Gianneo In the Altiplano; 3 Argentinian Dances; Music for Children
An idiomatic survey of an Argentinian innovator continues
View record and artist detailsRecord and Artist Details
Composer or Director: Luis Gianneo
Genre:
Instrumental
Label: Latin American Classics
Magazine Review Date: 12/2002
Media Format: CD or Download
Media Runtime: 63
Mastering:
Stereo
DDD
Catalogue Number: 8 225206

Tracks:
Composition | Artist Credit |
---|---|
Bailecito |
Luis Gianneo, Composer
Elena Dabul, Piano Luis Gianneo, Composer |
Music for Children |
Luis Gianneo, Composer
Luis Gianneo, Composer Pervez Mody, Piano |
(2) Etudes |
Luis Gianneo, Composer
Dora De Marinis, Piano Luis Gianneo, Composer |
(5) Little Pieces |
Luis Gianneo, Composer
Elena Dabul, Piano Luis Gianneo, Composer |
In the Altiplano |
Luis Gianneo, Composer
Elena Dabul, Piano Luis Gianneo, Composer |
(7) Pieces for Children |
Luis Gianneo, Composer
Dora De Marinis, Piano Luis Gianneo, Composer |
(3) Argentinian Dances |
Luis Gianneo, Composer
Fernando Viani, Piano Luis Gianneo, Composer |
Christmas Carol |
Luis Gianneo, Composer
Fernando Viani, Piano Luis Gianneo, Composer |
(The) Little Road to Bethlehem |
Luis Gianneo, Composer
Fernando Viani, Piano Luis Gianneo, Composer |
Author: Tim Parry
Luis Gianneo (1897-1968), along with Juan José Castro, was instrumental in forging an authentically Argentinian musical voice combining European influences with the striking characteristics of local folk music; his music paved the way for Alberto Ginastera and Carlos Guastavino. This is the second of three CDs covering Gianneo’s complete piano music, most of which was composed during the 1930s and ’40s, when the composer fused indigenous folk-music influences with the techniques of neo-classicism.
Unlike the first volume, which contained the Second and Third Piano Sonatas, this disc concentrates on short pieces and collections. The opening track, Bailecito (1931), illustrates Gianneo’s comprehensive absorption of folk music (the bailecito norteño is a northern folk dance) and his often virtuoso piano writing. The Two Etudes from 1933 are particularly dazzling and technically sophisticated, the first in the form of a vidala (a lyrical vocal form, usually accompanied by drums and arpeggio-style guitar), the second developing the well-known traditional folksong Zamba de Vargas. The impressive Prelude En el Altiplano (‘In the Altiplano’) is a work of imposing dramatic scope, while the Three Argentinian Dances are more earthbound contemporaries to Ginastera’s Danzas argentinas. However, most of the music here is technically straightforward, much of it intended for children.
Four pianists share these works between them – all are involved with the Fundación Ostinato, which collaborated with Marco Polo in this series of discs. The performances are always idiomatic although occasionally I wanted rather more variety of tonal colour. However, Dora De Marinis copes marvellously with the demands of the Two Etudes, and Elena Dabul is compellingly evocative in En el Altiplano. The recordings are decent enough, and anyone interested in this repertoire need not hesitate.
Unlike the first volume, which contained the Second and Third Piano Sonatas, this disc concentrates on short pieces and collections. The opening track, Bailecito (1931), illustrates Gianneo’s comprehensive absorption of folk music (the bailecito norteño is a northern folk dance) and his often virtuoso piano writing. The Two Etudes from 1933 are particularly dazzling and technically sophisticated, the first in the form of a vidala (a lyrical vocal form, usually accompanied by drums and arpeggio-style guitar), the second developing the well-known traditional folksong Zamba de Vargas. The impressive Prelude En el Altiplano (‘In the Altiplano’) is a work of imposing dramatic scope, while the Three Argentinian Dances are more earthbound contemporaries to Ginastera’s Danzas argentinas. However, most of the music here is technically straightforward, much of it intended for children.
Four pianists share these works between them – all are involved with the Fundación Ostinato, which collaborated with Marco Polo in this series of discs. The performances are always idiomatic although occasionally I wanted rather more variety of tonal colour. However, Dora De Marinis copes marvellously with the demands of the Two Etudes, and Elena Dabul is compellingly evocative in En el Altiplano. The recordings are decent enough, and anyone interested in this repertoire need not hesitate.
Discover the world's largest classical music catalogue with Presto Music.

Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £8.75 / month
Subscribe
Gramophone Full Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £11.00 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.