Introduction
Ginastera was influenced by nationalistic ideas and was concerned with the national consciousness of the Argentinian people. Lovern notes, “The Panambí ballet is based on a romanticized myth of the Guaraní people.” The story is about the daughter of one of the leaders of the Indian tribe who lives near the Parana River and the man she loves. The spirits take her lover, while the local shaman wants to arrange the death of the girl who is willing to save him. However, the excellent god intervenes, punishing the villain and saving the couple in love.
The Panambí Suite, in terms of a brief musical analysis, is a ballet that consists of three movements: “Panambí,” “Canto de los Remeros del Volga” (Song of the Volga Boatmen), and “Danza final” (Final Dance). The use of Argentinian folk rhythms and melodies, like the chacarera and zamba, which are expertly orchestrated into the piece, gives it its distinctive sound.
Pentatonic scales and ostinato patterns create a primal energy in the first movement, “Panambí,” where the lush and vibrant orchestration conjures the exotic atmosphere of the jungle. The second movement, “Canto de los Remeros del Volga,” pays homage to Russian folk music with a moving brass accompaniment and a melancholy melody played by the strings. Finally, the “Danza final” brings the work to a rousing conclusion with its upbeat rhythms and virtuoso orchestration.
Alberto Ginastera is considered one of the most important Latin American classical composers of his time. In an article published by Deborah Schwartz-Kates, she stated that the stylistic approach of Ginastera’s music could be categorized into three groups: “Objective Nationalism” (1934-1948), “Subjective Nationalism” (1948-1949), and “Neo-Expressionism” (1958-1983). This paper will attempt to show where Ginastera’s Panambí Suite falls in these groups and how it marked the beginning of his career as an Argentinian composer who contended with the political landscape of his time.
Objective Nationalism
Proof 1: Panambí Suite Is Based on a Story from Argentinian Folklore
One of Alberto Ginastera’s earliest ballets, Panambí Suite, is an example of objective nationalism because it is based on an Argentinian folktale. The use of national themes, music, and folk elements in the work’s composition defines this style of nationalism. This strategy is particularly noticeable in Ginastera’s early works, where he tried to become identified with the environment and culture of Argentina.
The ballet tells the tale of Panambí, a Guaran tribe member who lives close to the Parana River and is one of the tribe’s elders. Her love for Guirahú and the challenges in their relationship are at the center of the story. The local shaman wants to set up the death of the girl who is willing to save him, while the spirits take her lover. The excellent god punishes the bad guy and saves the in-love couple.
Ginastera’s intention to foster a sense of pride and national consciousness among his fellow Argentinians is reflected in his use of Argentine folklore in Panambí Suite. He wanted to use music to celebrate and protect his nation’s rich cultural heritage, which was threatened by the influence of international artistic movements. This strategy is a defining characteristic of objective nationalism, where the composer uses local resources within a tonal framework to produce a work that captures the essence of the country.
Proof 2: Ginastera’s Fascination with the Argentine Landscape, Gauchesco
The composer was fascinated with gauchesco literature, which influenced him to create his compositions. According to Schwartz-Kates, Ginastera’s identification with the Argentine landscape, which can be heard in his music, is one of the main features of his objective nationalism. As he appropriates them within a tonal framework, Ginastera’s use of national materials in his works also exposes his objective nationalism. Ginastera’s music is significant because it contributes to developing a national identity and pride for the nation.
Ginastera’s music illustrates the breadth and depth of Argentina’s cultural heritage by incorporating elements from folklore and literature. Music is a crucial component of objective nationalism because it highlights the distinctive features of a nation’s culture and history. In addition, Ginastera’s objective nationalism is fundamentally based on his identification with the Argentine landscape. The natural splendor and scope of the nation’s landscapes, which inspire his compositions, are frequently reflected in the composer’s music. By showcasing the country’s scenic beauty, Ginastera instills a sense of pride and appreciation for Argentina’s natural heritage through his music.
Proof 3: Panambí Suite Uses the Story of Panambí and Guirahú as the Plot
Alberto Ginastera’s Panambí Suite is a well-known example of objective nationalism in music. The suit’s basis in an Argentinian folktale, which qualifies it as an instance of objective nationalism, is one of the arguments favoring this assertion. The ballet is based on the love story between a bird named Guirahú and a Guarani Indian girl named Panambí. The narrative is rooted in Argentina’s cultural history, which emphasizes local resources within a tonal framework.
The plot draws inspiration from the tale of Panambí and Guirahú. According to Lovern, the tale goes that Panambí, the Guarani Indian girl, and Guirahú, the bird, fall in love and give birth to a child. Panambí, however, passes away from grief after the child dies. Then Guirahú takes her to the moon and changes her into a flower that bears her name. The use of such a tale shows Ginastera’s interest in Argentine folklore and his desire to incorporate local elements into his works.
