Harp Concert (Ginastera)

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The Harp Concerto op. 25 by the Argentine composer Alberto Ginastera (1916–1983), premiered in 1965, is characterized by a large percussion line-up, some of which are specifically Latin American instruments.

Origin, premiere and reception

Alberto Ginastera was awarded in 1956 by Edna Phillips , harpist of the Philadelphia Orchestra and her husband, Samuel Rosenbaum, an order for the composition of a harp concert for 1958 in Washington, DC held Inter-American Festival . Since the work was not available by then, it was planned for the Inter-American Festival in 1961, with Sylvia Meyer, harpist of the Washington National Symphony , taking over the solo part instead of Edna Phillips, who was heavily involved in teaching . This appointment also passed without Ginastera having supplied more than drafts. By the time the next festival date, in 1963, Phillips had already withdrawn from the concert podium and the Spanish harpist Nicanor Zabaleta was designated as the soloist. Completion was delayed again, so that Zabaleta was only able to premiere the harp concerto on February 18, 1965 in Philadelphia with the Philadelphia Orchestra under the direction of Eugene Ormandy , which was received with standing ovations and positive criticism.

The reasons for the long delay are unclear and could be partly due to the political turmoil in Argentina or the fact that Ginastera was very busy with other works, including a piano concerto and an opera. Before the premiere, Ginastera stated that it was the most difficult work he had ever written, since the characteristics of the harp pose numerous problems for a modern composer.

In 1968 Sylvia Meyer took over the harp part in the first performance of the score, now printed and revised as Ginasteras op. 25 by Boosey & Hawkes, with the Washington National Symphony under the direction of Guillermo Espinosa .

Alberto Ginastera's harp concerto became part of the standard harp repertoire. Several commercially available recordings are available.

Cast and characterization

In addition to the solo harp , an orchestral line-up is required in which an extensive percussion apparatus is noticeable, which also includes instruments typical of Latin America:

2 flutes (2nd also piccolo ), 2 oboes , 2 clarinets , 2 bassoons , contrabassoon , 2 horns , 2 trumpets , timpani , percussion (4 players, with: 2 crotales , glockenspiel , xylophone , 3 bongos , 4 tom-toms , 4 cowbells , 3 hanging cymbals , tam-tam , triangle , small triangle, claves , güiro , maracas , block of wood , whip , bass drum , snare drum , tambourine , peg drum ), celesta and strings .

The performance lasts about 23 minutes. The three movements of the concert are headed as follows:

  1. Allegro giusto
  2. Molto moderato
  3. Liberamente capriccioso - Vivace

Ginastera's harp concerto falls into a creative phase of the composer in which elements of folk music increasingly take a back seat to the influences of contemporary trends. In places the harp is treated like a member of the percussion instruments.

The first movement begins with percussive rhythms in 3/4 or 6/8 time and is inspired by the Argentine Malambo , a folk dance from the folklore of the gauchos .

The slow second movement puts the harp in the foreground and with the use of the celesta and a short canonical episode in the strings reminds us of Béla Bartók in places .

The third movement opens with an extended harp solo cadenza , in which special effects such as pedal glissandi , playing with fingernails, guitar-like sounds or stroking the low strings with the palm of the hand are used. Introduced by a tutti hit, another Malambo follows, in which the rich drums come into their own and which drives the overall dramatic movement to an effective conclusion.

Individual evidence

  1. ↑ Cast details , Boosey & Hawkes

literature

Web links