Alberto Ginastera - ALL PIANO SONATAS (GSARCI BIRTHDAY PRESENT)

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, with such works as Pampeana No. 1 (1947) and the orchestral piece Ollantay (1950), Ginastera tempered his earlier, explicitly nationalist style with a more cosmopolitan approach and a more sophisticated technical treatment of musical materials. Composed in 1952, the Op. 22 piano sonata reflects this more complex integration of national identity and compositional method through its fusion of lively, dance-derived rhythmic figurations, evocative textures, and modern musical forms and idioms. (0:14) The dramatic first movement of the sonata, marked Allegro marcato, begins with aggressive chordal gestures emphasizing the extremes of the piano's range. The opening material and the subsequent, more lyrical theme, undergo a series of virtuosic figurational transformations organized in carefully paced arcs of intensity and repose. When the opening material returns at the end of the movement, it is intensified by a subtle shift upwards in its tonal orientation. (4:28) The second movement, "Presto misterioso," conveys a palpably nervous energy, not only through its striking melodic material -- a slithering line constituting a 12-tone row -- but also through its unique texture: both hands play the same line in octaves at opposite ends of the keyboard, occasionally diverging for chromatic runs in contrary motion. (7:03) The busy angst and relentless rhythmic drive of the second movement is sharply contrasted by the dreamy languor of the third, marked Adagio molto appassionato. The movement begins with sparse, ringing tones in arid, ascending arcs alternating with lyrical, introspective passages. The sinuous melodies of the latter section slowly gather momentum and eventually break into sensual, rhapsodic exclamations and florid figurations before subsiding again into a kind of narcotic haze. (12:39) The Argentine element is perhaps most apparent in the driving syncopations and stylized bravado of the final movement. The right hand articulates angular ostinato figures while the bold octaves in the bass project a metrical emphasis that constantly shifts between 6/8 and 3/4, conveying in a modern musical language an indelible "gaucho" flavor.
(15:33) In his second piano sonata, a growl and rumble from the piano's lower depths begins the first movement's rhythmic ostinato, agressively concluded with a series of hammered out chords. The composer states that his main influence was the music of the northern part of Argentina, the first movement developing the dance Palapala. (19:33) The nocturnal second movement has a mysterious and ambiguous quality, fantasy-like in its evocation of perhaps a macabre program. It is based on folk tunes from the lonely and desolate punas of the Andean nations of South America. (24:54) The toccata final movement, titled "Ostinato Aymara" comes from a dance called "karnavalito". The Aymara are a people that have inhabited the sierra of Peru, Bolivia, Chile and Nothern Argentina. Though their language is barely perserved, Aymara customs are still preserved in the remote reaches of these countries.
(28:35) Written in the year before Alberto Ginastera's death, the Piano Sonata No. 3 (1982) reflects the work of a composer at the end of a career spent assembling and assimilating a vast vocabulary of textural and harmonic techniques. There is no play in this work, no double meaning, irony, or guile: Ginastera is speaking with pure expression, his characteristic rhythmicality and angularity here serving as a recurring gesture rather than a governing framework. The rather short (around six and a half minutes), single-movement work constitutes a large binary form with coda. Its impetuous character is facilitated by a persistent harmonic heaviness and textural viscosity, as well as frequent and jarring shifts of range. Modeled loosely after Amerindian dances, the insistent rhythms provide this composition with a sort of unpredictable inertia.
(AllMusic)
Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.
Original audio: classical-music-online.net
(Performance by: Fernando Viani)
Original sheet music: en.scorser.com

[@FernandoViani]

Thank you for choose my interpretation

[@thenameisgsarci]

I also appreciate your brilliant performance of the pieces here, too! Thanks! :D

[@williamransone284]

Maître, c'est formidable !! Et quel plaisir (pour vous !) de pouvoir le jouer, je ne peux à peine l'imaginer....mille fois bravo !

[@FernandoViani]

many thanks! i love this music!

[@EJOh]

What a great performance!

[@Highinsight7]

REALLY GREAT playing Fernando... you play it like your improvising... !

[@user-io6de7wy8t]

Sonata para Piano N°1 Op.22 [00:30] I. Allegro marcato [04:31] II. Presto misterioso [07:06] III. Adagio molto appassionato [12:43] IV. Ruvido ed ostinato Sonata para Piano N°2 Op.53 [15:47] I. Allegramente [19:37] II. Adagio sereno - Scorrevole - Ripresa dell'Adagio [24:57] III. Ostinato aymará [28:44] Sonata para Piano N°3 Op.54

[@steveegallo3384]

....takes your breath away....How is this even Possible??? BRAVISSIMO!!!!!!!!!!!!!!

