Historical background[ edit ] In Argentina , the militant revolutionary activity of the late s and early s solidified the power of politicians who, according to Aaron Copland , placed musical policy entirely in the hands of "a small group of conservative musicians" Aaron Copland, "The Composers of South America," Modern Music vol. Musical influences and style[ edit ] In these songs, Ginastera draws from the Argentine cancionero popular, which catalogues the traditional songs and dances of each province and is used, in turn, to teach these to school children. In these pieces, Ginastera places virtuosic demands on the pianist while allowing the singer to convey emotion in an understated vocal line. Chacarera The chacarera from chacra, "farm" is deeply rooted in the central pampas and the northern Argentine interior, with popular variations in Uruguay and Bolivia. It is a rapid dance in triple meter for one or two couples, which begins with the beating of the feet on the ground while the guitarist strums the introductory bars. There may be a link between the chacarera and the chaconne , which is described in The New Oxford Companion to Music as follows: "A dance in triple meter which originated in Latin America and was taken up as a form and variations in Spain and Italy in the early seventeenth century, in France soon after.
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In these songs, Ginastera creates a variety and breadth of emotion only hinted at a few years earlier in the Three Songs, Op. Each song from Op. The first and last songs demonstrate the clearest evocations of Argentinean folklore. The playful rhythms of the chacarera, from which the first song takes its name, complement the lighthearted nature of the opening text: I like the pug-nosed girls, and one has smitten me. The marriage will be pug-nosed, as will the results be.
The second song, whose title translates simply as "sad," is a plaintively melancholy look at unrequited love.
The third poem also addresses this subject, flavoring faintly traditional rhythms and figures with occasional and dramatic harmonic discord. The penultimate song portrays a mother singing a lullaby to her child.
The ancestry of the rhythms is even more obscured here; further, the odd modality and chromaticism of the accompaniment provide the traditional lullaby melody with an intriguing flavor.
The final song boisterously employs native rhythms, compounding their energy with raucous, jarring outbursts of celebratory dissonance.
Cinco canciones populares argentinas
Cinco canciones populares argentinas (5 Popular Argentinian Songs), for voice and piano, Op. 10