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GINASTERA, A.: Complete Piano and Organ Music

Composer(s):Ginastera, AlbertoZipoli, Domenico
Artist(s) Viani, Fernando, organ • Viani, Fernando, piano
Period(s) 20th CenturyBaroque (1600-1750)
Genre Classical Music
Category Instrumental
Catalogue 8.557911-12
Label Naxos
Quality   320kbps
 
 
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8.557911-12
 


The Argentine composer Alberto Ginastera is widely regarded as one of the most important and original South American composers of the 20th century. CD 1 of this 2-CD set of the complete works for organ and piano focuses on early works, many of which use folk-based elements without merely transcribing traditional tunes, and with increasing sophistication. The large-scale piano works featured on CD 2 include Sonata No. 1, Op. 22 (1952), one of the composer’s most popular works, and the Sonata No. 3 (1982), Ginastera’s last work, described by the soloist on this recording as a ‘single grand and violent impulse, with no time to catch its breath, like a dance to try and escape from death’.

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Review By Ray Picot,Iberian and Latin American Music Society,May 2007

Capitalising on their enterprising issues of the two numbered Piano Concertos (8.555283) and the ballets Panambi and Estancia (8.557582), Naxos venture into the heart of Ginastera's output, with his piano music. Fernando Viani has for many years been associated with Fundacion Ostinato, and in this capacity very capably contributed to excellent surveys of music by Gianneo, J J Castro, and Ginastera. He has to compete with two several well established sets, notably from Alberto Portugheis (ASV) and Barbara Nissman (Newport Classics), who both knew the composer. However, this is great music that deserves to be heard by the widest audience, and this is where Naxos score. Viani tends to err towards the faster tempi of Nissman and technically is excellent. He feels that like the composer,

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Review By David Denton, Naxos,June 2007

I knew precious little about the piano output of the Argentine composer, Alberto Ginastera, save for the three sonatas, the music roughly falling into three distinct periods. Starting out under the direct stylistic influences of the French Impressionists and liberally endowed with Argentinean folk idioms, he flirted with the influences of the Second Viennese School in his late 20's (Preludios americanos), before reclaiming ground as a purely melodic South American. Stopping en route to offer two gentle suites of Pieces for Children, he arrived at what are widely regarded as the most important and original Latin American piano scores with the Piano Sonatas. These are technically very demanding, the first two structured in classical

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