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Comments from ACO’s March 8, 1998 Sonidos de las Américas: Argentina concert at Carnegie Hall The culminating event in ACO's week-long festival of Argentine concert music offered five tremendously varied works: two by the acknowledged masters Alberto Ginastera and Astor Piazzolla; a world premiere by a Argentinean-Hollywood composer Lalo Schifrin; the U.S. premiere by one of the Argentina's leading women composers, Marta Lambertini; and the New York premiere of music by a younger generation Argentinean, Ezequiel Viñao. There were a number of comments about the diversity of music presented in the program, and the Argentine spirit that they felt pervaded the concert: "Modern Argentine music is so much more lyrical than U.S. music!" "Notably different from contemporary music of any other Western country." "The sequence of the works on the program was most effective: ethereal opening, exploring the soul of Argentina, and the last piece completed the cycle." "the fact that I heard three Argentine composers music, and had the opportunity to talk to them and shake their hands... a once in a lifetime chance!" "I left today's concert HIGH on excellent music. If it was in the evening, I wouldn't be able to go to sleep afterwards." "Consistent high quality, warmth and passion" Others felt that, there may or may not have been a feeling of Argentine style, but that the music went beyond national boundaries: "I liked most of it, but for a lot I didn't feel any sense of Argentina or South America." "a concert that surpasses 'classical,' It offered many prospects for the future of orchestral work." "the physical power of the music and its interpretive depths of emotion. Music that transcended ethnic origins to become all embracing-- expressing the human condition." Lalo Schifrin: La Represión Listeners were immediately struck by the dramatic portrayal in Schifrin's La Represión. The work is from the soundtrack of a forthcoming film, and takes as its subject the terror of the many disappearances that took place in Argentina. The piece was scored for orchestra with a women's chorus, meant to evoke the cries of mothers despairing over disappeared sons: "Music of conscience--with universal application-- the women's voices were most moving." "serves as a reminder of the horrors of the 1970s" "The lament of the women is just haunting." "The percussion conveyed military terror. I cried." "an open protest of the 'dirty war'" "I can't wait to see the film." "It made me remember what was lived through in Argentina in those years." "Truly gave a sense of the fear felt and the chorus represented this as well." "The chorus was powerful and moving and added so much to the work." "La Represión took me by surprise. A very powerful piece representing so vividly a piece of history that will never be forgotten." "A powerful political and musical statement combined. We should never forget the histories of pain and suffering." And some thought that Schifrin's music holds answers for U.S. orchestral composers: "The subtle use of tango in this music is more imaginative than American uses of jazz." "As desktop computers expand into home entertainment centers and interactive smart TVs become common, music will become at-home opera. Schifrin's work knows how to combine music with visual media in everyday life." Ezequiel Viñao: El Sueño de Cristobal Audience response to Ezequiel Viñao's work was mixed--even controversial. One concert-goer was surprised that such a complex work could be "written by such a young composer." Some were caught up in the whirling musical passages, meant, according to the composer, to evoke the whirling memory fragments of thought that occur between waking and sleep: "captures the hypnotic essence of a tropical dream." "most effective" Others remained unconvinced of the music's impact: "This was music to have a nightmare by." "It is unlikely that El Sueno de Cristobal will be heard 50 years from now." Marta Lambertini: Antígona II There was near universal praise for Ms. Lambertini's work, which received its U.S. premiere: "Original, powerful, beautifully conceived and orchestrated--wonderful contrasts." "mature, varied, musically interesting and innovative" "An exquisite revelling of tone clusters with aleatoric touches seemingly picking up where Lutsolawski left off. A fabulous piece." "aural beauty, tension and brevity" For many the piece proved dramatically, even visually, evocative: "Conveys the story of the Greek myth." "I experienced 'visual' correspondences to the sounds. Unusual, ongoing, evocative powerful images. It felt like the emotion was washing