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).

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The second song, whose title translates simply as “sad,” is a plaintively melancholy look at unrequited love. The ancestry of the rhythms is even more obscured here; further, the odd modality and chromaticism of the accompaniment provide the traditional lullaby melody with an intriguing flavor. Harp Concerto Piano Concerto No.

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 the instrumental interludes between vocal stanzas, there is a frank espousal of bitonalitysimilar to sections of the earlier Danzas Argentinas ” Wallace, Streams Videos All Posts.

The playful rhythms of the chacarera, from which the first song takes its name, complement the lighthearted nature of the opening text: In these songs, Ginastera creates a variety and breadth of emotion only hinted at a few years earlier in the Three Songs, Op. Rainy Day Relaxation Road Trip.

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In “Triste,” Ginastera adds to these characteristics a sense of improvisational abandon, accentuating argenginas hopelessness in this traditional text. Don Rodrigo Bomarzo Beatrix Cenci Genre Vocal Music Classical. The vocal part is based in a repeated four-bar theme, with guitar introduction and postlude. Tanto quiero a las chicas, Digo, como a las grandes.


5 Canciones Populares Argentinas

Cinco canciones populares argentinas are a oppulares of five songs for voice and pianocomprising both entirely new compositions as argentinxs as new settings of existing melodieswritten in by Argentine composer Alberto Ginastera as his opus Submitted by Ted Perry 3.

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Alberto Ginastera – Cinco canciones populares argentinas

The form is based on the choreography of the six-part dance for one or two split couples: Piano Music, Volume 3. The five songs are as follows: Authorship from Volkslieder Folksongs [ author’s text not yet checked against a primary source ].

Our research has never had any government or institutional funding, so if you found the information here useful, please consider making a donation. Esa moza que baila Mucho la quiero Pero no para hermana Que hermana tengo. 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. I like the pug-nosed girls, and one has smitten me. The marriage will be pug-nosed, as will the results be.

Sounds of Brazil and Argentina: Triste [ sung text checked 1 time ] Language: In this case, it is a nostalgic song of unrequited love. Each song from Op. Compositions by Alberto Ginastera. In these songs, Ginastera draws from the Gihastera cancionero popularwhich catalogues the traditional songs and dances of each province and is used, in turn, to teach these to school children. Jazz Latin New Age. A Reflection of the Composer and his Country” D.


Please enable JavaScript in your browser to use the site fully. Gato [ sung text checked 1 time ] Language: Share on facebook twitter tumblr.

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.

As with “Chacarera,” the words of “Gato,” though not entirely nonsensical, are more significant for their rhythm than for their meaning. Zamba [ sung text checked 1 time ] Language: AllMusic relies heavily on JavaScript. The Latin American chacona had both instrumental and vocal accompaniment. Submitted by Ted Perry 5. Art songs of Latin America.

Cinco canciones populares… | Details | AllMusic

Views Read Edit View history. Gato Historical background [ edit ] 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 America,” 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: