Análisis ejecutivo-interpretativo de la sonata para plano no. 1, op. 22, de Alberto Ginastera
Main Article Content
Keywords
Piano
Abstract
This article aims to provide tools and information useful for the preparation and performance of the First Piano Sonata, Op. 22, by Argentinian composer Alberto Ginastera. In order to familiarize the pianist with the composer’s works, a short historical context of his production is included, emphasizing the creative period in which the Sonata was composed. The article also contains an analysis of the overall structure of the piece as well as of each of the movements, and offers practical advice and suggestions focused on the technique and interpretative aspects whose purpose is to facilitate both the study and the execution of the work. Also included is a brief analysis of three recordings of the sonata with general comments related to the specific issues addressed in the article.
Downloads
References
Chase, G. (1957). Alberto Ginastera: Argentine composer. Musical Quarterly,43(4), 439-460.
De los Cobos, S. (1991). Alberto Ginastera’s three piano sonatas: a reflection of the composer and his country.Houston, TX: Rice University, disertación doctoral (Musical Arts). Recuperado el 18 de marzo de 2016, de: https://scholarship.rice.edu/bitstream/handle/1911/19080/9136091.PDF?sequence=1&isAllowed=y
Ginastera, A. (1954). Sonata No.1 for Piano Op.22. New York, NY: Boosey& Hawkes, Inc.
Ginastera, A. (1994). The piano music of Alberto Ginastera. Alma Petchersky, piano. Lorelt.
Ginastera, A. (2007). Ginastera: complete piano and organ music. Fernando Viani, piano. Naxos.
Ginastera, A. (2011). Ginastera: complete piano works, vol.1. Alexander Panizza, piano. Colección de Música Clásica. Clásicos Argentinos.
Hanley, M. A. (1969). The solo piano compositions of Alberto Ginastera (1916--). Cincinnati, OH: University of Cincinnati, disertación doctoral.
Knafo, C. (1994). Tradition and innovation: balances within the piano sonatas of Alberto Ginastera. Boston, MA: Boston University, disertación doctoral (Musical Arts).
Panufnik, A., Ginastera, A., & Xenakis, I. (1981). Homage to Béla Bartók. Tempo, 136, 35.
Tan, L. (1984). An interview with Alberto Ginastera. American Music Teacher, 33(3), 68.
Wallace, D. (1964). Alberto Ginastera: an analysis of his style and techniques of composition. Evanston, IL: Northwestern University, disertación doctoral.
Article Sidebar
Article Details
Carlos Augusto Rodríguez Vargas, Universidad EAFIT
Corpas in which he was a student of Ludmila Weber. Postgraduate studies in New York, at Mannes College of Music in which he was a student of Vladimir Feltsman. Since 2010 he has been a student of Blanca Uribe Espitia at EAFIT University. He has received awards in national and international competitions; The most recent of these was the third prize in the III Federico Chopin International Contest held in the city of Lima in December 2015.
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).