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Variaciones concertantes (Concert Variations) for Orchestra, Op. 23 (1953) Alberto Ginastera (1916 – 1983) 1. Theme for cello and harp 2. Interlude for strings 3. Giocoso (playful) Variation for flute 4. Scherzo (frolicsome) Variation for clarinet 5. Dramatic Variation for viola 6. Canonic Variation for oboe and bassoon 7. Rhythmic Variation for trumpet and trombone 8. Perpetual Motion Variation for violin 9. Pastoral Variation for French horn 10. Interlude for woodwinds 11. Theme for harp and double bass 12. Final Variation in the form of a Rondo for orchestra Ginastera was a prominent twentieth-century Argentine composer. His earliest compositions, into which he incorporated Argentine folk music, comprise his “Objective Nationalism” phase. Next came his “Subjective Nationalism” phase, in which he alluded to folk tradition through the use of folk rhythms and melodies without actual quotation. Beginning in the 1950s, he began the transition to twelve-tone composition. Most of his later works, characterized by polytonality, include micro-intervals, e.g., quarter-tones. Perhaps because of his heritage – his mother was Italian, Ginastera preferred his surname to be pronounced as if it were Italian, i.e., with a soft “G”, rather than the Spanish “Hinastera.” Ginastera’s “Concert Variations” was commissioned by the Society of Friends of Music in Buenos Aires. Igor Markevitch conducted the première in Buenos Aires on June 2, 1953. The work has an Argentine flavor, but uses no material of folk origin; its unique mood is created entirely through Ginastera’s own themes and rhythms. The work is in 12 sections, which are performed without interruption. The theme, heard at the outset, is introduced by cello and harp, and the variations that follow after a string interlude are all based on this theme. Each variation features different orchestral instrumentation, and the character and quality of the instrument(s) give each variation its characteristics. The joyous nature of the Giocoso variation is imparted by the flute, while the clarinet is responsible for the mood of the Scherzo. The Dramatic Variation highlights the viola, while the following Canonic Variation features the oboe and bassoon. The Rhythmic Variation, with prominent trumpet and trombone, leads immediately into the Perpetual Motion for the violin. The following contrasting Pastoral Variation presents the French horn. Next comes an Interlude for woodwinds. The opening Theme, now with harp and double bass, is then recalled, following which the whole orchestra presents the Final Variation in the form of a Rondo. © Ted Wilks, 1996