CD1 [75:43]
Gato (1940) [1:27]
Bailecito (1940) [3:38]
Tierra Linda (1940) [3:34]
Sonatina (1945) [7:59]
Sonata in C sharp minor (1947)
[15:47]
Tres Sonatinas (1949) [13:20]
Estilo A la manera popular (1952)
[4:34]
La Siesta, Tres Preludios (1952)
[8:02]
La trade en Rincon (1952) [2:50]
La niñas (1953) [5:57]
Romance de Cuyo (La Zamacueca)
(1953) [5:04]
CD 2 [65:00]
Diez Preludios, sobre temas de canciones
populares infantiles (1952) [22:43]
Diez Cantilenas Argentinas (1958)
[42:12]
CD 3 [72:40]
Tres Romances Nuevos (1955) [11:00]
Pueblito, mu pueblo, Cancion Argentina
(1957) [2:28]
Las Presencias (1961) [19:16]
Mis Amigos (1966) [21:35]
Diez Cantos Populares (1974)
[18:15]
These three CDs present,
in almost chronological order, the complete
piano music of a composer who will,
I imagine, be unfamiliar to most readers.
Carlos Guastavino was born in Santa
Fé, the capital of the northern
Argentine province of the same name.
After studies at home and in Buenos
Aires he achieved international recognition
as a pianist, touring South America,
the USSR and China, and giving broadcasts
on the BBC in London. His musical language
is firmly rooted in tradition, believing
that music should be firmly based on
singable melodies and tonal harmony
and written for us now, not for the
discovery of future generations.
The first three pieces
are delightful. A fast dance, a slow
atmospheric piece and a dedication to
beautiful earth, beautiful country (Tierra
Linda), a phrase often used to refer
to Argentina itself, get this set off
to a fine start. Easily approachable,
delightful to listen to, difficult to
play, Guastavino has the vernacular
of his country’s music at his fingertips.
The Sonatina in
G minor is a light hearted piece.
Already Guastavino has started to simplify
his style and the sheer exuberance of
the finale is a joy. The Sonata
of two years later is more serious in
substance but equally easy going in
language, and is only let down by a
rather banal fugue in the middle of
the finale, but a return to the colloquial
material redeems this. And so it goes
for this first CD.
The second CD contains
two sets of ten pieces each. The Diez
Preludios are well characterized
pieces, being free, and simple, settings
of children’s songs and very attractive
they are too. Very short, they leave
you wanting more. The Diez Cantilenas
Argentinas which follow are much
bigger pieces, more nationalistic in
feel. The tempi are, in general, leisurely
and the composer takes his time to make
his point. These are lovely pieces,
abstract in feel with a thicker texture
than the Preludios, and much
more filigree writing.
The final CD starts
with a shock. Here is some strong, individual
music, obviously from the same hand
as the earlier pieces but with more
character. Until now I was beginning
to wonder if Guastavino’s style developed
and was most pleasingly surprised with
these Tres Romances Nuevos (Three
New Romances), although there are
only two! Pueblito, mu pueblo, Cancion
Argentina is a step backwards, being
a later arrangement of a very early
song, but with Las Presencias
(Appearances) and Mis Amigos
(My Friends) we reach Guastavino’s
mature style, and most attractive it
is. These fifteen short pieces are portraits
of friends (some imaginary!) and they
are light and delicate, full of colour
and a real feel for the south. It really
was worth waiting for these prizes.
The final set of Popular Songs
presents the most effective treatment
of simple material with a childlike
effortlessness.
If you’re expecting
highly rhythmic, heavily accented Argentinian
music of the Ginastera type, or the
slinky, sexy tangos of the great Astor
Piazzolla then this is not for you.
What Guastavino gives us is South America
through a late 19th – early
20th century European compositional
style, but with the voice of the Americas
always to the fore. This is not a set
for playing from start to finish in
one sitting, but there’s enough music
of interest, and variety within the
small style, here for many enjoyable
visits.
Martin Jones is a fine,
and always reliable, pianist so I have
no doubt that his performances are of
the first order, they certainly sound
most authoritative - I have never seen
the music so am relying entirely on
my ears! - and I suspect the thoroughly
enjoyed himself when recording these
most enjoyable works.
The booklet is excellent,
Calum MacDonald’s twelve pages of biography
and discussion of the music are all
one could want in helping you through
music which is new to you.
Well worth having for
the simple delight in solid, well crafted
and unpretentious compositions and music
making.
Bob Briggs
see also
review by Dominy Clements
for details
Martin Jones (piano) 
