is an INCOMPLETE list of books and articles. Email me if you would
like something added here.
Douglas. "Danzas del ballet "Estancia" by Alberto Ginastera:
IV--Danza final (Malambo)." Journal of the Conductors' Guild
vol. 15, no. 2, summer-fall 1994 p. 125-126. ISSN: 0734-1032. English.
Mark Grover. Alberto Ginastera's use of Argentine folk elements
in the sonata for guitar, op. 47. DMA doc., U. of Arizona, 1994.
59 p. UMI No. DA9426333. English
Three categories of folk elements are present in Ginastera's sonata
for guitar, op. 47. Characteristics of the criollo folk guitar
tradition and of the guitar itself play important roles in the
construction of the piece. Elements of the andino cantos de caja,
the baguala, and the vidala are used in the development of important
thematic material as well. Finally, the malambo and other criollo
folk dances are used to generate the rhythms of the energetic
Oswald. "Uber die Werke von Alberto Ginastera ( The works of
Alberto Ginastera)." Bayerische Akademie der Schonen Kunste:
Jahrbuch vol. 8, 1994 p. 165-172. German.
Grace M. Evolution, symmetrization, and synthesis: The piano
sonatas of Alberto Ginastera. DMA doc., U. of North Texas, 1991.
71 p. UMI No. DA9201503.
Each of Ginastera's three piano sonatas (1952, 1981, 1982) represents
an evolution and condensation of ideas occurring in the previous
one through two primary processes. The first is a shift in cultural
focus from reliance on Iberian-American material in the first
sonata, to American-Indian in the second, to a synthesis of the
two cultural elements in the third. The second is through a process
of symmetrization. Along with constructions using symmetrical
scales, material in each of the three sonatas is subjected to
procedures which correspond musically to basic geometric symmetry
types or operations (e.g., bilateral, rotational, and translatory).
The decreasing number of movements indicates a negative dilatation
of material, moving from four movements in the first sonata to
three in the second to one in the third. In each case, corresponding
material from the previous sonata is integrated into the following
sonata. Both independently and as a group the three piano sonatas
exhibit invariance under transformation.(author)
Rebecca L. Alberto Ginastera's stylistic evolution: A comparative
analysis--Pampeana no. 2: Rhapsody for cello and piano, opus 21
(1950); and Sonata for cello and piano, opus 49 (1979). DMA
doc., Performance practice: U. of Cincinnati, Col.-Conservatory
of Music, 1997. 120 p. English.
Gilbert . Remembering Alberto Ginastera. Latin American music review
/ Revista de musica Latinoamericana, USA Vol. VI/1 (spring-summer
1985) 80-84. English.
Vitali. "Alberto Ginastera: Un gran talento y una fantasia
inagotable." Latinskaja Amerika/America Latina no. 12,
Dec 1990 p. 77-86. ISSN: 0044-748X. Spanish
Oscar. A performer's analysis of selected compositions by Johann
Sebastian Bach, Frederick Chopin, and Alberto Ginastera. DMA
doc., Performance practice: Southwestern Baptist Theological Seminary,
1995. 165 p. English.
Maria Laura. A study of six Argentinian dances. DMA doc.,
U. of Miami, 1995. 100 p. UMI No. DA9536856. English.
An analysis of six Argentinian dances: gato, bailecito, huella,
malambo, milonga, and tango. The history and development of each
dance is provided, followed by studies of folk dances written
for piano by nationalist composers. Works examined are El gato
by Carlos Guastavino; Bailecito by Carlos Lopez-Buchardo; Huella,
op. 49, by Julian Aguirre; Malambo, op. 7, by Alberto Ginastera;
Milonga, op. 63, no. 5 (Arrastrando el Ala), by Alberto Williams;
and tango no. 4 (Nostalgico) by Juan Jose Castro. Form, melody,
harmony, rhythm, choreography, and the celebrations, customs,
or events related to each dance are detailed.(author)
Pablo Eduardo. An analysis of Alberto Ginastera's piano concerto
no. 1 (1961). PhD diss., Music: UCLA, 1987) 2 v. 108 p. DA 8723370.