over me, way up in the $9 seats. I wanted to hear it again." "eerie almost sinister sounds" "the cellos sounded like the whispering of a human voice." One listener was "surprised this piece was first on the program...it rocked, it was well formulated, utmostly beautiful, pure, just pure music." Astor Piazzolla: Concierto para Bandoneón Astor Piazzolla's place in history as the father of Nuevo Tango seems secure. As one listener said, his music truly "captures the spirit of Argentina's tango." Piazzolla was also a master bandoneón player. (The bandoneón is a German invention--not unlike an accordion, but tremendously difficult to play.) The soloist in this performance was Raúl Jaurena. ACO's audience found the work almost unanimously appealing, calling the Concierto the most effective piece on the program and the work most likely to be performed fifty years from now. Given the popularity of tango these days, none of this came as a surprise. "Piazzolla's influence is wide and the interest in indigenous ethnic instruments/traditions is still growing," said one audience member. Many were enthralled with the sound of the bandoneón: "The sound of the bandoneón was wonderful and surprising." "the bandoneón is one of the most beautiful instruments, and was so exhilarating. I thought I was there in Argentina." "a showpiece for an uncommon instrument" "so much music comes out of that little box!" For some, it was the combination of tango sounds with the traditional orchestra that made the work meaningful: "the bandoneón with the orchestra created a sweet and savory taste." "the accordion blended well with the orchestra, yet provided a distinct ethnic feel. A successful marriage between traditional Argentine music and western orchestral music." "exciting and tender...the interplay between soloist and orchestra was pleasant and deep at the same time." "a timeless, conglomeration of rhythm, melody and harmony." "an exciting blend of ethnic, folk, dance and modern orchestration" "It's hard to imagine this mix of seductive rhythm and melody and classical form ever going out of style--any more than say Scott Joplin." Many felt that there was a true honesty, romance and simplicity to Piazzolla's music: "I enjoyed the sincerity and simplicity, especially the 2nd and 3rd movements." "people will never tire of it. It is simply wonderful." "a feeling of romance and one can find happiness in this world" Still there were some who were not drawn in by the Concierto: "effective, but not a great composition" "tame and not experimental enough for me" "I was surprised by the Piazzolla's unembarrassed populism." Alberto Ginastera: Glosses sobre temes de Pau Casals Both listeners who knew some of Ginastera's music, and those who didn't were surprised by Glosses, Ginastera's tribute to Pablo Casals, which received its New York premiere. Many, many listeners commented on the piece's unusual combination of musical elements: "what a surprise, the juxtaposition of traditional and contemporary" "almost classical with its broadness and occasional Bartók overtones" "combines the classic and the contemporary in perfect accord" "Glosses is rich in texture, evoking fireworks, wild dances, night jungles, and mystery. A refreshing balance between atonal and melodic passages." Many were impressed with Ginastera's use of the orchestra: "Mastery of the orchestra--great clarity despite density. Full of real substance rather than glitter and effects." "engaging and masterfully devised and scored. It should long be a welcome addition to the concert hall." "I will never forget the oboe solo." "superb orchestration, musical contrasts and drama" "extravagant and masterful use of the orchestra" "superb orchestration and an ability to convey a sense of true excitement and longing" But others found it unoriginal or unconvincing: "sounded like Leonard Bernstein's Rumble in 'West Side Story'." "I heard a lot of the influence of Villa-Lobos" "not one of his best works" "I was disappointed in the Ginastera piece. I thought the orchestration was too gimmicky." While others felt the piece should be a regular addition to the repertoire: "dreamlike remembrances and reflections. A contemporary classic; an extension of orchestral and compositional mastery in the 20th century." "I think this piece places Ginastera in the forefront of 20th Century composers. To me, he is what Ravel and Debussy must have been in their time." "This is a piece I can imagine being performed for many years to come. The full, rich, power of it is present with clarity and purpose. It seems to embody the essence of what this music is about. I felt like the piece was 'talking' to me."