Alberto Ginastera'a late instrumental style.pdf

University of Texas Press

Alberto Ginastera's Late Instrumental StyleAuthor(s): Michelle TaborSource: Latin American Music Review / Revista de Msica Latinoamericana, Vol. 15, No. 1(Spring - Summer, 1994), pp. 1-31Published by: University of Texas PressStable URL: http://www.jstor.org/stable/3085946Accessed: 26/03/2009 00:28

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Michelle Tabor Michelle Tabor Michelle Tabor Alberto Ginastera's Late Alberto Ginastera's Late Alberto Ginastera's Late Instrumental Style

Alberto Ginastera (1916-1983) is considered by those familiar with his music to be one of the outstanding composers of this century from the Americas. Yet despite the prominence accorded him, little research has been published about the composer or his music. Most of the existing published scholarship dates from the 1970s or before and consequently focuses disproportionately on the composer's early and middle periods. Current explanations do not completely elucidate the music com- posed during what is generally regarded as Ginastera's late style period.

The primary aim of this article is to illuminate Ginastera's late stylistic phase through an examination of the instrumental compositions completed during that time. Only the instrumental compositions are considered so as to limit the scope of this paper. These works provide sufficient information to draw accurate conclusions about the late period, and compositions such as the three operas constitute in themselves a vast separate area for study. The study begins with a summary of the state of research on the music of Ginastera, together with the composer's own and other musicologists' explanations of his three style periods. The ensuing section discusses these explanations and considers them incomplete, particularly with reference to the late style period. The last section examines the analyses of three late compositions that support the argument that a further examination of Ginastera's late instrumental works yields new interpretations of his late style period.

Among several reasons for this state of affairs in scholarship about the music of Ginastera, two possibilities stand out. First, most major studies of Ginastera's music date from the composer's lifetime and therefore lack the perspective of an evaluation of his complete output.2 Second, writers have consistently relied on Ginastera's own explanations about his development as a composer and have not gone beyond them. However accurate

Latin American Music Review, Volume 15, Number 1, Spring/Summer 1994 ?1994 by the University of Texas Press, P.O. Box 7819, Austin TX 78713-7819

Instrumental Style





Instrumental Style





2 : Michelle Tabor 2 : Michelle Tabor 2 : Michelle Tabor

they may be, those explanations were made during the 1960s, and subsequent evaluations have not changed. Because Ginastera continued to compose until the time of his death in 1983, many characteristics of the latest works do not conform to the earlier evaluations.

Ginastera's explanations of his own stylistic development are significant because they form the basis for subsequent evaluations. Ginastera described his compositions as belonging to three developmental and stylistic periods.3 The first, "objective nationalism," refers to a group of works that begins with the ballet, Panamb' Opus 1 (1935-1937) and ends with Rondd sobre temas infantiles argentinos Opus 19 for piano (1947). Because the nationalistic elements in this group of works were so literal, Ginastera felt that they were objective and did not include his own feelings about nationalism.4 However, even during this early period, when the composer's music was deemed so authentic that he was considered to be Argentina's outstanding spokesman for nationalism in music, his works did not contain quotations of existing folk materials.5 The music was entirely of Ginastera's creation, yet it overtly shared the characteristics of Argentine nationalistic and popular music.

The second stylistic period, called "subjective nationalism," begins with String Quartet No. 1, Opus 20 (1948) and ends with the Harp Concerto Opus 25 (1956-65).6 This second phase refers to the presence of Argentine rhythms and melodies as allusions to nationalism, in contrast to their overt and obvious presence in the works of the first stylistic period. Because the composer was aware of the Argentine traits in these compositions, but listeners may not be similarly aware of them, Ginastera considered the nationalism exhibited to be subjective.

The composer's term for his third creative period was "neoexpressionism." It begins with the String Quartet No. 2, Opus 26 (1958), his first entirely dodecaphonic composition, and includes the remainder of his output. According to Ginastera, the compositions of this period did not contain rhythmic or melodic motives derived from folk music. However, they did exhibit certain implications that could be considered to have an Argentine essence. For example, strong or obsessive rhythms recall masculine dances; the contemplative quality of some slow movements suggests the peacefulness of the pampas; or the esoteric and magic attributes of certain passages connote the impenetrable nature of the country.7 Gilbert Chase describes the compositions of this period as encompassing "the ideal of strict construction combined with the essence of subjective feeling.'" This description refers to the use of the procedures of the avant-garde with a flexibility and drama that are closer to the ideals of Berg and Schoenberg than to those of the post-Webern serialists. It also refers to Ginastera's continued reliance on traditional forms.