Mary Ann. The solo piano compositions of Alberto Ginastera (1916--).
(Doctor of Musical Arts dissertation, Music--piano: U. of Cincinnati,
1969) 85 p. (typescript). Music examples, bibliography, list of
works, index. English
Mary Ann. "The solo piano music of Alberto Ginastera. I, II."
American music teacher, USA Vol. XXIV/6; XXV/1 (June-July;
September-October 1975) 17-21; 6-10. Music examples, list of works.
Lauren R. An analysis of six Latin-American works for violin
and piano composed since 1954. DM diss., Violin: Indiana U.,
1971. 176 p. (typescript). Music examples, bibliography.
Charles W.Alberto Ginastera's sonata for guitar op. 47: An analysis.
DMA doc., Music: U. of Arizona, 1992. 72 p. UMI No. DA9234891.
Abstract: The sonata, written toward the end of Ginastera's career,
represents his most thorough exploration and development of South
American folk elements. A general outline of the composer's motives
and style is given, along with an investigation of form and motivic
Tim Raynaud. The sacred choral music of Alberto Ginastera. DMA
doc., U. of Illinois, 1993. 272 p. UMI No. DA9411674. English.
The Argentine composer Ginastera (1916-83) is remembered primarily
for the operas Don Rodrigo, Bomarzo, and Beatrix Cenci. Stuart
Pope, close friend and editor of Ginastera's music, has compared
him with Britten by virtue of the significance of his vocal works.
Ginastera composed three religious choral works: Psalm 150 (1938),
Hieremiae prophetae lamentationes (1946), and Turbae ad passionem
gregorianam (1974). Ginastera's choral compositional techniques
and his development as a composer are studied.(author)
Claudia. Tradition and innovation: Balances within the piano
sonatas of Alberto Ginastera. DMA doc., Boston U., 1994. 115
p. UMI No. DA9424870. English
The three piano sonatas of Alberto Ginastera represent the composer's
early and late periods. They offer insight into his compositional
process. The popularity of the first sonata paralyzed Ginastera
to the extent that he did not write a second sonata until 30 years
later. The three sonatas reveal the composer's ability to create
a synthesis of traditional techniques with the musical language
of his country, Argentina. Strong rhythms, folk-like thematic
material, and the influence of nature are incorporated into a
strong architectural design. The idea of balance between traditional
and less conventional aspects of these works, particularly structure,
register, sonority, and pitch organization, is crucial in understanding
how these works are constructed.(author)
Irina. "Istorija kul'tury kak istorija muzykal'nogo stilja
Alberto Ginastera ( The history of culture as a history of Alberto
Ginastera's musical style)." Iberiko-Americans : Tip tvorceskoj
licnosti v latinoamerikanskoj kul'ture. 1997, 215-222 p. Russian.
Malena. Alberto Ginastera (catalogue). London: Boosey & Hawkes,
1999. 32 p. p. English and Spanish.
Malena . Alberto Ginastera: Musikmanuskripte. (list of works).
Series: Inventare der Paul Sacher Stiftung no: 8. Winterthur, Switzerland:
Amadeus, 1990. 40 p. German.
Malena. "The structural role of folk elements in 20th-century
art music." In: Atti del XIV congresso della Societa Internazionale
di Musicologia, Bologna, 1987: Trasmissione e recezione delle
forme di cultura musicale. Torino: Edizioni di Torino, 1990.
Concentrates on where and how the composer transforms a folk reference
into a structural element, tracing the evolution of the so-called
Z cell, a fixture in post-tonal music prominent not only in the
works of composers who relied on folk sources (Ginastera and Bartok)
but also, because of its symmetrical properties, in the works
of non-folk-oriented composers (Berg, Schoenberg, Webern, Dallapiccola,
and many others). Ginastera's Don Rodrigo (1964) and Bartok's
fourth quartet provide analytical evidence.(Mueser, Barbara).