Additionally, Ginastera’s objective nationalism in his works is a result of his identification with the Argentine landscape and his interest in gauchesco literature, strengthening this case. The ballet’s use of the Panambí and Guirahú tale reveals the composer’s fascination with and desire to share the folklore of his native country.
Proof 4: Ginastera’s Works in 1930-1940 Are Inspired by Argentinian Folklore
Argentinian folklore created genuine and distinctive music by incorporating traditional folk melodies and rhythms into his compositions. He significantly impacted Alberto Ginastera’s early works from the 1930s and 1940s. One of Ginastera’s compositions from this period, The Danzas Argentinas for piano, incorporates aspects of Argentinian folk music while maintaining a tonal framework.
Lee does point out, however, that Ginastera changed his approach to composition in the 1960s and started incorporating atonal and serial techniques into his music. His later works, like the String Quartet No. 2 and the Cantata para América Mágica, demonstrate this. Using Latin American rhythms and tonalities helps these pieces retain national identity even though they may not explicitly reference Argentinian folklore.
It is important to remember that Ginastera still had to abandon his earlier works when he began to use atonality and serialism. Instead, it was a development of his style and a portrayal of the 20th century’s shifting musical landscape. Ginastera’s dedication to objective nationalism persisted despite this change throughout his career, as shown by his use of Latin American musical idioms and his incorporation of local folklore into his compositions.
How It Proves the Thesis
The argument that Ginastera’s Panambí Suite exemplifies objective nationalism is supported by the evidence that it is based on Argentine folklore. As mentioned, objective nationalism is exemplified by the composers’ use of national elements in their compositions. In this instance, Ginastera used the story of Panambí and Guirahú, a well-known fable from Argentinian folklore. His selection of the sources demonstrates his interest in his nation’s cultural history.
Ginastera’s adherence to the Argentinian musical tradition is further evidenced by his use of tonal frameworks. According to Schwartz-Kates, Ginastera’s use of Indigenous materials in his works was motivated by his identification with the Argentinian landscape and his interest in gauchesco literature. As a result, the ballet’s use of tonal frameworks can be seen as a tribute to the tonal language of Argentinian folk music.
Finally, the prominence of Ginastera’s early period of objective nationalism is highlighted by the fact that atonal and serial techniques characterized his later works. As noted by Lee, Ginastera’s use of atonal and serial techniques differed from his earlier works, which were based on Argentinian folklore. This change highlights the significance of Ginastera’s early compositions in the evolution of his musical style and demonstrates how his involvement with Argentinian folklore influenced his later works.
Subjective Nationalism
Proof 1: Panambí Suite Is Heavily Influenced by the Political Background and Nationalistic Ideas of the Time
Famous Argentine composer Alberto Ginastera was greatly influenced by nationalistic ideas, especially in his early works like the Panambí Suite. Proof 1 shows that the political climate and nationalistic ideologies prevalent at the time significantly impacted Ginastera’s compositions. The suite is an example of objective nationalism since it uses Argentine folklore as its plot and is based on the myth of Panambí, a Guarani princess who falls in love with a mortal man.
In the 1940s, Ginastera joined a group of composers who sought to produce music with a distinctly Argentine identity. Ginastera incorporated Argentine folk music into his works while fusing antiquated melodies and rhythms with modern classical techniques. Later in his career, he continued to use nationalistic themes while experimenting with atonality and serialism. Ginastera’s patriotism revealed how the country’s history, folklore, and natural surroundings were essential sources of inspiration for him. Ginastera’s political and social views significantly impacted his life and his artistic output, best demonstrated by his choice to flee Argentina and move to Geneva, Switzerland, in 1968 to challenge the military government.
Proof 2: The Spread of Nationalistic Ideas Across All Countries of South America in the 1930s-1940s
According to Lee, the spread of nationalistic ideologies in South America during the 1930s and 1940s emphasizes the influence of political discourse on the development of the Panambí Suite. Political transformations occurred in Latin America at the beginning of the 20th century, and one of the most notable trends of that time was the rise of nationalism. As nationalistic ideas spread throughout the area, they significantly influenced the artistic expressions of the day.
Ginastera’s music is closely associated with the nationalistic ideologies of the time, and he was not exempt from these political and social changes in his nation. The composer believed that music could play a significant role in defining his country’s national identity and was eager to promote Argentine folklore and culture in his works.
The use of native rhythms and melodies, taken from Argentine folklore, shows how nationalistic ideas impacted the Panambí Suite. These musical components reveal the composer’s passion for his nation’s cultural history and desire to forge a unique national musical identity. Nationalistic ideologies are also reflected in the ballet’s plot, which centers on the love story of two indigenous people named Panambí and Guirahú. The ballet offers a romanticized view of Argentina’s past while celebrating its folklore and indigenous culture.