Existing explanations of the two early periods, "objective nationalism"











Alberto Ginastera : 3 Alberto Ginastera : 3 Alberto Ginastera : 3

and "subjective nationalism," retain their validity under close scrutiny, although those terms are incomplete for failure to refer to the other dimen- sion in Ginastera's works, namely the presence or absence of the techniques of the avant-garde, a subject that could form the basis of another study. In my opinion many but not all of Ginastera's works comprise a gradual progression from an overt manifestation of Argentine nationalism and folklore within a traditional tonal framework, to a more "universal" expression that is only sometimes devoid of allusions to nationalism. As the obvious elements of nationalism and traditional tonality recede from these compositions, the techniques of the avant-garde become more prominent. The appearance of these techniques in the music of Ginastera has resulted in a unique style that successfully synthesizes new procedures with those of tradition and, in some works, incorporates characteristics of musical nationalism.

It is the third period, "neoexpressionism," which warrants further examination and explanation. The works of this period comprise some thirty compositions numbered from Opus 26 to Opus 55, of which the last completed work is the Piano Sonata No. 3, Opus 55 (1982).9 Unlike the terms used by Ginastera for the first two stylistic phases, neoexpressionism makes no reference to nationalism. Indeed, existing discussions of the third stylistic period do not treat the subject of musical nationalism in the late works. Furthermore, these discussions imply that only one direction is apparent in the late compositions.'? Contrary to existing evaluations, the analyses presented in this article demonstrate that three directions or trends are evident within the late works and that two of those directions include nationalistic elements. These three trends, which are discussed below, help to explain how the above-mentioned syntheses are more complex than they appear to be at first glance, as they transform distinctly in different compositions, and do not all appear in every late work.

The characteristics of the late compositions vary from those that exhibit an abstraction totally devoid of nationalistic traits, to those that show subtle allusions to nationalism through rhythms and melodies, and to those that contain overtly nationalistic elements. The presence or absence of nationalistic characteristics and the synthesis of elements of tradition with those of the avant-garde are important criteria in the present analysis of the late works. One direction explored by Ginastera after 1957 comprises a group of compositions that are abstract, contain no references to nationalism, and exhibit few traces of traditional tonality. While these pieces do not incorporate nationalistic features, they do synthesize elements of tradition with a conservative use of avant-garde techniques. They only share characteristics with nationalistic compositions inasmuch as they were created by the same composer, and therefore contain traits, particularly rhythmic and melodic, typical of Ginastera's entire output. These works were completed








between 1963 and 1972, the same years during which the composer completed his three operas. Analysts of Ginastera's music who wrote between 1963 and 1972 correctly concluded that up to that time, his later compositions display a marked change of direction in which nationalism no longer plays a part. Ginastera's own evaluations of his stylistic development, as set forth by writers like Suarez Urtubey, and which are relied upon by other writers, date from these years. Had Ginastera stopped composing at this point, these conclusions would have been accurate. Some compositions of this first trend include the Piano Quintet (1963),12 the Violin Concerto (1963),13 Estudios Sinfonicos (1967), and the Piano Concerto No. 2 (1972).

The second and third trends within Ginastera's late period do not conform to existing evaluations of this period. The second direction comprises four works that have nationalistic titles: Cantata para America mdgica (1960), a vocal composition beyond the scope of this article; Punena No. 1 (1973) for solo flute, which remains unfinished; Popol Vuh, The Creation of the Maya World (1975-83) for orchestra, the last movement of which was left incomplete at the time of Ginastera's death;14 and Punena No. 2 (1976) for solo cello. These works present evidence at the superficial level of titles that runs counter to assertions that Ginastera abandoned nationalism in his late works. However, his approach to nationalism in music certainly underwent changes. The compositions reveal a unique approach to the ideals of nationalism evoked within a contemporary idiom. While preserving the spirit of and emphasis on nationalism, the framework of traditional tonality, supporting traditional melodies and rhythms, disappears. The compositions within this trend, therefore, constitute a synthesis of nationalism with the techniques of the avant-garde.