Malena . "Alberto Ginastera y la formacion temprana del compositor."
Heterofonia, Mexico Vol. II/10 (January-February 1970) 13-17.
Malena . Nativistic strains in Argentine operas premiered at
the Teatro Colon (1908-1972). (PhD diss., Musicology: U. of
California at Los Angeles, 1976) (typescript, xerox). Music examples,
bibliography, list of works.
Traces the acculturation of opera in Latin America from its upsurge
as a European musical form used in dramatizing native literary
subjects to its most accomplished contemporary manifestation,
Don Rodrigo, wherein Ginastera reverses the acculturative process
by setting a European libretto in a musical style that incorporates
distilled ethnic strands. Catalogues of complete works by each
of the twelve composers whose operas are analyzed include the
location of all manuscript and published listed scores. (Author,
Malena . "Type, derivation, and use of folk idioms in Ginastera's
Don Rodrigo (1964)." Latin American music review / Revista
de musica Latinoamericana, USA Vol. I/2 (fall-winter 1980) 176-95.
Music examples, bibliography.
Ginastera's opera, Don Rodrigo, in terms of his use of native
idioms. The melodic series of the six-string guitar tuning is
integrated into the basic twelve-tone row that regulates most
pitch relationships in the score, as the row's first four-note
segment. This segment is the source of the intervallic content
for Act I in the three-Act dramatic progression of heroic-lyrical-tragic.
It generates subsidiary rows and motives that are dramatically
significant. (Judy Weidow).
VEGA, Aurelio de. "Latin American composers in the United States."
Latin American music review / Revista de musica Latinoamericana,
USA Vol. I/2 (fall-winter 1980) 162-75
Briefly discusses the musical activities of 20th-c. Latin American
composers who have worked or studied in the United States. Composers
discussed are Carlos Chavez, Alberto Ginastera, Roque Cordero,
Jose Serebrier, Sergio Cervetti, Julian Orbon, Juan Orrega Salas,
Mario Davidovsky, and Aurelio de la Vega. (Judy Weidow)
Cobos, Sergio de. Alberto Ginastera's three piano sonatas: A
reflection of the composer and his country. DMA doc., Rice U.,
1991. 89 p. UMI No. DA9136091.
Ginastera's output is often divided into three periods: objective
nationalism, subjective nationalism, and neoexpressionism. A parallel
can be drawn between Ginastera's evolution as a composer and Argentina's
development as a cultural entity. The first sonata shows the influence
of Bartok and Stravinsky as well as of Argentine folk elements,
including guitar symbolism. The second sonata harks back to the
pre-Columbian era, inspired by Indian melodies and rhythms. To
these Ginastera adds an advanced atonal language, including chromatic
clusters and microtonal effects, bringing the dissonance to an
extreme level. The third sonata mixes both sources of inspiration.
As a synthesis of the previous two sonatas, it shows a tendency
toward balance and greater economy. Similarities among the works
include the importance of the third interval, melodic exaltation,
strong rhythms, and the sense of magic.(author)
Irving ." Beatrix Cenci." Americas, USA Vol. XXIV/1
(January 1972) 2-8. Illustration
John . "Twentieth-century Latin American choral music: An introductory
survey." The choral journal vol. 33, no. 10, May 1993
p. 27-36. ISSN: 0009-5028. Abstract: A survey of the works of Villa-Lobos,
Chavez, and Ginastera.
Patricia . The Latin American piano suite in the twentieth century.
(DMus diss., Music: Indiana U., 1978) 129 p. Music examples, bibliography,
list of works.
Eui. An analysis of the first piano concerto (1961) by Alberto
Ginastera/An analysis of symphony no. 1 (1977) by Eui Hyun Paik.
