Ginastera: Ballet Suite from Panambí

Alberto Ginastera (1916–83) based Panambí on an indigenous story of sorcery and love, and is filled with images of dances. He wrote the work between 1934 and 1937, and designated it with his first opus number, despite the fact he had written dozens of other works already. Ginastera wrote two ballets (the other is Estancia, written in 1941), and Panambí comes from his early years of composing with Argentinean themes. Ginastera went on to teach one of Argentina’s most recognized composers: Ástor Piazzolla.

“To compose, in my opinion, is to create an architecture, to formulate an order and set in values certain structures, considering the totality of its components. In music, this architecture unfolds in time… When time has passed, when the work has unfolded, a sense of inner perfection survives in the spirit.”

—Ginastera

Carl Nielsen: Clarinet Concerto, op. 57 
   with Maximiliano Martín, clarinet (artist-in-residence)

Spanish clarinetist Maximiliano Martín is rapidly establishing himself as one of the most exciting and charismatic musicians of his generation. He is in constant demand internationally as solo clarinetist, chamber musician, orchestra player, and teacher. Highlights include solo concertos with the Scottish Chamber Orchestra, Real Filarmonía de Galicia and Orquesta Sinfonica de Tenerife, numerous chamber music festivals including Wigmore Hall, Laeiszhalle Hamburg, Chichester, Petworth, East Neuk, Cottiers, Paxton and masterclasses in UK, Europe, and the Far East. After being appointed principal clarinet of the Scottish Chamber Orchestra in 2002 and winning the Young Artists Platform Competition in the same year, he has made debuts at the Wigmore Hall, Queen’s Hall Edinburgh, Glasgow Royal Concert Hall, Bridgewater Hall Manchester, St. Davids Hall Cardiff, Perth Concert Hall, St. George’s Bristol, Brighton, and East Neuk Festivals and overseas at the Tallin Festival, Palau de la Musica Catalana, and Teatro Monumental in Madrid.

Schumann: Symphony No. 3 in E-Flat Major (“Rhenish”)

Robert Schumann (1810–56) and his wife, Clara, moved in 1850 to the Rhineland, where Robert was to become music director of the Düsseldorf orchestra. It was a radical change in their lives. Late in September they visited the ancient honorable city of Cologne, and were overwhelmed by their first sight of the august cathedral there, bathed in sunlight. Anxious to make a good first impression of the proud folks of the Rhineland, Schumann began a “symphony of the Rhine.” Atop the autograph copy of the score, Schumann wrote: “like the musical accompaniment for a solemn ceremony.”

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