00:01 Movement I - Allegro marcato 04:05 Movement II - Presto misterioso 06:31 Movement III - Adagio molto appassionato 13:02 Movement IV - Ruvido ed ostinato
As a composer, I'm both shocked and comforted by the fact that even masters like Ginastera have their haters. Especially for such an incredibly well written work where it seems Ginastera IS the piano he knows it inside and out!
I once heard a 13-year-old girl play this on a Kansas State recital. So humbling. Her runs in thirds (in the second movement) were played in diminuendo and came off like silk scarves. Made me never want to perform again. (And I haven’t.)
@@calebhu6383 Actually it depends not what age did you have while playing this. You can play it in any age. You should be professional. This is the main thing
@@Ar1osssa There are very few 13 year olds with the strength and hand development to pull off this kind of physically taxing work, especially in parts like the last movement. Likewise, there are very few elderly pianists who retain the technical ability to play something like this. Many pianists drop works from their repertoire once they become too taxing, such as the Schumann Toccata, Brahms Paganini Variations, etc.
@@calebhu6383 Strength actually is a good thing but it isn't main. To play this piece you shouldn't be a strong man. The main thing is you should listen what you play and how you play. That's the difference between amateur and professional.
The last movement has the characteristic rhythm of hemiola, typical of Latin American music and used in other pieces of Ginastera (last movement of the suite Estancia)
You also see Ginastera exploring a tone row in the second movement, beginning 4:04 - something you really don’t notice, I think, until you’ve played it or, better yet, memorized it. And the row is adumbrated in the first movement and developed in the third and fourth, in ways that comment very cannily on the serialists. Nobody really says this about Ginastera but... he was a composer of his times, a man of the world. (And a favorite of mine now for decades.)
the entire sonata is reminiscent of prokofiev, also stravinsky petroushka, and traces of debussy; while i like this piece i have no reservation in declaring it a derivative work and not a first rank original masterpiece.
Quite brilliantly delivered, and I’ll note that I’ve played this Sonata for decades now and understand its technical challenges (and that it’s a total blast to play when you can do it well, but my scales in THIRDS have never been clean enough to pull off at tempo: movements II and III are both serial in nature but I’m not sure that’s apparent to an uninitiated listener, Ginastera going so far to disguise it, make it festive, palatable, suspenseful, mysterious. I think he succeeds. Note the many timeshifts in the first movement, the irregular measures. It’s like inflight turbulence, you just know you’ll get through it with some good rudder work.
I don't think so. This work was written for piano, and the nature of the instrument is central to it's expression and intensity. Though an orchestration would be cool I don't think it would top the original
the opening? it's a 12 tone row; it has all the notes in an octave. ginastera managed to blend serialism and his native malambo/criolla rhythms into one mysterious movement. it's pretty amazing :)
agreed... The Bartok Sonata... The Barber Sonata...and THIS... of course Prokofiev as well... (and earlier... Debussy and Ravel... later... some Messiaen...)
Sadly, Terence Judd committed suicide at the age of twenty-two. He had just finished a morning's practice and told his mother he was going out for a walk. He never returned, and some days later his body was found at Beachy Head, Sussex, a well known place for suicide attempts. Concert pianists suffer enormous stress in their lives.
seems quite above the average for suicide and madness amongst musicians and composers just listening to 6.31 the adagio molto appassionato spooky imagining him on his last walk
Let's not glamorize this: Judd suffered severe depression, something not at all exclusive to 'just artists.' "At the coroner's inquest, his general practitioner testified that he had treated Judd for depression in February 1979. Earlier in his life, Judd had suffered a nervous breakdown and spent several months at a clinic in north London." ~ Wikipedia
What a pity. My dad hated me practicing this piece. He said he was completely unable to think while I played it. Of course, I never got it anywhere near the tempo of this guy. But I couldn't help wondering what such a discordant piece does to the human brain. Maybe it affects the emotions in a negative way.
Ginastera é um mestre e conhece, como poucos, como tirar partido e timbres do piano. Uma obra incrivelmente bem escrita e, nesta gravação, magistralmente interpretada
I see Carl Vine took a bit of inspiration from the 2nd movement of this Sonata for his first Piano Sonata and I honestly dont blame him at all, this is an incredible work (Vine's piece too). Also the 4th movement of this sonata is fucking badass
It is interesting to hear this piece as originally composed. I first heard this on an ELP album "Welcome back my friends" I realize that Keith Emerson's interpretation may not set well with purists and I can understand that. The original work is quite impressive.
