On April 7, the Enso Quartet, which made an incisive recording of Ginastera’s three string quartets for Naxos, plays the Third Quartet, which includes soprano settings of poems by Lorca, Juan Ramón Jiménez, and Rafael Alberti. Last season, Wachner resurrected the composer’s clamorous Passion oratorio, “Turbae ad Passionem Gregorianam” this spring, a slew of Ginastera works will appear at Trinity, notably in the “Concerts at One” series, on Thursdays. Ginastera’s strongest local advocate is Julian Wachner, the music director at Trinity Church Wall Street. A man of technocratic mien, he busied himself with foundations and associations, extracting funding from Cold War agendas. Cannily navigating stylistic currents, he moved from folkloric nationalism to serialism and on to indeterminacy and other avant-garde techniques. ![]() In the decades after the Second World War, Ginastera cut a wide swath through the musical world of the Americas between 19, New York City Opera staged all three of his operas (“Don Rodrigo,” “Bomarzo,” and “Beatrix Cenci”). The centenary of the Argentinean modernist Alberto Ginastera, which falls on April 11, is prompting reconsideration of a composer who, in recent years, seemed ready to fade into the ranks of history’s also-rans. Photograph by Bob Gomel / The LIFE Picture Collection / GettyĬlassical-music institutions rely far too much on anniversary-driven programming: they may as well put up a neon sign saying, “We have no ideas.” Sometimes, though, there are benefits. The dazzlingly colorful and brilliantly crafted music of Alberto Ginastera is undergoing a revival.
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