Alberto Ginastera’s
Variaciones Concertantes are
a series of variations scored primarily for very small groups
of instruments, with the full orchestra only entering for a brilliant
malambo folk-dance finale. As a result the piece sounds
like a richly varied chamber epic, and the different textures
and colours never grow old. I found the
Variaciones very
easy to enjoy, and you will too: the lovely thematic material
is presented first by the solo cello and harp, then in a sequence
of delectable solos for flute, clarinet, viola and horn with spare
orchestral accompaniment, plus a surprising appearance by the
double bass. This colorful but exceedingly simple orchestration
demands a clear, intimate sound picture and superb first-chair
playing, both of which are manifest here. The various soloists
of the Israel Chamber Orchestra are not intimidated by the spotlight,
and Uruguayan-born conductor Gisele Ben-Dor keeps the music flowing
well. This is a work which adventurous (and virtuosic) ensembles
ought to consider programming into their concerts, and the present
performance has me quite excited for a live performance of the
Variaciones scheduled for my hometown next spring.
There are three recordings of the
Variaciones Concertantes
readily available. This Naxos release is in fact a reissue of
an old Koch recording; another, featuring the Richmond Sinfonia
from Virginia, is available in America on the Elan label. The
Richmond group certainly plays well, but its sound is not as idiomatic,
lacking a certain Latin-ness; moreover, a few of the solos (particularly
the cello’s) are less than appealing. I have not heard the
third recording, featuring the Europa Symphony on Arte Nova, but
cannot see how it would preclude a recommendation for this excellent,
and very modestly priced, reissue.
The rest of the music on this album is not as immediately appealing,
but makes for interesting close listening. The program begins
with the orchestral version of the
Glosses sobre temes de Pau
Casals and, after the
Variaciones, concludes with the
original instrumentation of those
Glosses, for string quintet
and string orchestra. The full version is genuinely creepy music,
often sounding as if it arrived from another planet. There are
ruggedly atonal sections here, whirlwinds of fierce and bizarre
orchestral colors, and snatches of the lyrical tunes Pau (better
known as Pablo) Casals originally wrote. The opening moments are
the first and almost the last passages of lyrical repose; the
“Sardane” is particularly hair-raising. The final
movement, marked “Conclusio delirant,” is a wild ride,
but rather fun. This orchestral version was, interestingly, premiered
in 1978 under the baton of Mstislav Rostropovich.
Originally, however, these
Glosses were scored for string
quintet and string orchestra. If you are not one for repeat listening
to the same work, rest assured that these two renditions make
for rewarding comparison. They sound like two different pieces
(and were published under two different opus numbers.) If anything,
the original, pared-down version is even more engaging, with the
soloists presenting the Casals material while the orchestra buzzes
about them like a swarm of wasps. Even in the delirious final
movement, I never really missed the greater color and variety
of the full orchestra.
In sum, the repetition in this program will be cause for hesitation
for some buyers, who might be intrigued by the more substantial
coupling on the Elan disc (a phenomenal performance by Santiago
Rodriguez of Castelnuovo-Tedesco’s First Piano Concerto).
Even so, I did enjoy playing this album straight through. Moreover,
since this is an MP3 download, programming is basically a non-concern.
The
Variaciones Concertantes are an immense pleasure; consider
the
Glosses a welcome bonus.
As a part of the Naxos Digital imprint, this album is currently
only available for download at the website
Classicsonline,
where it sells for rather less than the price of a physical compact
disc.
Brian Reinhart
London Symphony Orchestra,
Israel Chamber Orchestra/Gisele Ben-Dor 
