The Piano & Percussion Arrangement of Ginastera's First Piano Sonata

Widely recognized in Argentina as the nation's quintessential standard piano work, Alberto Ginastera's Piano Sonata No. 1, Op. 22 has long been an integral part of recital programs and piano competitions around the world. In recent years, the international percussion and piano communities have used arrangements of contemporary compositions to broaden the repertoire for this combination of instruments. This study sheds light on the details of the process of this arrangement. In particular, what types of percussion instruments were selected based on researching Ginastera's few orchestral works. In addition, it documents the solo compositions up to the sonata that shed light on his use of the folk dance forms, which are incorporated in the sonata, and reveals how Ginastera uses these components so that interested percussionists can better explore the capabilities of the arrangement.

Autorentext

Dr. Liana Pailodze Harron is a versatile pianist and educator, accomplished in both classical and contemporary styles of music. Born in Tbilisi, Republic of Georgia, Liana first studied piano at the Z. Paliashvili Central Music School. She went on to receive her Doctoral degree in piano performance at the University of Miami in 2013.

Klappentext

Widely recognized in Argentina as the nation s quintessential standard piano work, Alberto Ginasteräs Piano Sonata No. 1, Op. 22 has long been an integral part of recital programs and piano competitions around the world. In recent years, the international percussion and piano communities have used arrangements of contemporary compositions to broaden the repertoire for this combination of instruments. This study sheds light on the details of the process of this arrangement. In particular, what types of percussion instruments were selected based on researching Ginasteräs few orchestral works. In addition, it documents the solo compositions up to the sonata that shed light on his use of the folk dance forms, which are incorporated in the sonata, and reveals how Ginastera uses these components so that interested percussionists can better explore the capabilities of the arrangement.