Análisis ejecutivo-interpretativo de la sonata para plano no. 1, op. 22, de Alberto Ginastera

  This article aims to provide tools and information useful for the preparation and performance of the First Piano Sonata, Op. 22, by Argentinian composer Alberto Ginastera. In order to familiarize the pianist with the composer’s works, a short historical context of his production is included, emphasizing the creative period in which the Sonata was composed. The article also contains an analysis of the overall structure of the piece as well as of each of the movements, and offers practical advice and suggestions focused on the technique and interpretative aspects whose purpose is to facilitate both the study and the execution of the work. Also included is a brief analysis of three recordings of the sonata with general comments related to the specific issues addressed in the article.  Este artículo pretende ofrecer herramientas analíticas acerca de diversos aspectos que sean de utilidad a los pianistas profesionales o en formación, para el estudio y la ejecución de la sonata para piano Nº 1, op.22, del compositor argentino Alberto Ginastera. Se incluye un corto contexto histórico de la obra, con especial enfoque en el período creativo del que hace parte la misma, con el fin de familiarizar al pianista con la producción del compositor. Cuenta el artículo, además, con un análisis de la estructura de la obra y de cada uno de sus movimientos y con consejos prácticos enfocados hacia el aspecto técnico ejecutivo-interpretativo, cuyo fin es facilitar tanto el estudio como la ejecución misma de la obra. Se incluye también un breve análisis de tres grabaciones de la sonata con comentarios generales relacionados con los asuntos puntuales atendidos en el artículo.This article aims to provide tools and information useful for the preparation and performance of the First Piano Sonata, Op. 22, by Argentinian composer Alberto Ginastera. In order to familiarize the pianist with the composer’s works, a short historical context of his production is included, emphasizing the creative period in which the Sonata was composed. The article also contains an analysis of the overall structure of the piece as well as of each of the movements, and offers practical advice and suggestions focused on the technique and interpretative aspects whose purpose is to facilitate both the study and the execution of the work. Also included is a brief analysis of three recordings of the sonata with general comments related to the specific issues addressed in the article