(DMA diss., Music composition: Indiana U., 1979) 76 p. Music
Andrzej, GINASTERA, Alberto, XENAKIS, Iannis. "Homage to Bela
Bartok." Tempo, Great Britain Vol. 136 (March 1981)
3-5. In English, French.
centenary tributes. Panufnik speaks of Bartok's creativity, humility,
independence, and courage. Ginastera refers to the inspiration
that he derived from Bartok's nationalism and formal innovations.
For Xenakis, Bartok enlarged the vision of music by his profound
exploration of traditional music, his harmony and counterpoint,
and the universality of his abstract musical language. (Roger
Andrzej. "Alberto Ginastera: Sonaty fortepianowe." In:
Muzyka fortepianowa. X. Gdansk: Akademia Muzyczna im. Stanislawa
Moniuszki, 1995. p. 145-156. Polish
W. Stuart "The composer-publisher relation: Chronicle of a
friendship." Latin American music review / Revista de musica
Latinoamericana, USA Vol. VI/1 (spring-summer 1985) 97-107.
Alberto Ginastera formally established a publishing contract with
Barry (Buenos Aires), a company that published most of his works
from the 1940s. Ginastera later signed a publishing agreement
with Boosey a Hawkes in 1963. The publishing and performances
of two operas (Don Rodrigo and Bomarzo) encouraged a closer relationship
between Ginastera and Boosey a Hawkes. Ginastera rarely changed
a note, although he often rethought his dynamics and instrumentation.
James Edward, Jr. Pitch structure in the opera Don Rodrigo of
Alberto Ginastera. (PhD diss., Music: Eastman School of Music,
1986) 156 p. DA 8603307.
The opera Don Rodrigo is among the main serial compositions by
Ginastera. In this work the composer employs nine 12-tone rows,
which constitute the basic pitch resource. A structural bass motion
unifies portions of the opera. The work was commissioned by the
city of Buenos Aires in 1962 and premiered there in 1964. (Author)
Kates Deborah. The gauchesco tradition as a source of national
identity in Argentine art music (ca. 1890-1955). PhD diss.,
U. of Texas, Austin, 1997. 944 p. English.
Explores the relationship between Argentine musical nationalism
and the symbolic heritage associated with the gaucho, or cowboy
of the Argentine plains. During the late 19th c., Argentine leaders
upheld the gaucho as a central cultural symbol to counter the
cultural fragmentation produced by intensive European immigration.
The rural horesman personified of the nation's heartland, exemplifying
the courage, independence, individualism, and machismo that were
extolled as Argentine virtues. Nationalism was a potent means
of cultural expression in Argentina from about 1890 to 1955. Composers
who closely identified with the gauchesco tradition include Alberto
Williams (1852-1962) and Julian Aguirre (1868-1924), who invented
a system of folkloric codes to convey national identity; Constantino
Gaito (1878-1945), Carlos Lopez-Buchardo (1881-1948) , Felipe
Boero (1894-1958), and Floro M. Ugarte (1884-1975), who combined
those formulas with post-Romanticism, impressionism, and verismo;
Gilardo Gilardi (1889-1963), Luis Gianneo (1897-1968) and Juan
Jose Castro (1895-1968), who responded to the populist ethos of
authoritarian and Peronist regimes by espousing an increasingly
abstract and cosmopolitan musical language in which nationalist
elements appeared in a highly sublimated form; and Alberto Ginastera
(1916-83), who synthesized native folkloric idioms with contemporary
compositional techniques. (author)
Carleton Sprague. "Alberto Ginastera's Duo for flute and oboe
(1945)." Latin American music review / Revista de musica
Latinoamericana, USA Vol. VI/1 (spring-summer 1985) 85-93. Music
The Duo for flute and oboe (1945) by Ginastera is an important
piece among his neoclassic compositions. Ginastera met and was
influenced by French composers (such as D'Indy, Franck, and Faure),
Aaron Copland, Paul Hindemith, and two Argentine composers, Jose
Maria Castro and Juan Carlo Paz. He had an intensive musical association
with Aaron Copland in the United States, after World War II. (Richard
Friedrich, ed. Alberto Ginastera. Bonn : Boosey & Hawkes,
Gesprach mit Alberto Ginastera / Luc Terrapon -- Hommage a Bartok
/ Alberto Ginastera -- Alberto Ginastera, der argentinische Komponist
/ Gilbert Chase -- Trauer eines Halbkontinents und Vergegenwartigung
von Geschichte / Hanns-Werner Heister -- Bemerkungen zu "Don Rodrigo"
/ Alberto Ginastera -- Wie und warum ich "Bamarzo" schrieb / Alberto
Ginastera -- Symbol und Phantasie in Ginasteras "Bomarzo" / Malena
Friedrich. "Alberto Ginastera" (article in a dictionary).
