Word: ginastera
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...meeting he has continued to express his love of contemporary music in the most practical way. Each year he has set aside up to $100,000 and, through his Fromm Music Foundation, parceled it out in commissions to an international Who's Who of composers: Milton Babbitt, Alberto Ginastera, Alan Hovhaness, Ernst Krenek, Roger Sessions, Stefan Wolpe -some 90 names in all. Composer Gunther Schuller describes Fromm as "the single most important benefactor in the field of contemporary music...
...took an awful lot of arrogance for Arnold Schoenberg to dismiss the historical tradition of music and invent an entirely new one. Of course there are uses for the twelve-tone system. For a composer like Alberto Ginastera, who always sets extremely violent texts to music, the system becomes rather appropriate. There is also Alban Berg, especially in Lulu, and Luigi Dallapiccola. To me, these three are the most impressive twelve-tone composers. My feeling is that the twelve-tone system is incapable of expressing anything but violence...
...year later, Capobianco launched Arrigo Boito's Mefistofele a a space-age sonet lumière production in which the devil seemed about to vanquish the music of the spheres until he was whistled down at final curtain. Contemporary operas seldom fare well with the public, but Alberto Ginastera's atonal, astringent Bomarzo and Don Rodrigo are successful items in the repertory...
With some justice, Rudel boasts this "our repertory is about as safe as a British soldier in Northern Ireland." Presumably, he will bring his sense of theater and his fondness for growth and risk to his tasks at Kennedy Center. His first two productions in Washington were Ginastera's strident Beatrix Cenci (TIME, Sept. 20) and Handel's rarely performed Ariodante. Though he hopes to invite La Scala, the Vienna Staatsoper and Britain's Royal Opera to Washington, he wants "nothing to do with a glorified booking house." Included in his future plans for the center...
...champion in the U.S. is Julius Rudel, who has conducted both Rodrigo and Bomarzo as director of the New York City Opera. Now music director of the Kennedy Center as well, he conducted the Cenci, and was uncommonly adroit in defining the multiple layers of orchestral sound with which Ginastera's score seeks to suggest, say, the schizophrenic, as he explores the passions and fears of one of his characters. But that was nothing compared with the multiple-screen images-slides and film of doomed faces, vacant eyeballs, writhing bodies, running women-that delved into the past, present...