New Compact Disc Release

Total Page:16

File Type:pdf, Size:1020Kb

New Compact Disc Release New Compact Disc Release www.musicaomnia.org Features: 3 CD Masterpieces of • Comprehensive 3-CD anthology of Karol Szymanowski more than 30 years (1900 - 1934) Music for violin/piano and solo piano of the output for violin/piano duo and Karol Szymanowski was a giant in the solo piano by Karol Szymanowski, the history of Polish music and among the most important Polish composer after greatest composers of his turbulent era. Frederic Chopin. His music spans a kaleidoscopic range of • Includes major opuses for violin and styles from late-Romantic chromaticism, piano as well as a third CD containing to shimmering Impressionism, to a proud the two important collections of K AAROLROL and energetic nationalist idiom. All his 22 Mazurkas for solo piano SZYMANOWSKI: Masterworks for music is marked by an attractive lyricism (1924/5 & 1933/4). violin & piano; piano solo BlankaBlanka Bednarz, violin and an exceptional sensitivity to tone Matthew Bengtson, piano • Performances by two internationally color. Pianist Matthew Bengtson and The Romantics 25 recognized specialists in Szymanowski violinist Blanka Bednarz, life-long tireless performance, Blanka Bednarz (violin) advocates of his music, present a varied and Matthew Bengtson (piano). program of his greatest masterpieces for • Extensive notes and commentary on solo piano and violin/piano duo. the music by the performers. CD 1 Target Markets: Sonata for Violin and Piano in D minor, Worldwide major metro markets, op. 9 (1904) culturally-oriented cities & college towns. Etudes, op. 4 (1900-1902) Romance in D major for Violin and Piano, op. 23 (1910) Reviews: Early Music (U.K.), Métopes. Three poems for piano, Luister (Holland), Dutch Early Music op. 29 (1915) Review, American Record Guide, Nocturne and Tarantella for Violin Gramophone, BBC Music Magazine, Blanka Bednarz and Piano, op. 28 (1915) violin Fanfare, Classical Net, Musicweb, CD 2 Early Music America Myths. Three poems for Violin and Piano, Configuration: Matthew Bengtson op. 30 (1915) piano Masques. Three pieces for piano, Three CD Set in Digipak op. 34 (1915-16) “Roxana’s Song” from the opera King Roger The Romantics (1918-1924) Available: September, 2017 A revolution in art and literature swept Karol Szymanowski-Paweł Kochański “L’aube” (Dawn, wit) through Europe and by the early 1800’s Romanticism dominated the musical “Danse Sauvage” (Wild Dance, Dziki Taniec) Recorded: landscape. Such figures as Beethoven, Oberek, from Four Polish Dances (1926) CD 1 & 2: March, 2013 Mendelssohn, and Brahms exemplified the “Bauerntanz” (“Harnasie’s Dance”) ideals yet maintained highly individual from the ballet Harnasie (1923-1931) CD 3: March, 2002 approaches. Now, our finest historically- informed musicians and scholars present this incomparable repertoire in a series CD 3 Booklet: destined to become an essential part of 32 page Twenty Mazurkas, op. 50 (1924-25) every serious music lover’s collection. Two Mazurkas, op. 62 (1933-34) Label Cat.# Barcode and UPC# Title Suggested Retail Price Inv Ord. MO Masterpieces of $23.99 Musica Omnia 0703 Karol Szymanowski (includes 3 CDs) For further information, please contact: Dr. Peter G. Watchorn President & Co-Founder Musica Omnia, Inc. Tel: 617-354-5821 • Fax: 617-252-8868 • Email: [email protected].
