controversy and was banned in Argentina until 1972.
• Beatrix Cenci, Op. 38 (1971): Based on the play The Cenci (1819) by Percy Bysshe Shelley.

3.2. Ballet

His contributions to ballet include two major scores that remain staples of the dance repertoire:

• Panambí, Op. 1 (1935): This work also has a suite version (Op. 1a, 1937).
• Estancia, Op. 8 (1941): A suite of dances (Op. 8a, 1943) from this ballet is frequently performed.

3.3. Orchestral Works

Ginastera's orchestral compositions demonstrate his mastery of large-scale forms and his ability to evoke vivid imagery:

• Suite from Panambí, Op. 1a (1937)
• Dances from Estancia, Op. 8a (1943)
• Obertura para el "Fausto" criollo (Overture for the "Creole Faust"), Op. 9 (1943)
• Ollantay: 3 Symphonic Movements, Op. 17 (1947)
• Variaciones concertantes (Concertante Variations), Op. 23 (1953)
• Pampeana No. 3 ("Symphonic Pastoral"), Op. 24 (1954)
• Concerto per corde (Concerto for Strings), Op. 33 (1965)
• Estudios Sinfonicos (Symphonic Studies), Op. 35 (1967)
• Popol Vuh, Op. 44 (1975-1983): This work was left incomplete at the time of the composer's death.
• Glosses sobre temes de Pau Casals for string orchestra, Op. 46 (1976)
• Glosses sobre temes de Pau Casals for full orchestra, Op. 48 (1976-1977)
• Iubilum, Op. 51 (1979-1980)

3.4. Concertos

Ginastera composed several concertos for various instruments, showcasing his ability to write virtuosic and expressive solo parts against an orchestral backdrop:

• Piano
  • Piano Concerto No. 1, Op. 28 (1961)
  • Piano Concerto No. 2, Op. 39 (1972)
• Violin
  • Violin Concerto, Op. 30 (1963)
• Cello
  • Cello Concerto No. 1, Op. 36 (1968)
  • Cello Concerto No. 2, Op. 50 (1980-1981)
• Harp
  • Harp Concerto, Op. 25 (1956-1965): This is one of the few concertos written for the harp and is occasionally performed.

3.5. Chamber and Instrumental Works

His chamber and instrumental works demonstrate his skill in writing for smaller ensembles and solo instruments:

• Duo, for flute and oboe, Op. 13 (1945)
• Pampeana No. 1, for violin and piano, Op. 16 (1947)
• String Quartet No. 1, Op. 20 (1948)
• Pampeana No. 2, for violoncello and piano, Op. 21 (1950)
• String Quartet No. 2, Op. 26 (1958, revised 1968)
• Piano Quintet, Op. 29 (1963)
• String Quartet No. 3, for soprano and string quartet, Op. 40 (1973)
• Puneña No. 1, for flute, Op. 41 (1973): This work was left incomplete at the time of the composer's death.
• Puneña No. 2 ("Hommage à Paul Sacher"), for violoncello, Op. 45 (1976)
• Sonata for guitar, Op. 47 (1976, revised 1981)
• Sonata for cello and piano, Op. 49 (1979)
• Fanfare for four trumpets, Op. 51a (1980)

3.6. Piano Works

Ginastera made significant contributions to the piano repertoire, with works ranging from virtuosic showpieces to evocative character pieces:

• Danzas argentinas, Op. 2 (1937)
• Tres piezas (Three Pieces), Op. 6 (1940)
• Malambo, Op. 7 (1940)
• "Pequena Danza" (from the ballet Estancia, Op. 8) (1941)
• 12 Preludios americanos (12 American Preludes), Op. 12 (1944)
• Suite de danzas criollas (Suite of Creole Dances), Op. 15 (1946, revised 1956)
• Rondó sobre temas infantiles argentinos (Rondo on Argentine Children's Themes), Op. 19 (1947): This piece was dedicated to his children, Alex and Georgina.
• Piano Sonata No. 1, Op. 22 (1952)
• Arrangement of an Organ Toccata by Domenico Zipoli (1970)
• Piano Sonata No. 2, Op. 53 (1981)
• Piano Sonata No. 3, Op. 54 (1982): This was Ginastera's final completed work, composed as a single movement.
• Danzas argentinas para los ninos (Argentine Dances for Children) (Unfinished)
  • Moderato: para Alex
  • Paisaje: para Georgina
• Milonga (1938): This is an arrangement for solo piano by Ginastera himself of the first piece from his 2 Songs, Op. 3.

