Was Born in Buenos
Aires, Argentina, April 11 1916. He died in Geneva, Suíza, June
25 1983.
Their first important work was the ballet Penambí
that made it well-known in all Argentina.
Of 1945 at 1948 abandons their country due to their
terrible relationship with Perón. He goes for United States,
where he studies with Copland and Tanglewood.
Near 1956 he expands their musical style beyond the limits of
the nationality. It is the time of excellent works.
In 1969 it leaves Argentina again and he/she will
live in Geneva, Suíza.
Their music is essentially traditionalist. An eclectic synthesis
of technical of several musical schools is evident in its more
famous composition, the opera Bomarzo.
It was famous as composer of strong nationalist feeling, in
spite of having influences of the international music that took
place in Europe after the Second World War.
Their work can be divided in 3 periods: objective nationalism,
subjective nationalism and neo-expressionism.
Their first works belong to the first period. He
characterized that period like a stage of objective nationalism
in which the characteristics of the folkloric music reproduced
openly. It uses the Argentinean folklore and it is influenced
by Stravinsky, Bartok and Falla. They are of this period: Danzas
Argentinas op. 2 for piano, Estancia (ballet), the Cinco Canciones
Populares Argentinas, Las Horas de una Estancia and Pampeana
nº 1. The premiere of the orchestral suite of its ballet Estancia,
consolidated its position inside Argentina.
Starting from 1948 it begins to use technical of
more advanced composition. It is the period of subjective nationalism,
without positions revolutionaries. He abandons the traditional
popular elements in spite of continuing to use them symbolically.
He never abandons the Argentinean traditions. They are of this
phase Pampeana n. 3 for orchestra, and Sonata for piano n. 1.
During that second period that begins with the Sonata for piano,
Ginastera adopted the twelve-tones technical . Their conception
to regarding the technique it was always free and completely
personal and their music always had characteristic unmistakably
nationalist. The Quartet of string nº 2 has the same rhythmic
quality that he/she appeared in its first works and, in spite
of the use of twelve-tones technical , that quartet is essentially
tonal. In this period the ethnic characteristics, in spite of
present with a heightened form, are applied in a less conscious
way.
The period neo-expresionist,
begins approximately in 1958. It is marked by a continuous search
of the most advanced technical procedures and a decrease of the
importance that it granted to the explicit national characteristics
until little. There is not more folklore but it continues there
being Argentinean elements, as him same he/she said. Besides an
approach every bigger time to the twelve tones form, he responded
to some of the new currents that arose after the Second World
War integrating certain aspects of the aleatory composition and
microtonal inside their own general stylistic orientation. The
most important works in this period were the operas Don Rodrigo,
Bomarzo and Beatrix Cenci that had great success and they located
it as the most important Latin American composer in their time.
Of this last period we still have two Concerts for piano, a Concert
for violin, the Popul Vuh for orchestra, the Concert n. 2 for
cello and it orchestrates and the Cantata for Magic America.