Recommended publications
  • Folk Roots, Urban Roots
    Thursday 13 December 2018 7.30–9.55pm Barbican Hall LSO SEASON CONCERT FOLK ROOTS, URBAN ROOTS Bartók Hungarian Peasant Songs Szymanowski Harnasie Interval Stravinsky Ebony Concerto Osvaldo Golijov arr Gonzalo Grau Nazareno Bernstein Prelude, Fugue and Riffs ROOTS & Sir Simon Rattle conductor Edgaras Montvidas tenor Chris Richards clarinet Katia and Marielle Labèque pianos Gonzalo Grau percussion Raphaël Séguinier percussion London Symphony Chorus ORIGINS Simon Halsey chorus director In celebration of the life of Jeremy Delmar-Morgan Streamed live on youtube.com/lso Recorded by BBC Radio 3 for broadcast on Tuesday 18 December Welcome Jeremy Delmar-Morgan In Memory 1941–2018 We are also delighted to welcome Katia and Jeremy Delmar-Morgan was a member of Marielle Labèque, who perform Nazareno, the LSO Advisory Council for over 20 years, a double piano suite drawn from Osvaldo a Director of LSO Ltd from 2002 to 2013, and Golijov’s La Pasión según San Marco, thereafter a Trustee of the LSO Endowment arranged by Gonzalo Grau, who appears Trust. He was also Honorary President of alongside Raphaël Séguinier as one of this the Ronald Moore Sickness and Benevolent evening’s percussion soloists. We then close Fund, where he brought invaluable advice with Prelude, Fugue and Riffs by the LSO’s to the LSO musicians on the investment former President, Leonard Bernstein, with strategy for the fund. After studying LSO Principal Clarinet Chris Richards as soloist. medicine at Cambridge he went into the City for a career in stock-broking, latterly elcome to this LSO concert at Tonight’s concert is performed in combining the two in the financing of the Barbican.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 2009
    SUMMER 2009 • . BOSTON SYMPHONY ORCHESTRA JAMES LEVINE MUSIC DIRECTOR DALECHIHULY HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE 3 Elm Street, Stockbridge 413 -298-3044 www.holstengaIleries.com Olive Brown and Coral Pink Persian Set * for a Changing World They're Preparing to Change the 'I'Mi P i MISS HALL'S SCHOOL what girls have in mind 492 Holmes Road, Pittsfield, Massachusetts 01201 (413)499-1300 www.misshalls.org • e-mail: [email protected] m Final Weeks! TITIAN, TINTORETTO, VERONESE RIVALS IN RENAISSANCE VENICE " "Hot is the WOrdfor this show. —The New York Times Museum of Fine Arts, Boston March 15-August 16, 2009 Tickets: 800-440-6975 or www.mfa.ore BOSTON The exhibition is organized the Museum by The exhibition is PIONEER of Fine Arts, Boston and the Musee du sponsored £UniCredit Group by Investments* Louvre, and is supported by an indemnity from the Federal Council on the Arts and Titian, Venus with a Mirror (detail), about 1555. Oil on canvas. National Gallery of Art, Washington, Andrew the Humanities. W. Mellon Collection 1 937.1 .34. Image courtesy of the Board of Trustees, National Gallery of Art, Washington. James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 128th season, 2008-2009 Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman • Diddy Cullinane, Vice-Chairman • Robert P. O'Block, Vice-Chairman Stephen Kay, Vice-Chairman • Roger T. Servison, Vice-Chairman • Edmund Kelly, Vice-Chairman • Vincent M. O'Reilly, Treasurer • George D. Behrakis • Mark G. Borden • Alan Bressler • Jan Brett • Samuel B. Bruskin • Paul Buttenwieser • Eric D.