The third direction within Ginastera's late period encompasses such works as the Sonata for guitar (1976), Sonata for cello and piano (1979), and the second and third Sonatas for piano (1981 and 1982, respectively). They contain many nationalistic traits like rhythms and melodies, but their identification with nationalism is less overt than the works that express an "objective nationalism." For example, the second and third piano Sonatas are inspired by and based on indigenous dances and songs from the northern region of Argentina; and the guitar Sonata is inspired by and based on both indigenous folklore and the folklore from the pampas. Perhaps these works are more like those of the second period of "subjective nationalism." At the same time, however, these compositions contain the techniques of the avant-garde that Ginastera developed during the period from 1963 to 1972, when he completed many abstract works and looked beyond nationalism. The pieces of this third trend of "neoexpressionism" combine overtly nationalistic elements with those of the avant-garde, elements of tradition, and even a few unconventional references to tonal centers. Therefore, this group of works presents perhaps the best examples







Alberto Ginastera : 5

of the synthesis of the avant-garde with tradition, together with the incor- poration of nationalist elements.

The following section of this article presents analyses of three compositions to indicate the three directions within Ginastera's late compositional style. The three works are the Piano Quintet, Punena No. 2 for solo cello, and the Sonata for guitar. The Piano Quintet Opus 29 was commissioned by the Mozarteum Argentino for the Quintetto Chigiano of Siena, Italy. One of the most abstract of Ginastera's compositions, the Piano Quintet is organized into the following seven movements: Movement I is the Introduction (Introduzione); Movements II, IV, and VI are Cadenzas for particular instruments (Cadenza I per viola e violoncello, Cadenza II per due violine, and Cadenza III per pianoforte); and Movements III, V, and VII are a Scherzo (Scherzo fantastico), a slow movement (Piccola musica notturna), and a brilliant Finale, respectively.15

In spite of the extremely dramatic introductory movement's improvisatory character, its forty-one measures are clearly organized into two sections, which in turn are clearly organized into various phrases. Section I (measures 1-21) sustains an extremely high level of tension, with a continuous dynamic level of fff that leads to the climax of the movement, precisely at its midpoint, in measures 20 and 21. Section II, measures 22-41, functions as a release of the intensity of the first section. The release of the tension is achieved through various means, such as descending melodic lines in the strings, ever longer rhythmic durations, and a continuous diminuendo, the first one in this movement and which reaches the dynamic level of p in measure 25 and the dynamic level of pppp in measure 40. This combination of a strict construction with dramatic and improvisatory qualities illustrates Gilbert Chase's description of the typical late stylistic phase.

Harmonically, this movement is atonal and its first, tension-filled section displays thick masses of sonorities in which the majority of its twenty-one measures contain all twelve pitch-classes. The decreased densities of the sonorities in the second section serve to underscore the diminishing tension of this part of the movement. Example 1, the first two measures of the Introduzione, shows the very thick sonorities, the use of the extremes of the instrumental ranges, a trait found throughout this composition, and the fff dynamic level. More specifically, all twelve pitch-classes are heard in the first two beats of measure 1, and ten pitch-classes are heard in the third beat of that measure. This movement shares the melodic characteristic of the repetition of the same pitch at ever shorter durations with many slow movements of all of Ginastera's stylistic periods. This typical melodic configuration appears in the strings in measure 2 of this example.

Movements II, IV, and VI are unusual because soloistic virtuosic cadenzas generally do not form separate movements, nor are they usually associated with chamber music. A precedent for a cadenza as a separate













6 : Michelle Tabor

Example 1: Piano Quintet, Movement I, mm. 1-2 i= 50

3

AlIj ' ' r Gf I r

fff sforzato j __r- -- -n

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3

AlIj ' ' r Gf I r


6 : Michelle Tabor


3

AlIj ' ' r Gf I r


VlnII / fr-r f J. E J 1ff sf%rzato

Vla K f s. fra 1ff sforzato

Cello j9i 7 > f r G T rT







Piano~ Piano~ Piano~

fff sforzato

J= 50 A a"^

l 0 ,_v a

f , ,,

f/// v lasciar vibrare col Ped.

