Evening star., 1961-05-01

1ere), de la Vaga tCuba): Sinfonla
Concertante Tor Piano and Ochestra
cantata para America Magica (world
premiere), Ginastera tArgentina).
If the Second Inter-Ameri-
can Music Festival leaves its
mark in the history books, I
would guess that the reason
will be the first performance
of Alberto Ginastera's "Cantata
para America Magica."
So far. as I am concerned.
with this astounding work the
Argentine composer conclus-
lively demonstrated yesterday
that he is one of the major
creators of our day.
Ginastera has taken his texts
from poetry of the Mayan,
Aztec, and Inca civilizations
and set them for soprano soloist
accompanied by an orchestra
consisting of So percussion in
Struments. The result is music
of incredible complexity, not
only in rhythm but also in
melodic contour.
Miraculously, the work is also
incredibly communicative, even
upon first hearing, and 1t is
incredibly exciting.
I have read of the electric
shock that went through the
audience when StraWnsky's
"Sacre du Printemps" made its
bow, and have often wished
I could have been present to
experience that great event. I
think I now know what it must
have felt like, thanks to Alberto
Ginastera.
For there was an almost tang
ible sense of advance in the
air last night at Cramton Au-
ditorium, and there was an al
most frightening feeling that
one was being transported to a
new and enchanting world of
fantastic sound.
The "Cantata paro America
Magica" is about as indescrib-
able in words as possible. So
far as can tell, it is stylistically
unique. Although it may owe
something to Stravinsky in its
kinetic drive and primitive vio-
lence, it really resembles only
earlier works by its composer.
In the cantata can be seen
the logical elimination Of Gin
astera'S evolution from militant
nationalist to citizen Of the
Western hemisphere. For this
is unmistakably music of the
Americas. 1t is bold, free, ut
terly magnificent music COM
posed by man who takes pride
in his heritage and who is brave
enough to walk his own lonely
path.
In no small part, the brilliant
success of the "Cantata para
America Magica" was due to the
vocal virtuosity of the great
Uruguayan soprano. Raquel
Adonaylo, making her first ap-
pearance in the United States
at the Festival.
l fervently hope that she will
remain here to sing again.
Miss Adonayo's rich and
dramatic voice combines silky
grace and superb accuracy with
blazing power and astonishing
range. I would dougt that
there are many singers alive
who could approach her ability
to project the magic Of Ginas-
tera's piece with such tremen-
dous assurance and magnifi-
cent effect.
Howard Mitchell led the in
trepid band of 16 percussionists
with deft and cool mastery.
In a way. the GinaStera tri-
umph was unkind to Aurelio de
la Vegas admirable Symphony,
which also received it's world
premiere, but earlier in the
program.
Mr.. de la Vegas piece was
one Of the strongest heard in
the Festival, brilliantly incisive
in its rhythms, concise and
neatly balanced in its construc-
ton, and wonderfully rich in
harmonic inventiveness. The
Cuban composer is a fine crafts
man and a keen musical intel
ligence. and I would like to
hear his symphony again when
1t Is not overshadowed by so
sensational a success.
Rather completely lost in the
shuttle was Hector Tosar's fine
Sinfonia Concertante for piano
and orchestra, in which the
composer appeared as soloist.
1t struck me that Mr.. Tosar was
not his own best exponent, and
that the work. a great hit in
BuenoS Aires. perhaps did not
show to best advantage due to
lack OF a pianist of the caliber
OF young Joao Carlos Martins
whose rare gifts graced the
Festival earlier.
In both the de la Vega and
Tosar compositions, the Ma
tlonal Symphony Orchestra
once again demonstrated that
1t is one Of the country's finest
aggregationS.