    [Show full text]
  • 557981 Bk Szymanowski EU
    570723 bk Szymanowski EU:570723 bk Szymanowski EU 12/15/08 5:13 PM Page 16 Karol Also available: SZYMANOWSKI Harnasie (Ballet-Pantomime) Mandragora • Prince Potemkin, Incidental Music to Act V Ochman • Pinderak • Marciniec Warsaw Philharmonic Orchestra and Choir • Antoni Wit 8.557981 8.570721 8.570723 16 570723 bk Szymanowski EU:570723 bk Szymanowski EU 12/15/08 5:13 PM Page 2 Karol SZYMANOWSKI Also available: (1882-1937) Harnasie, Op. 55 35:47 Text: Karol Szymanowski (1882-1937) and Jerzy Mieczysław Rytard (1899-1970) Obraz I: Na hali (Tableau I: In the mountain pasture) 1 No. 1: Redyk (Driving the sheep) 5:09 2 No. 2: Scena mimiczna (zaloty) (Mimed Scene (Courtship)) 2:15 3 No. 3: Marsz zbójnicki (The Tatra Robbers’ March)* 1:43 4 No. 4: Scena mimiczna (Harna i Dziewczyna) (Mimed Scene (The Harna and the Girl))† 3:43 5 No. 5: Taniec zbójnicki – Finał (The Tatra Robbers’ Dance – Finale)† 4:42 Obraz II: W karczmie (Tableau II: In the inn) 6 No. 6a: Wesele (The Wedding) 2:36 7 No. 6b: Cepiny (Entry of the Bride) 1:56 8 No. 6c: Pie siuhajów (Drinking Song) 1:19 9 No. 7: Taniec góralski (The Tatra Highlanders’ Dance)* 4:20 0 No. 8: Napad harnasiów – Taniec (Raid of the Harnasie – Dance) 5:25 ! No. 9: Epilog (Epilogue)*† 2:39 Mandragora, Op. 43 27:04 8.557748 Text: Ryszard Bolesławski (1889-1937) and Leon Schiller (1887-1954) @ Scene 1**†† 10:38 # Scene 2†† 6:16 $ Scene 3** 10:10 % Knia Patiomkin (Prince Potemkin), Incidental Music to Act V, Op.
    [Show full text]
  • The Hero of Karol Szymanowski's Opera King Roger In
    4 Password ‘Roger’. The Hero of Karol Szymanowski’s Opera King Roger in Tadeusz Miciński’s Theatre of the Soul Edward Boniecki Institute of Literary Research, Polish Academy of Sciences Towards the end of the first act of Szymanowski’s opera King Roger, the hero of the title, ruler of Sicily, calls to judgment the Shepherd, who is the cause of religious confusion through preaching about an unknown God, with the following words: When the stars light up in the dark blue sky, you will come to the gates of my palace. There the guard will challenge you with ‘Shepherd’, and you will answer them: ‘Roger’.1 The challenge is ‘Shepherd’ and the response is ‘Roger’. But when in the second act the Shepherd arrives at Roger’s palace, he responds to the guards’ challenge, ‘Shepherd’, by correcting them: ‘Challenge: Roger!’ Might this be the librettist’s mistake? Should the response really be ‘Shepherd’? It soon turns out that this is in fact the case, because it is King Roger, wearing a pilgrim’s clothes, following the Shepherd who awakens in him a response. That response is the answer, to his own, Roger’s, existence, since the King’s soul, when challenged by the King as to its own identity, responded with ‘Shepherd’. Roger’s name opened the gates of the palace of the King of Sicily to the Shepherd. The challenge ‘Roger’ opens up the world of Szymanowski’s the- atrical imagination, created in his opera.2 Central to it is the character of King Roger, who exercises absolute rule over Sicily, and over the composer’s 57 58 Edward Boniecki imagination (it was the composer himself who changed the original title of the libretto by Iwaszkiewicz from The Shepherd to King Roger).
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 122, 2002-2003
    2002-2003 SEASON JAMES LEVINE MUSIC DIRECTOR DESIGNATE BERNARD HAJTINK PRINCIPAL GUEST CONDUCTOR I OZAWA R LAUREATE BOSTON S Y M P H O 1ST ORCHESTRA Bring your Steinway: With floor plans from 2,300 Phase One of this magnificent to over 5,000 square feet, property is 100% sold and you can bring your Concert occupied. Phase Two is now Grand to Longyear. being offered by Sotheby's Enjoy full-service, single- International Realty and floor condominium living at its Hammond Residential Real absolute finest, all harmoniously Estate. Priced from $1,500,000. located on an extraordinary eight-acre Call Hammond Real Estate at gated community atop prestigious (617) 731-4644, ext. 410. Fisher Hill. LONGYEAR a / O^i'sJier Jfiff BROOKLINE «r a noisy world out there. ll ise above the din. r;:;^: • For almost twenty-five years, Sametz Blackstone has provided communications and design counsel to leading corporate, academic, and cultural organiza- tions-to build brand awareness, promote products and BSO, Tanglewood, Pops services, raise capital, and add measurable value. Boston Ballet FleetBoston Celebrity Series The need may be a comprehensive branding program Harvard University or a website, a capital campaign or an annual report. Through strategic consulting, thoughtful design, and Yale University innovative technology, we've helped both centenarians and start-ups to effectively communicate their messages Fairmont Hotels & Resorts offerings, and personalities-to achieve resonance-and American Ireland Fund be heard above the din. Scudder Investments / Deutsche Bank Raytheon Whitehead Institute / Genome Center Boston Public Library City of Boston Sametz Blackstone Associates Compelling communications—helping evolving organizations navigate change 40 West Newton Street Blackstone Square bla< kstone@sam< ' - ton 021 18 www.sametz.< om James Levine, Music Director Designate Bernard Haitink, Principal Guest Conductor Seiji Ozawa, Music Director Laureate 122nd Season, 2002-2003 Trustees of the Boston Symphony Orchestra, Inc.