C) '> I j; 3^

fff sforzato

J= 50 A a"^

l 0 ,_v a

f , ,,


C) '> I j; 3^

fff sforzato

J= 50 A a"^

l 0 ,_v a

f , ,,


C) '> I j; 3^ Muc l

- V

Musical examples 1, 2, and 5-9 are from Quintet for Piano and String Quartet, Op. 29. ?Copyright 1966 by Boosey & Hawkes, Inc. Reprinted by permission.

movement appears in Ginastera's Piano Concerto No. 1 (1961), in which the first movement, "Cadenza e varianti," begins with a cadenza for the piano and functions as a theme for the succeeding set of variations. 16 Even though the cadenzas are written, like the Introduzione, in a nonserial atonal idiom, they are permeated with qualities that illustrate Ginastera's reliance on traditional concepts of cadenzas, such as improvisatory passages, rhythmic flexibility, dramatic intent, and virtuosity. In the same manner that cadenzas in concertos feature the solo instrument, these cadenzas feature individual instruments of the quintet, as indicated in their titles. Other examples of traditional concepts of cadenzas include successions of arpeggios as in Cadenza I; the appearance of one reiterated tone together with another that creates successively expanded intervals as in Cadenza II; and the unmetered passages in the final sections of Cadenzas II and III. The drama and virtuosity of these cadenzas, which is made evident in indications such as "rapsodico," "con fuoco," "con bravura," and "esaltato," are characteristics found in many works of all three of the composer's style periods.

One of the most striking characteristics of Cadenza I is the clearly audible strict rhythmic and pitch imitation through exact intervallic inversion

Muc l - V




Muc l - V





between the viola and the cello throughout its twenty-six measures, the first two of which are shown in Example 2. This movement provides another example of Ginastera's synthesis of new and traditional procedures. It reflects his interest in contrapuntal techniques as tonality is abandoned, together with the continued use of a traditional, very clear A-B-A form, and traditional concepts of cadenzas, as mentioned earlier. More than half of Movement VI (Cadenza III) contains the same musical material as the first ten measures of Movement I, a similarity that provides a means of unity for the entire composition.

Example 2: Piano Quintet, Movement II, mm. 1-2

= 66 ma senza rigore

f rapsodico f

f rapsodico f==-

Twelve-tone writing is especially prominent in Movements III, V, and VII which, like Movement I, feature all five instruments of the quintet. Movements III and V are each based on a separate twelve-tone row, shown in Example 3. Movement VII is based on two rows, both of which are rearrangements and transpositions of the rows in Movements III and V. These rows appear in Example 4 with indications of their relationships to the rows in Movements III and V. The altered forms of rows from Move- ments III and V found in Movement VII provide a powerful unifying force for the entire composition.

Example 3: Twelve-Tone Row of Movement III

ic: 1 2 5 6 7 7 6 5 2 1

RI3

Twelve-Tone Row of Movement V

0 ? o0 0 ?

bo * K, trichords: 1 2 3 4





f rapsodico f

f rapsodico f==-



ic: 1 2 5 6 7 7 6 5 2 1

RI3


0 ? o0 0 ?






f rapsodico f

f rapsodico f==-



ic: 1 2 5 6 7 7 6 5 2 1

RI3


0 ? o0 0 ?



Example 4: Twelve-Tone Rows of Movement VII

First Row, from Movement V

D I I ? trichords: 1 (4) 2 (1) 3 (2) 4 (3)

(trichords of row of movement V in parentheses)

Second Row, from Movement III

ic: 1 2 5 6 7 1 2 5 6 7

? - , 0 ? 0 0 0 bo b.. ? o

P2 of 1st hexachord R2 of 2nd hexachord and of row of I7 of 1st hexachord movement III of row of movement III

The tone rows in Ginastera's music nearly always show evidence of a careful attention to their organization, as well as a straightforwardness and flexibility in their deployment. For example, the row in Movement III is carefully organized into two hexachords, the second hexachord being the RI3 form of the first hexachord. The intervals of the first hexachord gradually expand, creating interval-classes 1, 2, 5, 6, and 7, as each interval changes direction. The effect in the second hexachord, of course, is the gradual contraction of these same intervals. A straightforward presentation of this row can be seen in the opening measures of Movement III, shown in Example 5. The divisions in the music of the various forms of the row into hexachords reflect the hexachordal structure of the row. Measures 1 to 24 contain the first appearance of the complete row. The first hexachord, labeled order numbers 0 to 5, appears in measures 1 to 20. The second hexachord, labeled order numbers 6 to 11, appears in measures 21 to 24 in the form of a chord that is reiterated in the strings. Measures 25 to 27 show a continued division of other forms of the row into hexachords.