By close to 40 years Ginastera came first. 2nd movement does sound like a Ligeti Etude. Also has parts that do not flow like a Ligeti Etude. This piece does follow Carter. And while the Ginastera is fresh and relevant there are aspects which are not spun sui generis from whole cloth. The work of a master and one of the finest post WWII sonatas. Even more important - to my mind - is that Ginastera gave us some large scale works that are brilliantr. Mr. Vine has yet to do that unlike Henze, Krenek, Carter just to name a few giants that have written across multiple genres in addition ro the piano sonata form.
I’d say this is more reminiscent of the estancias and gauchos of Argentina, given that was Ginastera’s main source of inspiration throughout his musical career.
I don't know whom this may interest but in the mid sixties three composers made operas of Lorca's Bodas de Sangre: Wolfgang Fortner, Szokolay and Ginastera who was praised especially for his knowledge of folklore
Is the 4th movement the only super hard movement? I am wondering how difficult the song would be overall compared to say.. Liszt HR12 or Ravel Aldorado del Graciosco (probably spelled that wrong) or Mendelssohn Scottish Fantasy. Because to me it looks like the 3rd movement is easy technically, The first has its difficulties but its manageable and the second is similar to the first, But the 4th is the only roadblock.
How hard a piece is doesn’t always rest with physical difficulty, as Adam Neely showed. There’s also conceptual difficulty, how hard it is for a person to wrap their head around things like notation and interpretation. The whole piece is, in that respect, and my personal opinion, somewhat harder than either the Ravel or Liszt you mentioned, because there’s a lot of room for good, faithful interpretation, especially in the third movement.
(Posted from a different account) My personal opinion for that part is that, like the entirety of the first movement, there should be no identifiable key. Playing two C's, with the additional C major triads in the recapitulation in the next measure, seems, in a sense, too concise.
14:43 based on how the bass strings resonate i'm assuming the piano is either a steinway or bosendorfer. Loving the extra emphasis Judd places on the bass in this piece
Thanks for posting the score. Despite a few mistakes, Judd's performance is convincing indeed. I also like Fernando Viani's Naxos recording of this piece. For his piano concerti, I can recommend the Naxos cd with Dora de Marinis on piano.
You should hear the transcription for 2 guitars by the Assads (transcribed by Sergio Assad). It sounds if it was written for the instrument. Great piece
I played first movement in high school. Cool .This pianist makes a mistake at 1:41 in the 8/8 bar. The LH has only three chords not five or so. He clearly was misremembering and playing the five chords at 1:51.
What's really astonishing about Ginastera is that the many shifts of meter sound perfectly logical! In fact before I listened to this version with the score I didn't realize there were so many shifts of meter throughout the piece. Brilliant, dashing, and colorful.
Well, in that case, "Nel mezzo del cammin di nostra vita. mi ritrovai per una selva oscura. ché la diritta via era smarrita. Ahi quanto a dir qual era è cosa dura." Except that I'm toward the END of my road......Greetings from Mexico
It entirely depends on your own abilities as a performer tbh. For me, this is definitely an 8, but for someone like Barbara Nissman, who played a lot of Alberto’s music and even commissioned his final completed work, she’d probably rate it a little lower.
A lot of Keith Emerson music is in the same vein, more or less, but I don’t think it’s Ginastera in particular. Ginastera, like many others, is merely following a trail cleared by Bartok and Stravinsky.
This is the first time I’ve heard this. I enjoyed the first two movements, although they seemed to me a bit obvious and simplistic, in retrospect, very much of their time it seems. I found the third movement pretty tedious. This goes so slow that I had time to notice that the 12/4 measure a few before the end methodically plunks out a 12-tone row. I wasn’t happy with the beginning of the fourth movement, but I cheered quite a bit as it gathered momentum toward the end. The question I’m pondering is whether it’s worth my while to learn this or any other Ginastera piano piece. On the evidence of this piece I wouldn’t rank him with Bartok or Stravinsky (or, for that matter, Debussy or Ravel or Holst or Vaughan Williams-and so on).
I´d like to visualize how it was played from just listening the sound like you Mr. Chen. How do you know it was not played in both hands, but as C octaves instead? On the other hand, to give an opinnion is not the same as to criticize...IMO.