    [Show full text]
  • WNO Boheme Sim REORDER2 Print Spreads
    WASHINGTON NATIONAL OPERA ORCHESTRA HEINZ FRICKE, MUSIC DIRECTOR Violin I Cello Clarinet Bass Trombone Oleg Rylatko, Amy Frost Baumgarten, David Jones, Principal Stephen Dunkel Concertmaster Principal Lora Ferguson, Assistant Eric Lee, Associate Elizabeth Davis,Assistant Principal Tuba/Cimbasso Concertmaster Principal Stephen Bates Michael Bunn, Principal Zino Bogachek+** Ignacio Alcover+ Joan Cataldo Amy Ward Butler Bass Clarinet Timpani Michelle Kim Timothy H. Butler** Stephen Bates Jonathan Rance, Principal Karen Lowry-Tucker Igor Zubkovsky Greg Akagi, Assistant Susan Midkiff Kerry Van Laanen* Bassoon Principal Washington National Opera’s Board of Trustees Margaret Thomas Donald Shore, Principal Charlie Whitten Bass Christopher Jewell, Percussion presents Doug Dube* Robert D’Imperio, Assistant Principal John Spirtas, Principal Jennifer Himes* Principal Nancy Stutsman Greg Akagi Patty Hurd* Frank Carnovale, Assistant Bill Richards* A Live Broadcast from Agnieszka Kowalsky* Principal Contrabassoon John Ricketts Nancy Stutsman Harp The John F. Kennedy Center for the Performing Arts Violin II Jeffrey Koczela* Susan Robinson, Principal Julia Grueninger, Horn Sunday, September 23, 2007 Principal Flute Gregory Drone, Principal ADMINISTRATION Joel Fuller, Assistant Adria Sternstein Foster, John Peiffer, Assistant Principal Principal Principal Orchestra Personnel & Richard Chang+ Stephani Stang-Mc- Robert Odmark Operations Manager Xi Chen Cusker, Assistant Peter de Boor Aaron Doty Jessica Dan Fan Principal Geoffrey Pilkington Martha Kaufman
    [Show full text]
  • WTTW & WFMT Member Magazine
    Air Check Dear Member, The Guide WTTW and WFMT have always synonymous with exceptional local content, and this month, we are The Member Magazine for WTTW and WFMT proud to bring you an especially impressive array of options – everything from three new installments Renée Crown Public Media Center of our own homegrown national music series Soundstage to an acclaimed play from Albany Park 5400 North Saint Louis Avenue Theater Project and Goodman Theatre; thought-provoking documentaries about the city’s Cabrini Chicago, Illinois 60625 Green housing project and a secret WWII training exercise on Lake Michigan; an innovative film created Main Switchboard by a 12-year-old local filmmaker; and a new local series, The Interview (773) 583-5000 Show with Mark Bazer (wttw.com/interviewshow). Member and Viewer Services This month on WTTW11 and wttw.com, there is something for everyone, (773) 509-1111 x 6 WFMT Radio Networks including American Masters profiles of Janis Joplin and the Highwaymen; a (773) 279-2000 new season of Genealogy Roadshow; That Bites!, a 12-year-old’s treatise on Chicago Production Center what it’s like to live with food allergies; a revealing series, Genius, hosted (773) 583-5000 by renowned physicist (and genius) Stephen Hawking; all-new webisodes Websites of Chat, Please! with David Manilow; the return of and final season with wttw.com Kenneth Branagh as the brooding Swedish detective Wallander and the wfmt.com continuation of our popular Saturday night mysteries; and two important President & CEO Independent Lens specials with town halls on gun violence in America. Daniel J.