The flexibility in the use of tone rows reflects Ginastera's attitude that compositional techniques are tools intended to help achieve the far more important goal of expression in music. For example, only parts of Move- ment III are based on the row. The sections based on the row are preceded and followed by transitional passages in which the row either gradually breaks down or reappears. Most of the sections that are not based on the row are melodically static, as in measures 52 to 61, which appear in Example 6, where sets of two pitch-classes played by each instrument remain the same. The principal focus of this passage is timbral because every statement of three sixteenth notes in measures 52 to 55 consists of a different combination of two sets; in measures 56 to 61, the number of sets gradually increases from one to six and then decreases to one.



D I I ? trichords: 1 (4) 2 (1) 3 (2) 4 (3)



ic: 1 2 5 6 7 1 2 5 6 7

? - , 0 ? 0 0 0 bo b.. ? o






D I I ? trichords: 1 (4) 2 (1) 3 (2) 4 (3)



ic: 1 2 5 6 7 1 2 5 6 7

? - , 0 ? 0 0 0 bo b.. ? o




Example 5: Piano Quintet, Movement III, mm. 1-27

1st hexachord Po = 152 a

8va-- ---------------- : ....

..-------------------... ..-...

..; con sord.^ va^- t f con sord. - A -C -1&- -1



8va-- ---------------- : ....

..-------------------... ..-...




8va-- ---------------- : ....

..-------------------... ..-...


Vln I Vln I Vln I

Vln II

Viola

Cello

Piano

Vln II

Viola

Cello

Piano

Vln II

Viola

Cello

Piano

t to r r r ., r r F _ 7 7' 7' . 7 . --' sempre PPP e misterioso 0

8va -------- 8 a .................

con sord. - ?-

t~- - 7' 77 7 ' sempre PPP e misterioso 1 2

con sord. c on --

- -

-r

con sord.

!' '152 '

i:th


8va -------- 8 a .................

con sord. - ?-


con sord. c on --

- -

-r

con sord.

!' '152 '

i:th


8va -------- 8 a .................

con sord. - ?-


con sord. c on --

- -

-r

con sord.

!' '152 '

i:th

1st hexachordPo 1st hexachordPo 1st hexachordPo

' I I I I ' 7 ' 7

0U~~~ g~~8va .. . ....: 8va ;

-^ - -

- ,, 7- 77-7 1 2

col legno

K-#- - s-5 77j' f7 sempre PP e risteioso

col legno 3 7*7 7'jl 7- j n -

sempre PPP e mistenioso i1

-$_

_

' I I I I ' 7 ' 7

0U~~~ g~~8va .. . ....: 8va ;

-^ - -

- ,, 7- 77-7 1 2

col legno




-$_

_

' I I I I ' 7 ' 7

0U~~~ g~~8va .. . ....: 8va ;

-^ - -

- ,, 7- 77-7 1 2

col legno




-$_

_

Example 5, continued Example 5, continued Example 5, continued

st hexachord Po st hexachord Po st hexachord Po 8va--' 8va -

, L1 sul oont. 0 ? 8va--' 8va -

, L1 sul oont. 0 ? 8va--' 8va -

, L1 sul oont. 0 ? 8va .o---;

ftI 8va .o---;

ftI 8va .o---;

ftI 8Voa

- '

8va i-

iea f 8Voa

- '

8va i-

iea f 8Voa

- '

8va i-

iea f / ' -|T 7. i F- -7 t9 7 t r -^

gva'-i 8va -- 8v . gva' 8va sul pont. 2

; -fe4 7 - 7 f 7 ;7 7n t

-r 4 i2

I

2nd hexachord Po

..--~--Va --

-

. 8va------ 81aa : ava

arcos o nat

I z t 8 7 1O

- ; .

sul pont. 1 . ' 9. 7 !-

' '- 7' 77 7' 7

sempre PPP e misteoso oo)

2nd hexachord Po

pos. nat. 1; Ji 1:, 1 I 10 i

?S ' nat .-

7'mpr PPP misterioso (oco) 7, r 7- 7 7' 2 7 a - --- --- --- --- --- --- --- ---- --- --- --- --- --- --- --- ---

7

/ ' -|T 7. i F- -7 t9 7 t r -^ gva'-i 8va -- 8v . gva' 8va

sul pont. 2

; -fe4 7 - 7 f 7 ;7 7n t

-r 4 i2

I

2nd hexachord Po

..--~--Va --

-

. 8va------ 81aa : ava

arcos o nat

I z t 8 7 1O

- ; .