Principales Obras
Operas
Don Rodrigo, Opus 31 (1963-64)
Bomarso, Opus 34 (1966-67)
Beatrtx Cenci, Opus 38 (1971)
Ballet
Panambí, Opus 1 (1934-36)
Estancia, Opus 8 (1941)
Obras para Instrumento Solista
y Orquesta
Concierto para Cello N0 1,
Opus 36 (1968)
Concierto para Cello N0 2,
Opus 36 (1980)
Concierto para Arpa, Opus 25 (1956)
Jubllum (1981)
Concierto para Piano N0 1,
Opus 28 (1961)
Concierto para Piano N0 2,
Opus 39 (1972)
Concierto para Violín, Opus 30 (1963)
Obras
para Voz y Orquesta
Cantata Bomarzo, Opus 32 (1964)
Cantata para América Mág¡ca, Opus
27 (1960)
Milena, Opus 37 (1971)
Serenata, Opus 42 (1973)
Sinfonía Don Rodrigo, para Soprano
y Orquesta, Opus 31a (1964)
Obras para Coro y Orquesta
Salmo 150, Opus 5 (1938)
Turbae ad Passionem Gregoriana'n,
Opus 43 (1974)
Música
de Cámara
Serenata, Opus 42 (1973)
Quinteto, Opus 29 (1963)
Cuarteto de Cuerdas N0 1,
Opus 20 (1948)
Cuarteto de Cuerdas N0 2,
Opus 26 (1958)
Cuarteto de Cuerdas N0 3,
Opus 40 (1973)
Música
Instrumental
Pampeana N0 1, Opus 16,
para violín y piano (1947)
Pampeana N0 2, Opus 21,
para cello y piano (1950)
Punefla N0 2, "Homenaje
a Paul Sacher", Opus 45, para cello solo (1976)
Toccata, Villancico y Fuga, Opus
18, para órgano (1947)
Música
para Piano
Sonata N0 1, Opus 22
(1952)
Toccata (Zipoll - Ginastera) (1973)
Obras
para orquesta
Danzas pan el ballet Estancia, Opus
8' (1941)
Estudios Sinfónicos, Opus 35 (1967)
Obertura para el Fausto Criollo,
Opus 9 (1943)
Ollantay, Opus 17 (1947)
Pampeana N0 3, Opus 24
(1954)
Panambí, Opus la (Suite para el
ballet) (1934-36)
Variaciones Concertantes, Opus 23(1953)
Concierto para Cuerdas, Opus 33
(1965)
Glosas sobre temas de Pablo Casals,
Opus 46 (1976)
Principales Invitaciones y Becas
Fundación Guggenheim (1942 y 1969);
Departamento de Estado de los Estados Unidos (1958); Senado de
Berlín Occidental(1965); Ministerio de Relaciones Exteriores
de Francia (1966); Dartmouth College, USA (1968).
Encargos
Lincoln 'Untein para el Ballet Caravan
(1941)
Festival de Pittsburg (1952)
Asociación Amigos de la Música de
Buenos Aires (1953)
Louisville Orchestra (1954)
Edna Phllips (1965)
Fundación Elizabeth Sprague Coolldge
(1964 y 1968)
Fundación Fronun (1961)
Fundación Doussevitzky en la Bibl¡oteca
del Congreso - USA(1961)
New York Philhannonic Orchestra
para su temporada inaugural en el Lincoln Center (1962)
Mozarteum Argentino (1963)
Washington Opera Society (1967)
Orquesta de Vancouver para el Centenario
de Canadá (1967)
Dartmouth College (1968)
Orquesta Sinfónica de Indianápolis
(1969)
Juilliard School of Music para la
inauguración de su nuevo edificio en el Lincoln Center (1969)
Washington Opera Society para la
inauguración del Kennedy Memorial de Washington
(1969)
Distinciones
Miembro de Número de la Academia
Nacional de Bellas Artes.
Profesor Emérito de la
Pontificia Universidad Católica Argentina
Oflcial de la "Orden de las
Artes y las Letras" del Gobierno de Francia
Doctor en Música de la Universidad
de Yale, de Estados UnidoL Académico Honorario de la American
Academy of Arts and Letten.
Miembro de la Academia Brasileira
de Música, de la Facultad de ciencias Artes Musicales de la
Universidad de Chile y de la Academia de Artes y Ciencias de
Boston.
Extraído de "La Guía de la
Música Argentina" (1982) editada por el Instituto Lucchelli
Bonadeo
Realizó la Música de las siguientes peliculas
1.
Hay que bañar al nene (1958)
2.
Primavera de la vida (1958)
3.
Enigma de mujer (1956)
4.
Los maridos de mamá (1956)
5.
Su seguro servidor (1954)
6.
Caballito criollo (1953)
7.
Facundo, el tigre de los llanos (1952)
8.
El puente (1950)
9.
Nace la libertad (1949)
10.
Rosa de América (1946)
11.
Malambo (1942)
