Rosa Antonelli, Pianist: Alberto Ginastera Centennial Gala
The Consulate General of Argentina, New York, NY
May 18, 2016
The centennial of the birth of Argentine composer Alberto Ginastera (1916-1983) is no small occasion for the music world. It is fittingly capturing the attention of musicians and audiences worldwide in various ways, but in New York this past week, it was celebrated at the Consulate General of Argentina, in a recital by Argentine pianist Rosa Antonelli.
Ms. Antonelli’s performances, as listed in her biography, have taken her to distinguished venues across the globe, in many countries throughout Europe, Africa, Asia, Latin America, and North America, and frequently under sponsorship by government organizations. Her lovely, gracious demeanor and sense of commitment to her country’s music make her a natural for such a diplomatic venue.
Several dignitaries spoke addressing the occasion, but the most memorable speaker by far was the composer’s daughter, Georgina Ginastera, who spoke of her father’s note-by-note perfectionism, his sense of musical architecture, and the kinship between the Argentine landscape and the tonal evocations of the pampas, the desert, the oceans, the hot midday sun, and vibrant native malambo dancing. She also spoke of his free approach to teaching and how, when he was guiding Astor Piazzolla (1921-1992), also represented on the program, her father urged him to follow his natural inclinations, saying, “if you like tangos, write tangos.” We know from historic records that Nadia Boulanger had similar advice to Piazzolla, who grew restless with his native voice and sought more sophisticated genres, but a large debt of gratitude there clearly goes to Alberto Ginastera.
To start the music, Ms. Antonelli played Ginastera’s exquisite Idilio Crepuscular (“Romance at Twilight” from the ballet Estancia). With generous pedaling aiding the dreamy atmosphere, it started the evening with music of a love story – as Ms. Antonelli explained, “like Romeo and Juliet, but with a happy ending.” More of Ms. Antonelli’s gentle approach brought out the poignancy of the slow Triste and Vidala from the 12 Preludios Americanos. Homenaje a Roberto Garcia Morillo (also from the Preludios) kicked things up a notch, though with more restraint than one hears generally. The ending, notated as a ferocious fff, seemed a bit tame for this listener – whether this was out of concern for the stunning Steinway at hand or for the elegant milieu one could only guess, but it raised concern for the how the rest of the evening would go on with music by a composer of such uncompromising, sometimes savage, vibrancy and frankness.
Back to the lyricism, the program proceeded with Rondo Sobre Temas Infantiles, a nostalgic piece dedicated to Ginastera’s children and similar in language to some of the Villa-Lobos Prole do Bebê. It was played with sensitivity and charm. Three more selections from the Preludios Americanos followed, the gentle Pastoral, nicely shaded, the quiet tango-like Homenaje a Juan Jose Castro, also well rendered, and the rustic Danza Criolla, given an energetic reading.
Four Tangos by Astor Piazzolla followed and seemed a fitting tribute to Ginastera the teacher, who encouraged his composition students to follow their hearts. First came El Mundo de Los Dos, and it was preceded by a reading of melancholy lyrics written for it by Albino Gomez, writer, journalist, and Argentine diplomat. It was given a heartfelt musical interpretation by Ms. Antonelli, who brought out its desolation.
Three more famous tangos followed, including two from the Cuatro Estaciones Porteñas (“Four Seasons of Buenos Aires”), Verano Porteño (summer) and Invierno Porteño (winter), in addition to the effusive Libertango. All three of these have found their way into the concert hall in all manner of arrangements, some recapturing the original bandoneón ensemble and others branching out into cello duos, string quartets, orchestral versions, and more. Piano alone by comparison can seem lacking in color if one does not pull off some technical and tonal miracles, or at least vary the texture and dynamics in strategic ways. Stretches of repeating bass patterns under expansive melodies that in more sustaining instruments are atmospheric and seductive (as tangos invite), can sound arid and grey in solo piano versions. To Ms. Antonelli’s credit, the powerful undercurrent of tango rhythm was rarely sacrificed – a challenge in the Libertango where distribution of hands is awkward – yet one still longed for more of the focal melody. Verano Porteño experienced some rough spots, but overall the pianist acquitted herself well.
The program returned to music of Ginastera to close, the Danza del Trigo (“Wheat Dance” from Estancia) and Tres Danzas Argentinas. These were high points, showcasing Ms. Antonelli’s lyrical expressiveness at its best. Incidentally, the Danza del Trigo struck this listener for the first time as having a strong kinship melodically with the second of the Danzas Argentinas, the Danza de la Moza Donosa, a longtime favorite. The pairing of the two together offered a glimpse into the musical soul of Ginastera – for which Ms. Antonelli is to be thanked. Both were played with real tenderness and were worth the trip by themselves.
Danza del Viejo Boyero and the Danza del Gaucho Matrero, more typically motoric fare, offered a balance. One was surprised by the quantity of pedal in the Gaucho Matrero and also wanted a bit more “oomph” in sections (the subject being cowboys, after all), but these were just a few reservations in what was an effective close to the recital.
All in all, it was a successful evening of tribute. Happy Anniversary, Ginastera!