Proof 3: Ginastera’s Earliest Works Reflect the National Construction of the Gaucho
One of the composer’s earliest compositions, the Panambí Suite, displays his interest in the emergence of Argentina’s national identity. Ginastera was enthralled by the classic gaucho literature that captured the character of the Argentine people. According to Schwartz-Kates, Ginastera’s early works represent the national construction of the gaucho, a crucial subject for forming the nation’s identity. The gaucho was revered as the personification of the Argentine people, and the folklore and music he created were deeply entwined with the nation’s past.
The Panambí Suite is based on the tale of Panambí, a young Indian girl, and Guirahú, who fell in love with her and became a jaguar. The main themes of gaucho literature are love, sacrifice, and the interaction between humans and nature. The ballet explores these themes. The ballet’s musical language extensively uses folk rhythms and melodies that are skillfully woven into the overall composition. It displays the composer’s interest in the folklore and distinctiveness of Argentina.
According to Schwartz-Kates, Ginastera’s early nationalistic beliefs had a long-lasting influence on his later compositions and attitudes. Ginastera was recognized as one of the most important contributors to Argentina’s musical heritage because of his lifelong interest in Argentine folklore and traditional music. The gaucho, a key component of Argentine identity, and the national construction of that figure influenced his artwork.
Proof 4: Ginastera’s Political, Social, and Artistic Contexts Involvement in Later Years
Significant political changes occurred in Argentina in the 1960s. Until 1983, the nation had a military government. The government repressed human rights and freedoms, and many intellectuals and artists were persecuted. Ginastera, one of the most well-known composers of the era, was not exempt from these modifications. His pressure caused him to be at odds with the government.
According to Schwartz-Kates, Ginastera’s political and social views significantly influenced his work and were a defining feature of his artistic career. His compositions began to express his opposition to the military regime in the 1960s. His composition “Popol Vuh,” completed in 1975, demonstrates this.
The work was considered a rebellious act and a protest against the government. It indicates Ginastera’s desire to use his work as a platform to voice his political opinions and opposition to the government’s actions. Ginastera made a significant decision in 1968 to leave Argentina and relocate to Geneva, Switzerland, reflecting his vehement opposition to the military regime in charge. His exile allowed him to continue his work and distance himself from the oppressive regime without worrying about persecution.
How It Proves the Thesis
In order to show subjective nationalism in Panambí Suite, it is essential to show that Ginastera was exposed to nationalistic ideas early in his career and later engaged in political discourse. The thesis asserts that Ginastera’s early works best represent objective nationalism. However, it is essential to note that subjective nationalism, which emphasizes cultural identity and loyalty to national values, was also present in Ginastera’s compositions.
The evidence shows how Ginastera’s early political involvement developed from his engagement with nationalistic ideas and how this connection persisted throughout his artistic career. However, as Schwartz-Kates shows, Argentina’s social and political contexts impacted his political involvement. The composer’s fascination with the nation’s national culture, which includes folk music and dances, was the source of his nationalistic interests, and he incorporated this material in his early works.
Ginastera’s engagement in politics during the 1960s reflects his commitment to freedom and social justice, consistent with subjective nationalism. This brand of nationalism strongly emphasizes the values and cultural identity of the country, which ought to be supported and upheld in both the political and social spheres. According to Schwartz-Kates, the composer lived in exile because he disagreed with Argentina’s military regime. Ginastera’s political activism permeated his artistic creations and his private affairs.
Conclusion
As a result, Ginastera’s Panambí Suite is a superb illustration of objective nationalism in music. The composer bases his composition on the folklore of his native country. This early composition, which reflects the political context of the time, is heavily influenced by nationalistic ideas permeating South America at the time. Ginastera’s political involvement in the 1960s also shows how his early nationalistic interests influenced his later works and attitudes. Early works by Ginastera, such as the Panambí Suite, significantly impacted the creation of the composer’s distinctive style, which fused traditional folk elements with contemporary methods.
Bibliography
Lee, Miah. “Alberto Ginastera: An Examination of Objective Nationalism and the Danzas Argentinas.” Ph.D. Dissertation. University of Texas at El Paso, 2005. Web.
Lovern, Kenneth R. “The Musical Language of Alberto Ginastera’s Panambí and the Influence of Claude Debussy’s La Mer and Igor Stravinsky’s Le Sacre Du Printemps.” Master’s thesis, University of North Texas, 2015. Web.
Schwartz-Kates, Deborah. “Alberto Ginastera, Argentine Cultural Construction, and the Gauchesco Tradition.” The Musical Quarterly 86, no. 2 (Summer 2002): 248-281.
Schwartz-Kates, Deborah. Alberto Ginastera: A Research and Information Guide. Taylor & Francis, 2011.