Is there a more rousing way to open a concert — or even a season of concerts?
Energetic and colorful rhythms dominate Alberto Ginastera’s Four Dances from ‘Estancia.’ The second dance offers a lyrical interlude, but the rest of the orchestral suite is built on driving, highly syncopated rhythmic motifs.
Ginastera’s suite is drawn from his ballet ‘Estancia,’ composed in 1941 and inspired by Argentine rural life. The suite captures the spirit of the pampas and the gauchos — Argentina’s iconic cowboys — through four distinct movements.
- “Los trabajadores agrícolas” (“The Agricultural Workers”). It’s certainly not unusual for a composer to build a piece primarily on rhythm rather than melody. In fact, the technique has a distinguished history. The first movement of Beethoven’s Fifth Symphony, for instance, spotlights a da-da-da-dum figure that is one of the most recognizable rhythmic themes in all music. The first dance of Ginastera’s piece bursts with energy, featuring a similar da-da-da-dum theme as it portrays laborers in the fields. It evokes a sense of industrious motion, setting the tone for the suite’s dynamic character.
- “Danza del trigo” (“The Wheat Dance”) follows with a lyrical contrast. This gentle and occasionally haunting interlude features soaring melodies and delicate textures, suggesting the grace and serenity of wheat swaying in the breeze. It’s a moment of pastoral beauty amid the suite’s otherwise vigorous pace.
- “Los peones de hacienda” (“The Cattlemen”) returns to a more forceful mood. Syncopated rhythms and shifting meters reflect the rugged strength and bustling activity of ranch workers, with percussion and brass driving the momentum.
- “Malambo” is a tour de force. Based on a traditional gaucho (cowboy) dance, it showcases a relentless fiery rhythm, punctuated by pounding percussion which reflects the stamping dances of the cowboys. This competitive dance builds in intensity, culminating in a dazzling orchestral climax.
Together, these dances form a vivid musical portrait of Argentina’s landscape and culture, blending indigenous themes with classical technique in a way that’s both exhilarating and deeply evocative.
Program Notes by Paul Hyde
Paul Hyde, a longtime arts journalist, is an English instructor at Tri-County Technical College in South Carolina. He writes regularly for the Atlanta Journal-Constitution, the S.C. Daily Gazette, Classical Voice North America, ArtsATL and other publications. Readers may write to him at paulhydeus@yahoo.com.