J F Thompson Maybe it is a stupid question but insulting a questioning is far easier than trying to explain and surely doesn’t show a brilliant intelligence from the insultant. Have a nice day.
As argentinian, but not expert in music, I can only get the rythms. It's a pity our folk music came too late, I'd love to hear those figurations but with easier harmonies, like those from Mozart, Beethoven or even Chopin.
Incredible how all comments are about the "great" preformance. It is not great, it lacks understanding of Argetinian folk music on which all Gimnastera's music is heavily based on... The performance sounds like a foreigner speaking a non native language with an ugly accent, like Shakespeare being read by a Cuban who just arrived to the United States....
holy shit the more I listen the more flaws I hear, this is so incredily incompetent, the fact that this has 3k people liking it shows the anti-intellectualism present in the modern classical audience. These are flaws, not subjective dislikes. You cannot leap without eventually resolving on most chords in most metric parts. He often makes voices leap and then continues to leap to random notes which have absolutely nothing to do with each other for the sake of virtuosity? or is it just stupidity?
"Anti-intellectualism" is just a code word for anything that isn't hypercomplex in nature/appeals to a wide audience. Christ's sake, man, just let people enjoy things. And yes, they are subjective dislikes, because art is entirely and completely subjective. You can do absolutely anything in music, and it doesn't even have to follow a particular form or style. Just let people do what they like, and stop being a backseat driver.
@@kgroveringer03 your entire perception of music is borne from anti-intellectualism and religion. Music is not some holy tool that can do and express anything, the human brain has very obvious limits.
00:01 Movement I - Allegro marcato
04:05 Movement II - Presto misterioso
06:31 Movement III - Adagio molto appassionato
13:02 Movement IV - Ruvido ed ostinato
You've opened up a whole world of contemporary music to me. Thank you.
Where you the guy who left the comment on the schoenberg or some other composer video calling it garbage?
@@DreamlessSleepwalker are you the guy who didnt practised today?
Oof
This is modern
@Kyle Silver I share this sentiment as well, I'm quite thankful.
Ginastera’s music is always so vivid and alive.
As a composer, I'm both shocked and comforted by the fact that even masters like Ginastera have their haters. Especially for such an incredibly well written work where it seems Ginastera IS the piano he knows it inside and out!
and what a performance here!!!!
You're a composer . . I feel sorry for you lol ( not in a mean way , just in a , sorry you're a composer way ) lol
underscoreellipsesdot hyphen what
@@sneddypie I'm sorry to hear he's a composer
@@Highinsight7 he has committed suicide at the age of 22
and the bass on this piano has the PERFECT snarl... LOVE it...
I heard the second movement years ago and it was always in the back of my mind, glad to have finally found it again!
Just me or does his 3rd Argentinian Dance sound similar to the second moment as well
Performed this on my junior recital in college. I fell in love with this composition. So much emotion from one spectrum to the other.
I once heard a 13-year-old girl play this on a Kansas State recital. So humbling. Her runs in thirds (in the second movement) were played in diminuendo and came off like silk scarves. Made me never want to perform again. (And I haven’t.)
@@davidmehnert6206 It is one of my life goals to pull off this sonata. To perform it at 13 is mind boggling.
@@calebhu6383 Actually it depends not what age did you have while playing this. You can play it in any age. You should be professional. This is the main thing
@@Ar1osssa There are very few 13 year olds with the strength and hand development to pull off this kind of physically taxing work, especially in parts like the last movement.
Likewise, there are very few elderly pianists who retain the technical ability to play something like this. Many pianists drop works from their repertoire once they become too taxing, such as the Schumann Toccata, Brahms Paganini Variations, etc.
@@calebhu6383 Strength actually is a good thing but it isn't main. To play this piece you shouldn't be a strong man. The main thing is you should listen what you play and how you play. That's the difference between amateur and professional.
Très belle oeuvre d'un grand compositeur largement oublié en Europe. Merci à Cmaj7 de l'avoir mis sur RUclips
Such a convincing performance of this marvelous work by Ginastera! Thank you for providing it with the score :)
Ginastera is a fount of inspiration for me....
the beginning of the final movement reminds me of Prokofiev a lot. But still, Ginastera has got his own language.
