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| Disc: 1 | |||
|---|---|---|---|
| 1. Piano Sonata No.1, Op. 22: No. 1, Allegro marcato | |||
| 2. Piano Sonata No.1, Op. 22: No. 2, Presto misterioso | |||
| 3. Piano Sonata No.1, Op. 22: No. 3, Adagio molto appassionato | |||
| 4. Piano Sonata No.1, Op. 22: No. 4, Ruvido ed ostinato | |||
| 5. Piano Sonata No.2, Op. 53: No. 1, Allegramente | |||
| 6. Piano Sonata No.2, Op. 53: No. 2, Adagio sereno - Scorrevole - Ripresa dell'Adagio | |||
| 7. Piano Sonata No.2, Op. 53: No. 3, Ostinato aymara | |||
| 8. Piano Sonata No.3, Op. 54 | |||
| 9. Danzas argentinas, 3 pieces for piano, Op. 2: No. 1, Danza del viejo boyero - to Pedro Saenz' (Dance of the old cowherd) | |||
| 10. Danzas argentinas, 3 pieces for piano, Op. 2: No. 2, Danza de la moza donosa - 'to Emilia A Stahlberg' (Dance of the sad maiden) | |||
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| Disc: 2 | |||
| 1. Pampeana No. 1, for violin & piano, Op. 16 | |||
| 2. Milonga, for piano (arranged from 'Canción del arbol olvido' Op.3) | |||
| 3. Dances from Estancia, dance suite from the ballet, Op. 8a: Tres Danzas | |||
| 4. Dances from Estancia, dance suite from the ballet, Op. 8a: Tres Danzas | |||
| 5. Dances from Estancia, dance suite from the ballet, Op. 8a: Tres Danzas | |||
| 6. Arrangement: Domenico Zipoli's 'Toccata per organo', for piano | |||
| 7. Quintet, for piano & strings, Op. 29: No. 1, Introduzione | |||
| 8. Quintet, for piano & strings, Op. 29: No. 2, Cadenze I per viola & cello | |||
| 9. Quintet, for piano & strings, Op. 29: No. 3, Scherzo fantastico | |||
| 10. Quintet, for piano & strings, Op. 29: No. 4, Cadenze II per due violini | |||
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Most Helpful Customer Reviews
13 of 13 people found the following review helpful:
5.0 out of 5 stars
Classic Ginastera,
By
This review is from: Alberto Ginastera: Complete Music for Piano & Piano Chamber Ensembles (Audio CD)
Ginastera who was present during the original recordings, must have been overjoyed having Barbara Nissman. She is the ideal pianist to capture the elemental power of his ferocious gaucho-inspired folk rhythms. Her rhythmic exuberance and bravura have to be heard to be believed. It reveals Ginastera as the Bartok of Argentina as their respective treatment of gaucho and Magyar folklore is perfectly analogous. She clearly understands this point too as her stylistic insight is just as incisive in the chamber works on volume 2 as in the solo piano pieces comprising volume 1. Originally recorded on Newport records in 1992, they are now safely achived on Pierian label and protected from the deletions axe. Justly so. Nissman's spontaneity, exhilaration and stylistic insight make these performances classics that will never date.
4 of 4 people found the following review helpful:
4.0 out of 5 stars
cello pieces disappointing,
By Daniel Tressel (Champaign, IL United States) - See all my reviews
This review is from: Alberto Ginastera: Complete Music for Piano & Piano Chamber Ensembles (Audio CD)
In other reviews there are many glorious comments of Barbara Nissman's playing, and they are well deserved. However, this is not a good CD to buy if you are looking for good recordings of the two cello pieces on this CD. Slow tempos, sloppy articulation, missed notes, incorrect rhythms unfortunately abound in the playing of Aura Natola-Ginastera in both the recordings of the Pampeana No. 2 and Cello Sonata. Being the wife of Alberto Ginastera herself I'm sure she has great insight into his music, but it seems as though her technical playing ability is not on a level to play these pieces well.
2 of 2 people found the following review helpful:
5.0 out of 5 stars
Alberto Ginastera played by Barbara Nissman,
By
Amazon Verified Purchase(What's this?)
This review is from: Alberto Ginastera: Complete Music for Piano & Piano Chamber Ensembles (Audio CD)
Ms. Nissman is a student of this great South American composer. If you want to hear his music the way he probaby would have played it himself, this recording is an excellent choice. It is vibrant, lively, and wonderfully complex wothout being inacessible to the average listener. If you haven't heard Ginastera's compositions for piano before, this is the place to begin. You may find it the standard against which all other performances can be measured. Stephen D. Smith, Ph.D.
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