sul pont. 1 . ' 9. 7 !-

' '- 7' 77 7' 7


2nd hexachord Po

pos. nat. 1; Ji 1:, 1 I 10 i

?S ' nat .-


7

/ ' -|T 7. i F- -7 t9 7 t r -^ gva'-i 8va -- 8v . gva' 8va

sul pont. 2

; -fe4 7 - 7 f 7 ;7 7n t

-r 4 i2

I

2nd hexachord Po

..--~--Va --

-

. 8va------ 81aa : ava

arcos o nat

I z t 8 7 1O

- ; .

sul pont. 1 . ' 9. 7 !-

' '- 7' 77 7' 7


2nd hexachord Po

pos. nat. 1; Ji 1:, 1 I 10 i

?S ' nat .-


7



2nd hexachord Po

I

. .

2nd hexachord Po

I

. .

2nd hexachord Po

I

. . 11 Inf

11 Inf

11 Inf

0 0 0

RI2 RI2 RI2

4 : 4 : 4 :

, ,Y-^-, r r r

O O

.'- -. 7 aO o

p r : T r;t: i r r r , 1

j ' $5

t ~

^ ^r j-

, ,Y-^-, r r r

O O

.'- -. 7 aO o

p r : T r;t: i r r r , 1

j ' $5

t ~

^ ^r j-

, ,Y-^-, r r r

O O

.'- -. 7 aO o

p r : T r;t: i r r r , 1

j ' $5

t ~

^ ^r j- 2nd hex P4 2nd hex P4 2nd hex P4 1st 1st 1st hex. P4 hex. P4 hex. P4

Measures 66 to 68, shown in Example 7, exhibit one of the few instances of contrapuntal techniques in this movement. These three measures, which contain a fleeting intricate canonic relationship, also exemplify the unities that abound in Ginastera's music. Every one of the four lines played by the strings is made up of two hexachords, each of which forms part of two forms of the row, as labeled in the example. The first entry of the cello is answered canonically in the second violin, while the entry of the viola is answered by the first violin. Because the second hexachord of each line is a transposed inversion of the first hexachord of that line, the material played by the viola and first violin forms an exact intervallic inversion of the material heard in the cello and second violin. Also, the first hexachord in the viola part is exactly the same as the second hexachord in the second violin part, and the second hexachord in the viola part is exactly the same as the first hexachord in the second violin part.

The four chords in the piano in measures 66 to 68 display some additional close relationships, although they do not form part of the serial organization





o o o

12 : Michelle Tabor


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12 : Michelle Tabor


SETS 1 2 SETS 1 2 SETS 1 2

Y I I LI I Y I I LI I Y I I LI I

Vcol legno

col legno

7 =?- _ 7-

col legno

78 I k7 7 I _ _ 7r -

col legno

8va------;-- 8va""."

j . . .; . . .

c l @7 t--g t ^ ... ., ? ^ ......

Vcol legno

col legno

7 =?- _ 7-

col legno

78 I k7 7 I _ _ 7r -

col legno

8va------;-- 8va""."

j . . .; . . .

c l @7 t--g t ^ ... ., ? ^ ......

Vcol legno

col legno

7 =?- _ 7-

col legno

78 I k7 7 I _ _ 7r -

col legno

8va------;-- 8va""."

j . . .; . . .

c l @7 t--g t ^ ... ., ? ^ ......

of this movement. The trichords played by the right hand form exact intervallic inversions of those played by the left hand. And every trichord consists of a 0, 1, 4 set. This fleeting contrapuntal passage shows that Ginastera was quite capable of using very intricate, complex techniques, but he used them only occasionally and with flexibility to achieve what he considered to be the principal aim of musical expression. He was not ideologically wedded to any particular compositional method.

This movement, titled Scherzo Fantastico, is one of Ginastera's distinctive movements, characterized by an elusive, mysterious quality, a single dynamic level of ppp throughout its entire 218 measures, an extremely rapid tempo, and compound meter, in this case, 6/16. This type of movement, which first appears in the String Quartet No. 1 in 1948, can be found in four other compositions that predate the Piano Quintet. It also appears in several later compositions, such as the Piano Concerto No. 2, the Sonata for guitar, and the Sonata for cello and piano. In works like the first String Quartet and the Sonata for guitar, this type of movement has nationalistic





fJ I I I r fJ I I I r fJ I I I r

55 . . . . .

4:;;:;i 55

. . . . .

4:;;:;i 55

. . . . .