Μενελαος Πειστικος
The last movement has the characteristic rhythm of hemiola, typical of Latin American music and used in other pieces of Ginastera (last movement of the suite Estancia)
Actually this entire sonata is modelled quite closely on Bartok's sonata, except Ginastera chose to add an extra scherzo movement
You also see Ginastera exploring a tone row in the second movement, beginning 4:04 - something you really don’t notice, I think, until you’ve played it or, better yet, memorized it. And the row is adumbrated in the first movement and developed in the third and fourth, in ways that comment very cannily on the serialists.
Nobody really says this about Ginastera but... he was a composer of his times, a man of the world. (And a favorite of mine now for decades.)
the entire sonata is reminiscent of prokofiev, also stravinsky petroushka, and traces of debussy; while i like this piece i have no reservation in declaring it a derivative work and not a first rank original masterpiece.
A great sonata, and a stellar performance
Quite brilliantly delivered, and I’ll note that I’ve played this Sonata for decades now and understand its technical challenges (and that it’s a total blast to play when you can do it well, but my scales in THIRDS have never been clean enough to pull off at tempo: movements II and III are both serial in nature but I’m not sure that’s apparent to an uninitiated listener, Ginastera going so far to disguise it, make it festive, palatable, suspenseful, mysterious. I think he succeeds.
Note the many timeshifts in the first movement, the irregular measures. It’s like inflight turbulence, you just know you’ll get through it with some good rudder work.
This peace almost screams for an orchestration! Already sounds so orchestral in the piano version.
I don't think so. This work was written for piano, and the nature of the instrument is central to it's expression and intensity. Though an orchestration would be cool I don't think it would top the original
The main theme of mov 2 id literally one of the best things I've ever heard in my entire life
El estilo de ginasterq es como épico y asiatico a la vez, ese motivo lo ejemplifica
the opening? it's a 12 tone row; it has all the notes in an octave. ginastera managed to blend serialism and his native malambo/criolla rhythms into one mysterious movement. it's pretty amazing :)
@misterchrissy : @drdandan6128 se refiere a este motivo 4:39
@@vicenteplazaurzua6190 si, este motivo es criollo o algo de malambo, que no? mucho me gusta.
One of the best modern piano sonatas.
agreed... The Bartok Sonata... The Barber Sonata...and THIS... of course Prokofiev as well... (and earlier... Debussy and Ravel... later... some Messiaen...)
@@Highinsight7 Scriabin, Medtner and Rachmaninoff. Levina, Bacewicz and Feinberg. Ornstein, Roslavets and the list goes on...
@@SCRIABINIST Don't forget about Ives Tippet and Kapustin
all of scriabins sonatas are better than this garbage, even the bad ones like his 6th.
@@Whatismusic123 its not garbage by any means, but yes Scriabin is better, also six was good,, I guess atonal music can be hard for some people
I like how it's NOT overly TOOO FAST... the drive is there... BUT the dance and DRAMA are the BIG parts here...
Sadly, Terence Judd committed suicide at the age of twenty-two.
He had just finished a morning's practice and told his mother he was going out for a walk.
He never returned, and some days later his body was found at Beachy Head, Sussex, a well known place for suicide attempts.
Concert pianists suffer enormous stress in their lives.
+john evans Suicide is always terrible, but somehow the suicide of such a talented person seems like an even harsher twist of the knife.
seems quite above the average for suicide and madness amongst musicians and composers just listening to 6.31 the adagio molto appassionato spooky imagining him on his last walk
Let's not glamorize this: Judd suffered severe depression, something not at all exclusive to 'just artists.' "At the coroner's inquest, his general practitioner testified that he had treated Judd for depression in February 1979.
Earlier in his life, Judd had suffered a nervous breakdown and spent several months at a clinic in north London." ~ Wikipedia
Do you know of any works that have been written in dedication (in memoriam) to Judd? It seems as though the ought to be.
What a pity. My dad hated me practicing this piece. He said he was completely unable to think while I played it. Of course, I never got it anywhere near the tempo of this guy. But I couldn't help wondering what such a discordant piece does to the human brain. Maybe it affects the emotions in a negative way.
Influence importante de Bartok. Très bonne pièce !
Tiene malambo en el alma, en una composición es increíble.
Si esta buenisima!! 3er movimiento increible
Terrific piece by a highly talented composer we rarely consider. A wonderful challenge for the performer.
