Alberto Ginastera. Cinco canciones populares argentinas (5 Popular Argentinian Songs), for voice and piano, Op. Composition Information ↓; Description. Ginastera, Alberto. Cinco canciones populares argentinas. Five Argentine Folk Songs op. 10 (). Voice and piano. Duration: 9′. Territory. This work is. Cinco canciones populares argentinas. Word count: Song Cycle by Alberto Ginastera ( – ). Show the texts alone (bare mode).
|Published (Last):||16 October 2018|
|PDF File Size:||10.4 Mb|
|ePub File Size:||8.78 Mb|
|Price:||Free* [*Free Regsitration Required]|
Chacarera The chacarera from chacra”farm” is deeply rooted in the central pampas and the northern Argentine interior, with popular variations in Uruguay and Bolivia.
Tanto quiero a las chicas, Digo, como a las grandes. In Argentinathe militant revolutionary activity of the late s and early s solidified the power of politicians who, according to Aaron Coplandplaced musical policy entirely in the hands of “a small group of conservative musicians” Aaron Copland, “The Composers of South Gunastera Modern Music vol. There may be a link between the chacarera and the chaconnewhich is described in The New Oxford Companion to Music as follows: The final song boisterously employs native rhythms, compounding their energy with raucous, jarring outbursts of celebratory dissonance.
This website began in as a personal project, and I have been working on it full-time without a salary since It is illegal to copy and distribute our copyright-protected material without permission.
It was disseminated as the triste by the payadores in the pampa during the arfentinas century, and, though lacking a set form, is characterized by a slow guitar introduction, melodia- recitativo with sparse accompaniment Diccionario de la Musica Labored. The five songs are as follows:. Guitarrita de pino Cuerdas de alambre. In these songs, Ginastera creates a variety and breadth of emotion only hinted at a few years earlier in the Three Songs, Op.
The refrain was constructed upon one of a series of typical harmonic schemes e. Zamba With no relation to the Brazilian sambathe Argentine zamba is a graceful eighteenth century scarf dance of Peruvian origin.
The playful rhythms of the chacarera, from which the first song takes its name, complement the lighthearted nature gijastera the opening text: Chacarera [ sung text checked 1 time ] Language: The melody combines diatonic and pentatonic elements, characteristic of Incan pentatonic scales, with the reiterated tone G and its embellishing quartal grace notes in cwnciones introduction serving to establish “the pentatonic flavor of the succeeding melody” Wallace, Submitted by Ted Perry 3.
Rainy Day Relaxation Road Trip.
In the wake of the milonga and its more famous urban descendant, the tangoit fell out of favor in the zones near Buenos Airesbut found new vitality in the northern Argentine provinces and Bolivia.
The playful rhythms of the chacarera, from which the first song takes its name, complement the lighthearted nature of the opening text:.
Romantic Evening Sex All Themes. Complete Music for Cello and Piano. Submitted by Ted Perry 4. Both the vocal melody and the accompaniment are in C majorbut Ginastera “adds dissonance and dislocates tones horizontally to lend a polytonal aura to the background, [and] in argntinas instrumental interludes between vocal stanzas, there is a frank espousal of bitonalitysimilar to sections of the earlier Danzas Argentinas ” Wallace, The third poem also addresses this subject, flavoring faintly traditional rhythms and figures with occasional and dramatic harmonic discord.
Cinco canciones populares… | Details | AllMusic
Submitted by Ted Perry Gentle Reminder. Ediciones Culturales Argentinas, Triste While “triste” translated literally means “sad” or “sorrowful,” the title of this song is not an adjective but rather, like the rest of the opus 10 songs, an indication of the song or dance type: This page was last edited on 5 Juneat It is a rapid dance in triple meter for one or two couples, which begins with the beating of the feet on the ground while the guitarist strums the introductory bars.
In some passages “there is considerable use of extended tertian and polytonal arpeggiation underneath the melodic line” Wallace, Songs from Latin America.