    [Show full text]
  • (KING ROGER) Opera in Three Acts by Karol Szymanowski Libretto by Jarosław Iwaszkiewicz and the Composer Performed in Polish with German and English Surtitles
    Premiere / First ever performance in Frankfurt KRÓL ROGER (KING ROGER) Opera in three acts by Karol Szymanowski Libretto by Jarosław Iwaszkiewicz and the composer Performed in Polish with German and English surtitles Conductor: Sylvain Cambreling Director: Johannes Erath Set Designer: Johannes Leiacker Costume Designer: Jorge Jara Lighting Designer: Joachim Klein Video: Bibi Abel Chorus and Extra Chorus Master: Tilman Michael Children's Chorus Master: Markus Ehmann Dramaturge: Zsolt Horpácsy King Roger: Łukasz Goliński Roxana: Sydney Mancasola Sheperd: Gerard Schneider Edrisi: AJ Glueckert Archbishop: Alfred Reiter Deaconess: Judita Nagyová Oper Frankfurt's Chorus, Extra Chorus and Extras Frankfurter Opern- und Museumsorchester The Polish composer Karol Szymanowski (1882-1937) produced Król Roger (King Roger), the second and better known of his two operas, which received its World Premiere on June 19th 1926 at the Teatr Wielki in Warsaw. Despite its very unusual sound language it was not long before the work was being performed abroad. The libretto was written by the composer and his cousin, the poet Jarosław Iwaszkiewicz, around their protagonist, King Roger II, descended of Norman noble lineage, who ruled in Sicily during the 12th century. The work, based on, amongst others, Euripides’ Bacchae, depicts a hero caught between the strict Christian church and a way of life more interested in pleasure. This is in keeping with views of the Mediterranean World, which had always fascinated Szymanowski. Interest in the work has never completely petered out, although this New Production is the first time the opera has ever been performed in Frankfurt. A young shepherd, a disciple of the god Dionysos, causes confusion at King Roger's court.
    [Show full text]
  • “A New Mode of Expression”: Karol Szymanowski's First
    COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Copyright Service. sydney.edu.au/copyright “A NEW MODE OF EXPRESSION”: KAROL SZYMANOWSKI’S FIRST VIOLIN CONCERTO OP. 35 WITHIN A DIONYSIAN CONTEXT Marianne Broadfoot A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Sydney Conservatorium of Music University of Sydney 2014 I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree.
    [Show full text]
  • Nationalism in Karol Szymanowski's Mazurkas No
    Nationalism in Karol Szymanowski’s Mazurkas No. 1-4, Op. 50: The Influence of Goral Music A doctoral document submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Studies Division of the College-Conservatory of Music 2007 By Sun-Joo Cho 2410 Ohio Ave. #201 Cincinnati, OH 45219 B.M., Ewha Women’s University, Seoul, South Korea, 1997 M.M., University of Cincinnati, 2001 Committee Chair: Dr. Robert Zierolf Abstract Karol Szymanowski was a successor to the Polish nationalism of Chopin, and truly was an important figure as the bridge between Chopin and twentieth-century composers including Lutoslawski, Penderecki, Gorecki, and Paderewski as a figure of international fame. He composed two sets of mazurkas: 20 Mazurkas, Op. 50 (1924-25) and Two Mazurkas, Op. 62 (1933-34), his last completed works. His mazurkas are commonly understood to have been directly inspired by Chopin’s. However, Szymanowski’s were also influenced by Poland’s postwar independence, Bartok’s nationalism, Stravinsky’s Russian Period music, and musical contacts with the Gorale and personal experiences in Zakopane, located in the Podhale region in the Tatra Mountains in the early 1920s. Among these influential factors, the music in the Podhale region was the biggest motivation and musical basis in composing a set of Mazurkas, Op. 50. Written in Zakopane in the 1920s, they show many general musical characteristics from the “highland” mountain area and are clearer examples of nationalism than Op. 62.