Interestig work , and a talented pianist ! Too bad depression took him away from us :(
phenomenal work! Wow.
Ginastera é um mestre e conhece, como poucos, como tirar partido e timbres do piano.
Uma obra incrivelmente bem escrita e, nesta gravação, magistralmente interpretada
🎉
That last movement! Wow!!
Lots of familiar sounds in there--Prokofiev, Copland piano sonata, and even Carter's piano sonata. Very nicely done.
I see Carl Vine took a bit of inspiration from the 2nd movement of this Sonata for his first Piano Sonata and I honestly dont blame him at all, this is an incredible work (Vine's piece too).
Also the 4th movement of this sonata is fucking badass
It is interesting to hear this piece as originally composed. I first heard this on an ELP album "Welcome back my friends" I realize that Keith Emerson's interpretation may not set well with purists and I can understand that. The original work is quite impressive.
You're thinking of Ginastera's 1st Piano Concerto, in case you're wondering why this sounds nothing like ELP.
it was the piano concerto, not the sonata
@@truBador2 U ARE CORRECT...it was the piano concerto, not the sonata
@@truBador2 Yes, wrong piece, but it actually sounds to me quite a bit like Keith Emerson. I was thinking of him, in fact, while I listened to it.
I got to hear Orion Weiss play part of this last night it was unreal!
Okay okay. I surrender. This is a masterpiece of the genre.
Why did you even resist in the first place?
For me this is the best performance of this great work
Molto bella... Il secondo movimento mi ricorda l'Invenzione numero 3 (1944) di Goffredo Petrassi! ❤
Not surprising that this brilliant sonata is now a repertory staple.
second movement of this piece is really reminiscent of the second mvmt of Carl Vine's sonata no.1
Maybe because Ginastera's came first.
This is what I thought too!!
Yeah you’ve got it backwards
By close to 40 years Ginastera came first. 2nd movement does sound like a Ligeti Etude. Also has parts that do not flow like a Ligeti Etude. This piece does follow Carter. And while the Ginastera is fresh and relevant there are aspects which are not spun sui generis from whole cloth. The work of a master and one of the finest post WWII sonatas. Even more important - to my mind - is that Ginastera gave us some large scale works that are brilliantr. Mr. Vine has yet to do that unlike Henze, Krenek, Carter just to name a few giants that have written across multiple genres in addition ro the piano sonata form.
@@stueystuey1962wdym, Vine has several brilliant large-scale orchestral works. His piano concerti, symphonies, V and Celebrare, to name but a few.
This music is so wild and strange, like the jungles of South America.
Take a listen to Rudepoêma by Villa-Lobos. More fitting of your description.
I’d say this is more reminiscent of the estancias and gauchos of Argentina, given that was Ginastera’s main source of inspiration throughout his musical career.
MASTERWORK ♥
I don't know whom this may interest but in the mid sixties three composers made operas of Lorca's Bodas de Sangre: Wolfgang Fortner, Szokolay and Ginastera who was praised especially for his knowledge of folklore
Great piece
Love Ginastera's style. Can't say this beats his sonata for guitar, though.
Clearly, Keith Emerson composing style was influenced by Ginastera's music. Emerson probably adapted the Toccata in honor of Ginastera.
Toccata is an adaptation of Ginastera's piano concerto last movement.
@@assodispade786 Ya, and Ginastera was delighted with the ELP version.
Is the 4th movement the only super hard movement? I am wondering how difficult the song would be overall compared to say.. Liszt HR12 or Ravel Aldorado del Graciosco (probably spelled that wrong) or Mendelssohn Scottish Fantasy. Because to me it looks like the 3rd movement is easy technically, The first has its difficulties but its manageable and the second is similar to the first, But the 4th is the only roadblock.
How hard a piece is doesn’t always rest with physical difficulty, as Adam Neely showed. There’s also conceptual difficulty, how hard it is for a person to wrap their head around things like notation and interpretation. The whole piece is, in that respect, and my personal opinion, somewhat harder than either the Ravel or Liszt you mentioned, because there’s a lot of room for good, faithful interpretation, especially in the third movement.
0:55 sounds very similar to a section from his Pampeana no. 2 for cello and piano.
I see the overall structure, layout, and musical ideas similarity between this sonata, and Barber's sonata.
