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Background music:

Alberto Ginastera,
"Pampeana nº 3 ", 2nd mov.
performed by Berliner Symphoniker
Gabriel Castagna, conductor

Two visions of The Pampas

"La Pampa", Pedro Figari

Ginastera's Pampeana Comments

Comments on the interpretation of the symphonic work by Alberto Ginastera "Pampeana nº 3, Pastoral Sinfónica in three movements" (1954)

The argentine Pampas has been a source of inspiration for many poets, painters, and musicians. Pierre Drieu de la Rochelle and Charles Darwin spoke about the "horizontal vertigo" of the Pampa . And the argentine writer Macedonio Fernandez, alluding to its vastness, wrote, "if in the argentine pampas there are two men, one on each side of the palisade, they are both on the outside."

The "Pampeana" belong to Ginastera´s second style, which is called "subjective nationalism." This period covers from 1948 to 1958. In it, the references to local colors and motives are sometimes less direct or literal than before. And, although his works preserve an unmistakable national spirit, the language is more symbolic, and harmonic procedures are more complex than before. Alberto Ginastera, as many other artists, felt the attraction that this landscape, so open and enigmatic at the same time, emanates. The music is obviously inspired in ideas and feelings awaken as a result of this appealing. But, although its title "Pampeana" makes a clear thematic reference, in a broader sense, it can be said that, without departing from any specific philosophical doctrine, the work goes much further than what is commonly named "descriptive music" and touches, beyond its captivating, pictorial passages, profound human problems such as: the solitude, the eternity, the mystery of existence, and the relation of the humans with the universe.

Formal structure:
The work consists of three movements on the scheme slow-fast-slow. This structure, brilliantly conceived, is defined by the way Ginastera shapes the recurrent materials to the variety of characters that each movement expresses. This underlying thematic connection among movements brings extraordinary cohesion to the work, and it is maybe on of the most remarkable features of this music. On the other hand, the treatment of these thematic materials is crucial as well to the inner structure of each movement. The first movement has the so called "palindromic.", for which Bela Bartok used the term "Bückenform" (bridge form). This is a five component scheme ABCB´A´ in which the recapitulation of A and B parts are not a simple repetition in the classical sense but are a re-elaboration of the previous materials. This procedure renders a progressive, non static effect, in which the unfolding of all parts leads to a cathartic outcome. In the case of this movement, the B´ section is shortened, and the A´ contains not only different orchestration and phrasing, but the interpolation of some remaining materials of the original B section. The same form ABC B/A, with small variant form can be applied to the last movement. The variant is that in the recast, materials from A and B go further than a short interpolation (as in the first movement reprise). In the last movement, the B section now losses completely its own independence to merge with the A section forming a new and larger episode. The turbulences of central section have as outcome the changes in the recast of the A and B sections. The result again is that of a clear dramatic evolution instead of the simple unfolding of a symetrical scheme.

The form of the second movement is ABA similar to that of scherzo with a trio in its middle part. The B section contains hints of ABA form as well, so that, in the end, for the whole movement, there is a slight reminder of five part form: A (B or bcb) A The recast of A is preceded by a long transition that replaces part of the introduction. Then the A´ section is shortened and the movement closes with a very strong, conclusive coda. The movement develops some motives that have strong presence in the other movements as well among other: the opening arpeggio of the first movement, the half tone "ostinato" motive accompanies the openings of both second and third movements, etc.

It is interesting the fact that this five part form can be applied as well to the whole work structure regarding "tempo changes:" slow/fast/ moderato/fast/ slow.

Regarding formal proportions, in the three movements, the golden section pattern coincides with important articulations within the structure of the movements. In the first movement turning point is in the B¨ section just before de recap of A´. In the second movement, turning point is the lowest point of energy in section C just before the transition to recapitulation. And, in the third movement, it is at the beginning of the recapitulation. It is true that, in many three parts (or five parts symetrical ) form works, recapitulations points tend to coincide with the proportions of the golden section so that, the question about whether of not the Maestro had this aspect in mind, remains open.