3.7. Vocal and Choral Works

His vocal and choral compositions showcase a diverse range of styles, from intimate songs to large-scale cantatas:

• 2 Songs, for voice and piano, Op. 3 (1938): The first song, "Canción al árbol del olvido" (Song to the Tree of Forgetting), is particularly well-known and frequently performed.
• Cantos del Tucumán (Songs of Tucumán), for voice, flute, harp, percussion, and violin, Op. 4 (1938)
• Psalm 150, for mixed choir, children's choir and orchestra, Op. 5 (1938)
• 5 canciones populares argentinas (5 Popular Argentine Songs), for voice and piano, Op. 10 (1943)
• Las horas de una estancia (The Hours of an Estate), for voice and piano, Op. 11 (1943)
• Lamentaciones de Jeremias Propheta (Lamentations of Jeremiah the Prophet), for chorus, Op. 14 (1946)
• Cantata para América mágica (Cantata for Magic America), for dramatic soprano and percussion orchestra, Op. 27 (1960): This work utilizes 53 percussion instruments and is based on ancient pre-Columbian legends. Its U.S. West Coast premiere was performed by the Los Angeles Percussion Ensemble under Henri Temianka and William Kraft at UCLA in 1963.
• Cantata Bomarzo, for soloists, narrator, and chamber orchestra, Op. 32 (1964): This cantata is a distinct work from his opera Bomarzo.
• Milena, for soprano and orchestra, Op. 37 (1971)
• Serenata, for baritone, violoncello, wind quintet, percussion, harp, and double bass, Op. 42 (1973)
• Turbae ad passionem gregorianam, for soloists, chorus, boy's chorus and orchestra, Op. 43 (1975)
• Canción del beso robado (Song of the Stolen Kiss), for voice and piano (date unknown): The authenticity of this work has been questioned.

3.8. Organ Works

Ginastera also composed for the organ, exploring both liturgical and concertante styles:

• Toccata, Villancico y Fuga, Op. 18 (1947)
• Variazioni e Toccata sopra Aurora lucis rutilat (Variations and Toccata on 'Aurora lucis rutilat'), Op. 52 (1980): This piece was dedicated to W. Stuart Pope, president of Boosey & Hawkes, and premiered by Marilyn Mason at the 1980 national convention of the American Guild of Organists in Minneapolis.

3.9. Incidental and Film Music

Ginastera contributed music to various theatrical productions and films throughout his career:

• Don Basilio malcasado (1940)
• Doña Clorinda la descontenta (1941)
• Malambo (1942)
• Rosa de América (1945)
• Las antiguas semillas (1947)
• Nace la libertad (1949)
• El puente (1950)
• Facundo, el tigre de los llanos (1952)
• Caballito criollo (1953)
• Su seguro servidor (1954)
• Los maridos de mamá (1956)
• Enigma de mujer (1956)
• Spring of Life (1957)
• Hay que bañar al nene (1958)
• El límite (1958)
• A María del corazón (1960)
• La doncella prodigiosa (1961)

3.10. Withdrawn Works

Ginastera occasionally withdrew compositions or left them incomplete, providing insight into his creative process and self-critique:

• Piezas Infantiles (Children's Pieces), for piano (1934)
• Impresiones de la Puna (Impressions of the Puna), for flute and string quartet (1934)
• Concierto argentino (Argentine Concerto), for piano and orchestra (1936)
• El arriero canta (The Muleteer Sings), for chorus (1937)
• Sonatina, for harp (1938)
• Symphony No. 1 ("Porteña") (1942)
• Symphony No. 2 ("Elegíaca") (1944)

4.1. Influence on Other Musicians and Genres

Ginastera's innovative musical language and his role as an educator profoundly influenced many of his students, including the highly acclaimed Ástor Piazzolla, who went on to revolutionize tango music. His work also found an unexpected resonance in popular music. The progressive rock band Emerson, Lake & Palmer (EL&P) adapted the fourth movement of Ginastera's Piano Concerto No. 1 into their piece "Toccata," featured on their 1973 album Brain Salad Surgery. When Keith Emerson sought Ginastera's permission for the arrangement, the composer reportedly praised its execution. Ginastera's international recognition was further highlighted when he served as a judge at the 1978 Geneva International Music Competition, where Japanese conductor Shunsaku Tsutsumi received the top prize. Tsutsumi later conducted the Japanese premiere of Ginastera's ballet Estancia.

4.2. Cultural Significance and Critical Reception

Ginastera's compositions played a crucial role in the development of a distinct Argentine musical identity, blending indigenous folk elements with sophisticated classical forms. His works were widely performed and critically acclaimed internationally, though not without controversy. His opera Bomarzo, for instance, faced a ban in Argentina until 1972 due to its controversial themes. Despite such challenges, Ginastera's music has been celebrated for its dramatic power, rhythmic drive, and unique synthesis of traditional and modern idioms, solidifying his place as a towering figure in 20th-century classical music.