At 2:40, the score shows that A octaves should be played in both hands, but the pianist plays it as C octaves.
+Larry Chen Yeah, the recording is not perfect, but I found the style to be much better than any other.
(Posted from a different account) My personal opinion for that part is that, like the entirety of the first movement, there should be no identifiable key. Playing two C's, with the additional C major triads in the recapitulation in the next measure, seems, in a sense, too concise.
We are waiting for you recording... "perfect Man"
Bimbo Balderas You don't need to be better to provide criticism. His criticism of the performance is reasonable and accurate.
+Cmaj 7 people who watch videos of controversial interpretation need to understand this... you speak the truth
14:43 based on how the bass strings resonate i'm assuming the piano is either a steinway or bosendorfer. Loving the extra emphasis Judd places on the bass in this piece
5:30
it's like body music inside what's happening with in us
6:05 algún dedaje en la mano derecha para esta parte ?
Thanks for posting the score. Despite a few mistakes, Judd's performance is convincing indeed. I also like Fernando Viani's Naxos recording of this piece. For his piano concerti, I can recommend the Naxos cd with Dora de Marinis on piano.
13:02 flight of icarus
15:04
Lovely music.
Those who cannot make, teach how to make,and if they cannot teach, then become critics.
And those who think that criticism is carping post on RUclips.
good one, haha
After hearing that piece,we see the influence on Keith Emerson !
ok so the ads are ear bleeding loud
Me encanta esta obra de mi compatriota que no conocía.
I like a lot.
You should hear the transcription for 2 guitars by the Assads (transcribed by Sergio Assad). It sounds if it was written for the instrument. Great piece
got a link?
Hmmm not sure if I will learn this. It will take a looonnggg time! I'm learning one of his shorter pieces right now.
14:52 quite similar to scriabin's finale for his 5th sonata
Oh that is!!
I played first movement in high school. Cool .This pianist makes a mistake at 1:41 in the 8/8 bar. The LH has only three chords not five or so. He clearly was misremembering and playing the five chords at 1:51.
It sounds like a ravel×prokofiev×ligeti mash-up
I can see where Nobuo Uematsu inspired to make the battle themes for Final Fantasy series.
WOW
Reminiscent of Carl Vine.
Vamos Ginastera, carajo!
Xd si
Qué maravilla
How can one person physically play that?
Yeah dude the second movement is full of bars that stretch the abilities of your hand, but it’s still supremely fun.
2:01 2:33 14:44
How come I had never heard of this awesome composer? He doesn't give a shit about meter ;-)
What's really astonishing about Ginastera is that the many shifts of meter sound perfectly logical! In fact before I listened to this version with the score I didn't realize there were so many shifts of meter throughout the piece. Brilliant, dashing, and colorful.
+Tom Furgas I agree, it flows effortlessly
It is a fascinating score to study. It means something both on the page and to the ear. Would LOVE someday to see his autograph manuscript!
He inspired his rythm on Argentine folk and fusioned with Bartok style. polyrhythms everywhere
I hear a little of Ravel in that last movement: Toccata and Scarbo.
Also it sounds like Prokofiev and Ligeti
it more so reminds me of bartok.. especially in that coda
Viva Ginastera!
I have not learned this one yet! WATCH ME....
Proud of my coutry!
Proud of your country too :3
Real genius here my friends!
I wonder if Terrance Judd stuck knives in his piano as he was playing this?
Why’s that?
The third movement sounds like it would go well with a horror movie.
7:10 "lasciar". Creí que "dejar" en italiano se escribía/decía "lasciarE"
Entonces, "Lasciate ogni speranza voi ch'entrate...." or something.....
"lasciar" es correcto tambièn.
"lasciate" es la segunda persona del plural
Well, in that case, "Nel mezzo del cammin di nostra vita. mi ritrovai per una selva oscura. ché la diritta via era smarrita. Ahi quanto a dir qual era è cosa dura." Except that I'm toward the END of my road......Greetings from Mexico
6:20 guitar
How much Is difficult Is this sonata from 1 to 10 ?
8
It entirely depends on your own abilities as a performer tbh. For me, this is definitely an 8, but for someone like Barbara Nissman, who played a lot of Alberto’s music and even commissioned his final completed work, she’d probably rate it a little lower.