For the first Regarding the tonal aspects, although the middle movement ends with an A major chord, for the outer movements (and part of the middle movement as well) the note E can be considered as a central, recurrent tone, something of a point of departure and arrival that bring to the listener a feeling of stability. Other important elements are the notes of the opening bars of the work: the "guitar chord." This notes are used, in a large-scale frame, as pivot points for harmonic unfolding: E A D A E, first movement, E, A, D, A/e/A second movement; and have, as well, important chordal and melodic derivatives as main themes and secondary lines as well in all three movements. For the outer movements, this harmonic progressions plus a relative slow harmonic rhythm, help to recreate a feeling of balance and stillness, and whenever Ginastera needs more propulsive harmonies, such as in the climatic passages, he recurs to swifter progressions of fifths or half step motions. In the middle movement the feeling of forward motion is enhanced by the treatment of rhythmic accents, the effect of dynamic changes, and the orchestration.


Concepts for each movement:

In the first movement, the author recreates a description of a haunted, and mysterious landscape. The music unfolds with increasing intensity until reaching gigantic climax that alludes to the incommensurable greatness of the pampas nature. After this, a reprise brings the music gradually back to an enigmatic silence.

The second movement, as indicated by the composer in the score "impetuosamente" (impetuous), is fast. The music conveys to the listener the idea of an overwhelming, primordial force. Its meter is 6/8, which brings some familiarity with the typical argentine dance the "malambo." The movement alludes mostly to the untamable character of the pampas and its invincible natural power . The main reference to the human presence is given from the beginning of the movement. This opening recreates the sounds of a "malon" (Indian herds) gradually approaching to its enemy and, with savage fury, devastating all on its way. In the. contrasting middle section, a lighter, bucolic, character easies up the tensions.

The last movement (slow in tempo) unfolds, as stated by the author in the score, in a spirit of "poética exaltación" (poetic exaltation). In this movement, the musical themes around which first and second movements unfolded, are shaped in a dramatic progression: lyric introduction / intense heroic passionate middle section / epic, meditative final resolution that intends to resolve the previous layouts. It is now the time of resolution for the human drama: the pampas becomes a metaphor of the universe, and the mysteries powers that rule over human fate.

Last movement " Largo con poética exaltación"
Guide to follow the Music:

A section

0:01: As a far echo of the accompanying motive that opens the second movement, a monotonous motive (built on a half tone relation -b,c,b,c,b,c- over triplets) pulsing without pause, opens the movement.

0:09 Over it, the oboe sings a melody of elegiac character. Noteworthy: the oboe was in charge of presenting the solo statement in the first movement as well. There is feeling of profound solitude, which is emphasized by a naked sonority, by the serial structure of the melody that obscures the tonal center, and by the misplacement of barlines (changes meter form 3 / 4 to 4 / 4.

The phrase is restated by the English horn, and echoed by the bassoon.

The melody closes in a very soft atmosphere.

Two B: variants of the half tone motive: a#, g#, g# - repeated in 8 th note triplets etc. in flute, piccolo and celesta and e, f#, repeated. in 8 th notes, in oboe and harp, create an unearthly climate.

1:30: Over this haunted sonorities, the arpeggio that opened the first movement (b,e,a,b, same intervals a perfect 4 th up) appears now on the violins unfolding into a melody that grows majestically until reaching a vibrant and very passionate climatic passage.

2:03: C: Some of the significant motives of that gave life to the previous movements (half tone motive: horns and trombones, echo motive: winds, strings and timpani, and first movement climax motive: winds, violins and violas ) interlace with great intensity.

2:50: Over the ascending propulsive struggle of the horns, the movement reaches its peak.

3:03: Sound and intensity decrease very gradually.

3:44: A+B: The half tone motive as and its superposed variants reappear as recurrent, unanswered question, over the

3:52: opening melody now sung by cellos and violas.

4:05: Horns play, as a superposed thought, some harmonized vague fragments of the cello/viola melody. Maybe now, after the great climax and towards the end of the work, this melody can be felt now as an expression of resignation.

One last time, the lone voice of the English horn closes the tune.

5:44: Alluding one last time to the opening of the work, an ascending arpeggio (with the same notes of the beginning of the first movement) seems to look for the evasive horizon where the field meets the sky.

5: 58 In a very high register, the sound reaches a point of distortion and thereafter of fracture.

6:03: Harmonic movement stops cpmpletely, xilofone strokes misplace barlines, clarinet half tone motive extends note values, orchestration becomes slowly thinner. After a brief silence over the recurrent enigmatic sonorities, the half tone motive (in clarinet) predominates again with its ever-present pulse. The pure (almost will-less) state of contemplation that impregnated the first movement comes back. Everything seems to be a fantastic vision gradually vanishing into its original silence.