Suite de Danzas Criollas, V. Scherzando — Coda: Presto ed energico

Instrumentation

Collections

Musical Terms (6)

• gato Spanish
  A lively Argentine folk dance in 6/8, typically in an ABABA choreographic pattern. Used explicitly by Ginastera in the second movement of the Suite de Danzas Criollas (Allegro rustico), where tone clusters are notated to be played with the palm of the hand.
  The gato should feel physically playful and percussive. Execute Ginastera's palm-cluster notation exactly as written — press into the keys with the flat of the hand, not individual fingers. The result should be dense and rhythmically precise.
• guitar chord English
  The open-string tuning of the Spanish guitar (E2–A2–D3–G3–B3–E4), used by Ginastera as a recurring harmonic and melodic fingerprint to evoke the payador — the gaucho troubadour tradition of improvised song. Appears in the Piano Sonata No. 1 (especially the slow movement) and the Suite de Danzas Criollas.
  When the guitar chord appears as an accompaniment figure or melodic reference, imagine the resonance of open strings vibrating across the pampas at dusk. Let the harmony ring and decay. This is not an urban piano sound but an outdoor, spatial one.
• malambo Spanish
  A virtuosic Argentine gaucho dance, traditionally performed as a solo improvisation to demonstrate endurance and competitive skill. Structured on relentless ostinato rhythms in 6/8, often hemiolic. A defining rhythmic archetype throughout Ginastera's piano music, most explicit in the standalone Malambo Op. 7 and the finale of Piano Sonata No. 1.
  Maintain absolute rhythmic precision and metric drive — the physical endurance of the gaucho dancer is the expressive model. The percussive energy should feel unstoppable. Resist the urge to rush; let weight, not speed, generate the power.
• Objective Nationalism English
  Ginastera's own term for his first compositional period (1934–1948), in which Argentine folk materials — dances, melodies, rhythms, regional idioms — are incorporated in a relatively direct and unabstracted way. Piano works from this period include the Danzas Argentinas Op. 2, Tres Piezas Op. 6, Malambo Op. 7, and the 12 Preludios Americanos Op. 12.
  Works from this period reward a transparent, rhythmically grounded approach. The folk character is on the surface — honour it before adding interpretive overlay.
• ruvido Italian
  Rough, harsh, raw. Used by Ginastera as both a character marking and a tempo qualifier — most famously in the finale of Piano Sonata No. 1 (Ruvido ed ostinato). Indicates an uncompromising, primitive character distinct from refined concert tone.
  Ruvido is not a licence for ugly playing but a directive toward truth and directness. Do not smooth edges that the composer left rough. The hammering, unpolished quality of gaucho percussion is the sound-ideal.
• zamba Spanish
  A slow, lyrical Argentine folk dance in 6/8 originating in the country's northwest provinces. Characterised by gentle syncopation and long-breathed vocal melodies. Ginastera evoked the zamba's rhythm in the first movement of the Suite de Danzas Criollas (Adagietto pianissimo) and in other contemplative pages.
  Give the melody room to breathe across the 6/8 pulse. The dance is graceful, unhurried, and deeply interior — even when harmonically complex.