CINCO CANCIONES POPULARES ARGENTINAS GINASTERA PDF

However, delays in postal and courier services mean that deliveries are currently taking longer than usual. This page lists all recordings of Cinco canciones populares argentinas Op. This release includes a digital booklet. Browse: Ginastera - Cinco canciones populares argentinas Op.

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Cinco canciones populares argentinas are a set of five songs for voice and piano, comprising both entirely new compositions as well as new settings of existing melodies , written in by Argentine composer Alberto Ginastera as his opus The five songs are as follows:.

In Argentina , the militant revolutionary activity of the late s and early s solidified the power of politicians who, according to Aaron Copland , placed musical policy entirely in the hands of "a small group of conservative musicians" Aaron Copland, "The Composers of South America," Modern Music vol.

In these songs, Ginastera draws from the Argentine cancionero popular , which catalogues the traditional songs and dances of each province and is used, in turn, to teach these to school children. Like his forebears, Ginastera's settings accentuate the local color of the original folk elements, with "highly ingratiating combinations of melodic simplicity, Latin folk rhythms, and twentieth century harmonic practices" David Edward Wallace. In these pieces, Ginastera places virtuosic demands on the pianist while allowing the singer to convey emotion in an understated vocal line.

Chacarera The chacarera from chacra , "farm" is deeply rooted in the central pampas and the northern Argentine interior, with popular variations in Uruguay and Bolivia. It is a rapid dance in triple meter for one or two couples, which begins with the beating of the feet on the ground while the guitarist strums the introductory bars.

There may be a link between the chacarera and the chaconne , which is described in The New Oxford Companion to Music 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 of a series of typical harmonic schemes e. Some composers used the same melody throughout the piece, repeating it in the manner of a ground bass.

This setting exhibits liberal use of hemiola , the result of alternation between 3 4 and 6 8 meters. The harmonization remains within the C major tonality of the repeating couplet , with dissonant embellishing and passing tones. Triste 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.

New York: G. Schirmer, Inc. It was disseminated as the triste by the payadores in the pampa during the nineteenth century, and, though lacking a set form, is characterized by a slow guitar introduction, melodia- recitativo with sparse accompaniment Diccionario de la Musica Labor , ed. In "Triste," Ginastera adds to these characteristics a sense of improvisational abandon, accentuating the hopelessness in this traditional text.

The melody combines diatonic and pentatonic elements, characteristic of Incan pentatonic scales, with the reiterated tone G and its embellishing quartal grace notes in the introduction serving to establish "the pentatonic flavor of the succeeding melody" Wallace, 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, "Ginastera's Quartets," Tempo vol December 34 , and serves as a musical "imitation of the vast open spaces of the pampas.

Accordingly, Ginastera uses his signature guitar chord twice in this piece, a tied thirty second note ascending arpeggiation 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 sherbet between courses, to cleanse the palate " Alison Dalton, violinist, Chicago Symphony Orchestra , interview by author of this article, throughout Ginastera's career, in nearly all of the genres in which he composed.

Though a similar harmonic resonance is achieved by playing nearly any series of four perfect fourths and a major third , 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 transposition , the performers must consider the specific sonority of the E-A-D-G-B-E chord and whether it too should be transposed or left as written. Zamba With no relation to the Brazilian samba , the Argentine zamba 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 6 8 meter, it remains "the obligatory dance at all rural fiestas " Diccionario de la Musica Labor , Ginastera's setting enhances the sway of the 6 8 meter with a syncopated accompanying pattern, and while the vocal melody maintains an F major tonality, the accompaniment alternates between F major and D minor in a manner characteristic of bimodal Argentine folk music.

In some passages "there is considerable use of extended tertian and polytonal arpeggiation underneath the melodic line" Wallace, Alberto Ginastera. Buenos Aires: Ediciones Culturales Argentinas, 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 chromatic shifting. 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 milonga and its more famous urban descendant, the tango , it fell out of favor in the zones near Buenos Aires , but found new vitality in the northern Argentine provinces and Bolivia.

The form is based on the choreography of the six-part dance for one or two split couples:. 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 interlude a repetition of the introduction followed by two sections of text, with vigorous zapateo interludes between each section.

Both the vocal melody and the accompaniment are in C major , but Ginastera "adds dissonance and dislocates tones horizontally to lend a polytonal aura to the background, [and] in the instrumental interludes between vocal stanzas, there is a frank espousal of bitonality , similar to sections of the earlier Danzas Argentinas " Wallace, As with "Chacarera," the words of "Gato," though not entirely nonsensical, are more significant for their rhythm than for their meaning.

In response to their premiere in Buenos Aires, "Gato" was hailed as "the highest achievement of the five songs From Wikipedia, the free encyclopedia. The five songs are as follows: 1. Chacarera 2. Triste 3. Zamba 4. Gato Historical background [ edit ] In Argentina , the militant revolutionary activity of the late s and early s solidified the power of politicians who, according to Aaron Copland , placed musical policy entirely in the hands of "a small group of conservative musicians" Aaron Copland, "The Composers of South America," Modern Music vol.

Musical influences and style [ edit ] In these songs, Ginastera draws from the Argentine cancionero popular , which catalogues the traditional songs and dances of each province and is used, in turn, to teach these to school children. The five songs of Ginastera's opus 10 [ edit ] 1. The form is based on the choreography of the six-part dance for one or two split couples: 1 guitar introduction 2 march with paso valseado , an exchange of triple-meter steps for each individual 3 zapateo , a textless section of four or eight musical phrases during which the man stomps his boots in place while the woman struts around him.

Don Rodrigo Bomarzo Beatrix Cenci Harp Concerto Piano Concerto No. Category:Compositions by Alberto Ginastera. Categories : Compositions by Alberto Ginastera compositions Classical song cycles.

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Five Argentine popular songs : for voice and piano = Cinco canciones populares argentinas

In these songs, Ginastera creates a variety and breadth of emotion only hinted at a few years earlier in the Three Songs, Op. Each song from Op. The first and last songs demonstrate the clearest evocations of Argentinean folklore. The playful rhythms of the chacarera, from which the first song takes its name, complement the lighthearted nature of the opening text:. The second song, whose title translates simply as "sad," is a plaintively melancholy look at unrequited love. The third poem also addresses this subject, flavoring faintly traditional rhythms and figures with occasional and dramatic harmonic discord. The penultimate song portrays a mother singing a lullaby to her child.

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Cinco canciones populares argentinas (5 Popular Argentinian Songs), for voice and piano, Op. 10

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