On his latest cpo CD Korstick dedicates himself to the Argentine composer Alberto Ginastera with great passion and virtuosity. This CD, released on the hundredth anniversary of Ginastera’s birth comprises of the composer’s complete published piano oeuvre – apart from his Piano Sonata No. 2.
Argentinean Alberto Ginastera was among the most successful mid-twentieth century composers in retaining the populist accessibility of his early works while incorporating elements of serialism as his style developed. His later works may not have the hummable melodies or propulsive rhythmic drive of his early period, but they have a comparable dramatic logic and emotional directness, which give them an immediate appeal. His two cello concertos, written in 1968 and 1981, are clearly "modernist" works of his late period, but they are warmly lyrical, intensely dramatic, and orchestrated with intriguing inventiveness. In their slow sections, they are also prime examples of the mysterious, gorgeously evocative atmospherics of which Ginastera was a master throughout his career.
After achieving independence from Spain, Argentina developed its own models for concert- and opera-going, even though these continued in many respects to reflect European traditions. Musical legends emerged during this time: Astor Piazzolla, the founder of the Tango Nuevo, Mauricio Kagel, Carlos Gardel and Alberto Ginastera, the man considered for decades to be the country's most significant composer of classical music. Three of the works recorded on this CD fall into Ginastera's final ‘Neo-Expressionist’ period: the Concerto per corde Op.33 (1965), cast in a classical, four-movement form; the Estudios sinfonicos Op.35 (1967), which represent Ginastera at his most adventurous with the avant-garde style; and the Glosses sobra temes de Pau Casals Op.48 (1976/77), in which Ginastera experiments by taking traditional themes by the great Spanish cellist Pablo Casals and holding them up to an avant-garde mirror.
The connection between Wales and the harp is a long-standing one, and Mathias's part in it began 12 years before his Harp Concerto was written, with Improvisations for harp solo; even a Welshman has to learn how to cope with such an idiosyncratic instrument. He learned his lessons well—even using semitone pedal glissandos in the second movement, and he keeps the harp audible by alternating its solo passages with orchestral ones or, when the two are working together treating the orchestra with a light touch (the celesta is used as a particularly effective companion to the harp), at other times resorting to the more familiar across-the-strings sweep. Two movements have declared Welsh associations: the first juxtaposes but does not develop three themes the second is a 'bardic' elegy; the last is simply ''joyful and rhythmic''. The whole makes pleasing listening appealing to the emotions and imagination rather than the intellect.
Alberto Ginastera (1916–83) the foremost 20th century Argentinean composer began composing in 1930, but destroyed many of his early works. The one work to survive from this period was the ballet 'Panambi', which catapulted him to fame, and resulted in a commission for another ballet 'Estancia' based on rural Argentinean life. Aside from his stage and orchestral music, chamber music played a big role in his creative output. The string quartets span the various stages of his musical development, and …..
Perhaps what strikes the ear first about Alberto Ginastera's music is the convincing and intelligible way in which the composer utilizes dissonance to create lucid gestures and expressions. Ginastera seems to know just where and how to place his sonic gnarls and knots so that that they appear as beauty marks instead of blemishes. The Three Pieces for Piano (1940) readily exemplify this aspect of Ginastera's musical language…….
Alberto Ginastera's Piano Sonata No. 1, Op. 22, exemplifies the stylistic traits associated with what scholars have described as Ginastera's "subjective nationalist" period. In earlier works, such as the Danzas Argentinas, Op. 2, from 1937, and the Creole Faust Overture from 1943, Ginastera borrowed from, modeled on, and/or made explicit references to dance and song styles from the folk traditions of his native Argentina. Beginning in the late '40s and early '50s, however, ……
…if any recording can make you appreciate Ginasteras music, this new release from Chandos is an excellent candidate for the job… I can sincerely recommend you try it.Review in Fanfare