    [Show full text]
  • Karol Szymanowski [1882-1937]
    Karol Szymanowski [1882-1937] Nine Preludes {Dziewięć preludiów}, Op. 1 1 No. 1 in B minor (h-moll) Andante ma non troppo 3:04 2 No. 2 in D minor (d-moll) Andante con moto 2:51 3 No. 3 in D flat major (Des-dur) Andantino 1:17 4 No. 4 in B flat minor (b-moll) Andantino con moto 1:33 5 No. 5 in D minor (d-moll) Allegro molto, impetuoso 1:28 6 No. 6 in A minor (a-moll) Lento, mesto 2:25 7 No. 7 in C minor (c-moll) Moderato 3:10 8 No. 8 in E flat minor (s-moll) Andante ma non troppo 2:29 9 No. 9 in B flat minor (b-moll) Lento, mesto 2:51 Four Études {Cztery etiudy}, Op. 4 10 No. 1 in E flat minor (es-moll) Allegro moderato 4:16 11 No. 2 in G flat major (Ges-dur) Allegro molto 2:12 12 No. 3 in B flat minor (b-moll) Andante in modo d’una canzona 4:52 13 No. 4 in C major (C-dur) Allegro (ma non troppo) 4:03 Masques {Maski}, Op. 34 14 I. Scheherazade {Szeherezada} 10:16 15 II. Tantris the Fool {Błazen Tantris} 6:48 16 III. The Serenade of Don Juan {Serenada Don Juana} 7:11 Two Mazurkas {Dwa Mazurki}, Op. 62 17 No. 1 Allegretto grazioso 3:10 18 No. 2 Moderato 3:03 total duration: 67:05 ’ Barbara Karaskiewicz piano The composer and his music Karol Szymanowski (1882-1937) remains to this day, most indisputably, one of the most important Polish composers of the twentieth century.
    [Show full text]
  • Ralph Votapek Music by Ginastera, Poulenc, Szymanowski & Piazzolla Ralph Votapek Music by Ginastera, Poulenc, Szymanowski and Piazzolla
    Ralph Votapek Music by Ginastera, Poulenc, Szymanowski & Piazzolla Ralph Votapek Music by Ginastera, Poulenc, Szymanowski and Piazzolla Alberto Ginastera (1916-1983) Alberto Evaristo Ginastera was born in Buenos Aires, April 11, 1916. From early childhood he showed interest in music, beginning formal studies when he was seven years old. At twelve he entered the Conservatorio Williams, eventually entering the National Conservatory of Music where his teachers included Athos Palma and Jose Andre. His first mature work, the score for the ballet Panambi, was also the first he allowed to survive. The suite from the ballet was premiered in 1937 and the complete ballet was intro- duced at the Teatro Colon in 1940. Primitive in its rhythms and modern harmonies, the score constantly reveals the composer’s interest in a national Argentine idiom. During this time he also wrote the wonderful piano work, Danzas Argentinas. In 1938 he graduated with honors from the National Conservatory. In 1941 he was commissioned the ballet Estancia, and his first symphony, Sinfonia Portena followed in 1942. In 1942 he received a Alberto Ginastera Guggenheim Fellowship and he visited the United States. World War II inspired his Twelve American Preludes for piano and the Elegiac Symphony (1944), dedicated to those who “died for freedom.” From 1945-1947 he lived in New York. In 1948 he became director of the conservatory of the province of Buenos Aires in La Plata. In 1948 he completed another important work — his first string quartet. Ginastera’s Piano Sonata No.1 (1952) and the Variaciones Concertantes (1953) followed. Because of his pronounced anti-Fascist sentiments, Ginastera became increasingly suspect in Argentina dur- ing the Peron regime.
    [Show full text]