4:;;:;i



SETS 3 SETS 3 SETS 3 4 5 6 5 4 3 2

Ho) I_r_ _L :::::: , L: ftrtt

4 5 6 5 4 3 2

Ho) I_r_ _L :::::: , L: ftrtt

4 5 6 5 4 3 2

Ho) I_r_ _L :::::: , L: ftrtt

*I r = _- rrr -

. . . .. . . . . . . .' . .'.. . . . .. .. . . . . . . . . . . . . .

?s;:: ig@

*I r = _- rrr -

. . . .. . . . . . . .' . .'.. . . . .. .. . . . . . . . . . . . . .

?s;:: ig@

*I r = _- rrr -

. . . .. . . . . . . .' . .'.. . . . .. .. . . . . . . . . . . . . .

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connotations because it recalls the rhythms and character of vigorous dances from the region of the pampas, like the malambo. However, in works such as the Piano Quintet and the Piano Concerto No. 2, the rhythmic characteristics remain the same, but their context precludes any allusions to nationalism. A comparison of these movements illustrates Ginastera's ability to transform a type of movement with clearly nationalistic connotations into a movement that preserves the same superficial characteristics, but whose expression is totally abstract.

Movement V, the slow movement, consists of a succession of very long angular melodies that span a wide pitch range. These melodic characteristics become common in Ginastera's music after his adoption of serial techniques. The deployment of a different form of the row as the basis for each melody, together with such reinforcing changes as register, instrumentation, and rhythm, create a sectional form as this movement unfolds. The dynamic level throughout the 64 measures of this movement remains mostly at p or softer, with occasional brief crescendos to mf and f. The





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Example 7:

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Example 7:

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Example 7:

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Piano Quintet, Movement III, mm. 66-68 Piano Quintet, Movement III, mm. 66-68 Piano Quintet, Movement III, mm. 66-68

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P5 &RIO R5 &I 10

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A representative section in this movement comprises the latter part of measure 34 to measure 41, the first three measures of which appear in Example 8. This section, based on the R3 form of the row, begins as it forms a distinct contrast in register, rhythm, and instrumentation with the previous section, the end of which appears in the first part of measure 34 in the piano part. The violins and viola each play the same two pitch- classes throughout: order numbers 7 and 8 in the first violin, 3 and 4 in the second violin, and 5 and 6 in the viola. The piano part performs the same accompanying function as those of the violins and viola, with its repetition of an arpeggio figuration that presents order numbers 9, 10, 11, and 0, 1, 2. The melodic line of the cello begins in measure 35. This melody consists of the same pitch-classes as those in the piano, or order numbers 9, 10, 11,

texture of melody and accompaniment maintains the prominence of the melodies. Indications such as "flessibile, ma senza rallentare il tempo," "dolce," "espressivo," "lirico," and "mnisterioso," illustrate the quiet, reflective, improvisatory character of this movement.


texture of melody and accompaniment maintains the prominence of the melodies. Indications such as "flessibile, ma senza rallentare il tempo," "dolce," "espressivo," "lirico," and "mnisterioso," illustrate the quiet, reflective, improvisatory character of this movement.



0, 1, 2, except the final pitch of the melody, which is order number 8, in the last part of measure 39 and measures 40 and 41. The melody in the cello begins at the dynamic level of p, and gradually builds in intensity to the mf at the d#2 in measure 38. The final diminuendo of the melody occurs together with a thinning of the texture as the first violin and viola cease playing in measures 39, 40, and 41. The ritard. molto in measure 41 con- stitutes another indication of the end of this section. The following section, which begins in measure 42 in the first violin part, is based on the P11 form of the row.

The first 68 of the 83 measures in Movement VII, the Finale, are based alternately on one or the other of its two rows, which are based on those from Movements III and V. The last fifteen measures consist of melodically static, percussive eighth notes that serve to end the work. Similar to Move- ments III and V, the overall form of Movement VII is created through the







Example 8: Piano Quintet, Movement V, mm. 34-36 Example 8: Piano Quintet, Movement V, mm. 34-36 Example 8: Piano Quintet, Movement V, mm. 34-36

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Example 8, continued 8

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deployment of various forms of the row. The rows appear in a straightforward manner in four simultaneous transpositions that form adjacent half steps, as at the beginning of the movement, shown in Example 9. The P0 form in the first two measures in the first violin, with the three transpositions in the other stringed instruments, is followed by the IO form together with

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