[@EJOh]

Ginastera composed third piano sonata that is last work in a hospital. Mrs. Ginastera(Aurora Natola, his wife) said Sunday that her husband's death was ''especially tragic because he so much wanted to compose more music.'' The third piano sonata seems to contain his complicated feelings at the time.

[@talastra]

Everyone in the world take note. I don't know what Viani is doing with that opening rhythm in Sonata no. 3, but he is the only person, I am convinced, who has the accents right. (It sounds clearest from measure 4 onward). Even Nissman can't make sense of it, and other performances just clunk through that opening with no swing, no spirt. No. 3 later offers some really nasty gestures from Ginastera, and they're hard to make sense of, but I'm so glad to hear Viani's no. 3. I'd heard it previously without knowing who did it, but now I know. BRAVO!

[@lepaintre123]

A pleasure to discover this composer Alberto Ginastera'!.

[@todd3386]

Wow, where has this composer been all my life? I am so happy to find his work. This is powerful!

[@thenameisgsarci]

SIDE COMMENTS: 1) I know, I'm behind schedule for the upload, but in my defense, it's still my birthday somewhere. Also, this is a result of asking people on Reddit what piece should I cover for the birthday tribute, so whoever requested this one, shoutouts to you. Don't worry, KZbin people, it's still not too late to make a request. :) 2) Thank you very much for staying with me. We wouldn't have gone this far without you. Let's celebrate more soon. 3) I'll say, the Stravinsky influence is very evident in here. 4) I can't decide between the 2nd and 3rd in terms of difficulty. Nonetheless, Ginastera really wants to see someone play this and leave bloodstains on the keys. 5) Some melodies here are very catchy. I can legit dance or at least bop my head to some of them. 6) Some passages in the pieces are very hard for me to sync, so if you think I missed by a few milliseconds, I'm sorry, but I was so very confused as fahq at some parts. :P 7) Any random comments, suggestions, opinions, questions, or video requests? Feel more than free to leave a comment or give me a PM. :D

[@bernardparret3191]

I am now discovering these three sonatas, and am under the spell of this music so frought with mystery, contrasting moods. I am sensitive to its rythmical qualities, its energy. Ginastera also knows how to become charming and poetic (here, and in the 2nd Argentine Dance for instance). I deeply enjoy the clarity, accuracy and sensitiveness of M. Viani's rendition.

[@AlanInUtah]

I remember the first time I heard the first sonata when Nelita True did a master class at Stephen F. Austin and performed a program later that evening with this sonata on the program. This music is so visceral and earthy (is that a word). I have a recording of the 1rst performed by Alberto Portugheis. Thanks for uploading, great memories for myself!

[@thenameisgsarci]

You're welcome, friend. :D

[@williamransone284]

Très belle découverte, je le connaissais pas auparavant ! Et d'avoir la partition au même temps, quelle lumineuse idée, merci !

[@ChrisBreemer]

Oh wow. I did not know this pianist, he is very powerful indeed. And I knew only the first sonata, the second seems even more intense. Thanks for posting this !!!

[@thenameisgsarci]

You're welcome. :)

[@slateflash]

I love the nuance of those subtle chord changes from 14:56 to 15:02. Something that Bartok is also fond of doing

[@EmilianoManna]

Happy birthday!

[@thenameisgsarci]

Thanks for the greeting, sir. :)

[@ZeldaMarshall]

Happy Birthday Gsarci -- & thanks for the present you gave us! I remember being so fascinated by the Ginastera 1st sonata back in my late teens (almost 40 years ago -- Ginastera was still alive back then). I had been wanting to hear the other sonatas too, especially after reading the notes in my CD of Barbara Nissman's recording of the Prokof'yev sontata, that Ginastera dedicated the 3rd sonata to her. What a fun work -- all the toccata element of the last movement of Prokof'yev's 7th sonata, made into a complete sonata of its own. Thanks for sharing the audio & the score!

[@thenameisgsarci]

Yeah, you're welcome. It's been more than a week, but thank you still. :)

[@user-ue2mf1po3k]

2拍子と3拍子が入れ替わるのが良き💙

[@meriadocbrandebouc]

Man, I love your channel. I love you. Thank you for all these magnificent uploads ! *__*

[@thenameisgsarci]

No, my friend, thank you for enjoying them as much as I do. ^_^

[@aleksrosenblatt]

Thanks!! Happy Birthday!

