Portal de Periódicos da CAPES

Resisting the Malambo: On the Musical Topic in the Works of Alberto Ginastera

2018; Oxford University Press; Volume: 101; Issue: 2-3 Linguagem: Inglês

10.1093/musqtl/gdy014

1741-8399

Melanie Plesch,

Sports and Physical Education Studies

Always in my music there is this violent rhythm. Nature is there, sometimes calm, and sometimes with this violence. —Alberto Ginastera Alberto Ginastera’s idiosyncratic manipulation of rhythm is undoubtedly one of his most noticeable trademarks.1 “Sometimes calm, sometimes violent” hemiolic patterns, rhythmic ostinati, and moti perpetui recur throughout his output, from early nationalist pieces such as the famous “Danza del gaucho matrero” from Tres danzas argentinas (1937) to his last work for piano, the Sonata No. 3 (1982). Most of these rhythmic patterns are identified in the scholarly literature as a reference to the Argentine folk dance known as malambo. Indeed, as can be seen in Table 1, more than forty movements from his works are said to be based on, or contain references to, the malambo. This includes both those in his authorized catalogue as well as some later withdrawn by the composer. It would seem that the allure of the malambo is irresistible. ...