Tarkus by Emerson, Lake and Palmer seems to be heavily inspired by this
A lot of Keith Emerson music is in the same vein, more or less, but I don’t think it’s Ginastera in particular. Ginastera, like many others, is merely following a trail cleared by Bartok and Stravinsky.
Seems like Chick Corea was inspired by this (especially the last movement).
I wouldn’t be at all surprised, Corea himself said he was a huge fan of Alberto’s music!
This is the first time I’ve heard this. I enjoyed the first two movements, although they seemed to me a bit obvious and simplistic, in retrospect, very much of their time it seems. I found the third movement pretty tedious. This goes so slow that I had time to notice that the 12/4 measure a few before the end methodically plunks out a 12-tone row. I wasn’t happy with the beginning of the fourth movement, but I cheered quite a bit as it gathered momentum toward the end. The question I’m pondering is whether it’s worth my while to learn this or any other Ginastera piano piece. On the evidence of this piece I wouldn’t rank him with Bartok or Stravinsky (or, for that matter, Debussy or Ravel or Holst or Vaughan Williams-and so on).
Polytonality ghostly
Vamos Argentina carajo
Tenía que arruinar el momento con su patriotismo futbolero.
@@georgewilson7432 no puedo estar más de acuerdo. En fin.
Che 👃
I´d like to visualize how it was played from just listening the sound like you Mr. Chen. How do you know it was not played in both hands, but as C octaves instead? On the other hand, to give an opinnion is not the same as to criticize...IMO.
J F Thompson Maybe it is a stupid question but insulting a questioning is far easier than trying to explain and surely doesn’t show a brilliant intelligence from the insultant. Have a nice day.
J F Thompson You leave me no other alternative but to level your lack of education and class. Fuck you asshole! How’s that?
wtf movement one has no reason to be this groovy
T his sheet rocks like a MFer!
Mv. II sounds like Nikolai Kapustin.
Ginastera far predates Kapustin
As argentinian, but not expert in music, I can only get the rythms. It's a pity our folk music came too late, I'd love to hear those figurations but with easier harmonies, like those from Mozart, Beethoven or even Chopin.
Piazzolla
Gershwin meets Bartok
l'unico commento in italiano lo state leggendo...
¿No puede usar acordes normales, tan feo va a ser?
of course someone with a beethoven pfp would say this lmao
@@sabaneyev que
Aburrido.
@@GUILLOM no se, si algo me hace doler los oidos escuchandolo, muy bueno no me parece
@@neto6517 si te duelen los oídos yo que tú iría al médico inmediatamente.
i love piano. I hate such dick and curveless pieces.
then don't listen
Incredible how all comments are about the "great" preformance. It is not great, it lacks understanding of Argetinian folk music on which all Gimnastera's music is heavily based on... The performance sounds like a foreigner speaking a non native language with an ugly accent, like Shakespeare being read by a Cuban who just arrived to the United States....
Is this performance by Horacio Lavandera much better in your opinion? Sincerely asking. ruclips.net/video/7-lcnVAoLRE/видео.html
you worry so much about culture and history that you're forgetting about the fact that music is completely seperated from it.
@@Whatismusic123bait
@@WEEBLLOMthank u for the warning mr WEEBLLOM esq.
You should accept it. I'm from China, and all Chinese folk style classical music is like the works written by third-rate Russian composers
don,t like this at all
no one asked you
holy shit the more I listen the more flaws I hear, this is so incredily incompetent, the fact that this has 3k people liking it shows the anti-intellectualism present in the modern classical audience. These are flaws, not subjective dislikes. You cannot leap without eventually resolving on most chords in most metric parts. He often makes voices leap and then continues to leap to random notes which have absolutely nothing to do with each other for the sake of virtuosity? or is it just stupidity?
This is one of my favourite 20th century sonatas 🥰
"Anti-intellectualism" is just a code word for anything that isn't hypercomplex in nature/appeals to a wide audience. Christ's sake, man, just let people enjoy things. And yes, they are subjective dislikes, because art is entirely and completely subjective. You can do absolutely anything in music, and it doesn't even have to follow a particular form or style. Just let people do what they like, and stop being a backseat driver.
@@kgroveringer03 look up the definition of anti-intellectualism bozo.
@@kgroveringer03 your entire perception of music is borne from anti-intellectualism and religion. Music is not some holy tool that can do and express anything, the human brain has very obvious limits.
@@GUILLOM because you're stupid and insecure.
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