In: Komponisten der Gegenwart: Loseblatt-Lexikon. 1992. German.
Robert . "Ginastera's arrangement of an organ toccata by Domenico
Zipoli: Some recollections about the career of a master composer."
Latin American music review / Revista de musica Latinoamericana,
USA Vol. VI/1 (spring-summer 1985) 94-96.
transcription for organ is a toccata from Domenico Zipoli's Sonate
d'intavolatura per organo, e cembalo (Rome, 1716). The transcription
was dedicated to Adriana Bermann de Hirschler (21 February 1970).
Ginastera carefully kept a scrapbook which provides information
on newspaper reviews of his works. Although not a performer, Ginastera
always encouraged adequately rehearsed and excellent performances.
His key Argentinian disciples are Gerardo Gardini, Armando Krieger,
and Antonio Turiello. (Richard Seymour)
Eduardo. Ginastera. Madrid: Espasa-Calpe, 1983
Benjamin. Bartok, Concerto for orchestra: Understanding Bartok's
world. Monuments of Western music series. New York: Schirmer,
1995. xi, 266 p. ISBN: 0-02-872495-X.
Abstract: A chronological survey of Bartok's development as a
composer, with emphasis on his use of Eastern European, Arab,
and Turkish folk music in the creation of his musical language.
A synopsis and analysis of the five movements of the Concerto
for orchestra are provided. Bartok's influence on the music of
Britten, Crumb, Ginastera, Ligeti, Lutoslawski, and Messiaen is
Michelle . "Alberto Ginastera's late instrumental style."
Latin American music review/Revista de musica latinoamericana
vol. 15, no. 1, spring-summer 1994 p. 1-31. ISSN: 0163-0350.
Abstract: Current writings about Ginastera's late period, which
is often labelled neoexpressionist, fail to take into account
the nationalistic aspects of his compositions from this period.
Analysis of three works from Ginastera's late period support this
conclusion. The piano quintet displays an abstraction devoid of
nationalistic characteristics. Punena no. 2 for solo cello evokes
the spirit of nationalism within a contemporary idiom, but with
almost no traditional components of nationalism. The sonata for
guitar combines overt elements of nationalism with those of the
Cynthia . "Alberto Ginastera." Guitar review, USA
Vol. 61 (spring 1985) 11-14. Portrait, facsimile, music examples.
Although Ginastera was in his twenties when he was asked by Segovia
to write for the guitar, he chose to wait until he understood
the instrument thoroughly, and then wrote a large-scale guitar
sonata. His wife, the cellist Aurora Natola-Ginastera, premiered
his two cello concertos and his sonata for cello and piano. (David
Roy. "Argentine folk elements in the solo piano works of Alberto
Ginastera." (DMA doc., Music: U. Texas, Austin, 1986) 149 p.
of the early piano works, with emphasis on rhythmic, melodic,
and programmatic factors of the music itself and on statements
made by Ginastera on his coming to terms with the music of his
native land. (Author)