[@thenameisgsarci]

Yay!!! ^_^

[@tomekkobialka]

ALL PIANO SONATAS?!?! Holy crap!!! :D Thanks for the upload. And happy birthday! P.S. Don't worry about the Mahler symphony...I've got that one sorted. ;)

[@thenameisgsarci]

1) Yes, all of them. I think it is, I just based it on his work catalogue. 2) I prefer "holy shit" to "holy crap" for that extra sinfulness. XD 3) You're welcome. :D 4) Thanks for the greeting. But I'm still pretty late for the upload, am I? What a shame. 5) Wait... really, you'll do it for me? Yes, please... God, I can't thank you enough. *sniff*

[@bsdkflh]

Superb music. The fourth movement of the First Sonata really calls for athletic stamina! Thank you for your work

[@thenameisgsarci]

LOL, I think you need stamina to play all of them. XD

[@bsdkflh]

I really didn't think one could get even close to the legendary Terrence Judd recording with the first sonata, but I feel the power in this one B)

[@robertrobb1290]

Beautiful! Incredible! What a special world dreamed up. Got to branch out to more modern music. Inspired by Bartok ?Good; love his string quartets.

[@solomonkhagba9104]

32:54 beautiful

[@IamNexusLOL]

happy birthday gsarci and thnx for the upload!!! :)

[@thenameisgsarci]

You're welcome. :D

[@dspannplayspiano]

Very juicy and delicious hunks of piano brilliance. Awesome!

[@FernandoViani]

many thanks!

[@hopperkrane12]

Brilliant!

[@FernandoViani]

many thanks!

[@slateflash]

2nd movement of the 2nd sonata sounds like a Bartok tribute

[@williamransone284]

Effectivement, un peu comme le premier mouvement du premier sonne comme un hommage (et pas une "imitation) à Copland...

[@paulmcgraith4650]

Also like The Rite of Spring in the beginning

[@marcopomelli414]

In the beginning he creates something similar to "The Night Music" ("Out of Doors")

[@skysstillblue1123]

2:05 ughhhh this part 😍🔥🥵

[@CatkhosruShapurrjiFurabji]

Based

[@amerain1729]

Is it really possible to do 3 glissandos at once and in one hand!?

[@thenameisgsarci]

I told you Ginastera must like to see some bloodstains on the piano.

[@amerain1729]

lol :p The pianist's hands must be made of steel

[@FernandoViani]

Yes, with the fist

[@thenameisgsarci]

That solves the question. Now, I'm gonna go insure my fists.

[@Hervinbalfour]

You can see Barbara Nissman execute them in her live performance. Hands down the best intereter of Ginastera's works.

[@LudsenMartinus]

Quisiera orquestarlas

[@boazmecham5101]

G Sarci, I would love some of Nikolai Kapustin Eight Concert Etudes !!!

[@thenameisgsarci]

Look no further, friend. kzbin.info/www/bejne/iKPTm4qDba-Hbc0

[@nss4472]

Spending 30 seconds of my priceless life in exposing me subtitles, arghh! There is the detailed info section placed below of the action screen for such an important task! 🤔😒

[@adlfm]

Gotta love the "Deo Gratia(s)" at the end of the third LOL. He's saying thank you to God for allowing me compose this monstrosity! To which extent would this be sarcasm? Note: I used the term "monstrosity" as a positive attribute here.

[@EllieMcEla]

Could we please get timestamps, please? :)

[@thenameisgsarci]

Check the description box now. :)

[@AllNewYear]

I've grown to love Ginastera. His knack for the percussive nature of the piano is rivaled only by Bartok. It might even top Bartok honestly. These sonatas are full of muscular, masculine power and drive that you don't seem to see in other composers. That's why I love them. The piano is many things. Some say string, some say percussion. I guess those who favor the "string" argument are fans of Chopin, Ravel, and Debussy. Those who favor the "persussion" argument are fans of Bartok, Ginastera, Ornstein, and Prokofiev. I lean towards the percussion side.

[@damiangilz]

I hear how great these are, but I just don't get atonality, changing a note to make a chord sound wierd is... but well, scholars like it as the description says

[@zixuanchen1276]

They are not atonal...at least most passages are not.

[@beecolor]

What a tiring music. I prefer Bartok