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Hyperion Records

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Track(s) taken from CDA67186
Recording details: December 2000
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: June 2002
Total duration: 9 minutes 45 seconds

'Full of rare delights … this well-recorded disc is highly recommendable' (BBC Music Magazine)

'Fink is one of the best singers I’ve encountered in some time, and she goes a long way to making this recording the most enjoyable anthology of Spanish songs I’ve heard' (American Record Guide)

'Recommended with enthusiasm' (International Record Review)

'A strong case for the inclusion of at least some Spanish Song into mainstream repertoire … Vignoles’s accompaniment is beautifully defined throughout; the perfect foil to Fink’s delicately nuanced, smooth and increasingly sensual singing' (The Independent on Sunday)

'One of the loveliest mezzos of our time' (The Sunday Times)

'Enthusiasts for song recitals should certainly investigate this disc, which offers one beautiful song after the other, running the gamut from elegant art songs to simple, folk-like tunes' (Fanfare, USA)

'The performances are excellent' (Turok’s Choice)

'A delightful recital' (ClassicsToday.com)

'On sent qu’elle connaît parfaitement ce répertoire et cette langue' (Répertoire, France)

Cinco Canciones populares Argentinas, Op 10
composer
1943; based on traditional folk melodies
author of text

Introduction  EnglishEspañol
St Vitus’s dance is apparently no less an affliction for South Americans, to judge by the first and last songs of Alberto Ginastera’s Cinco Canciones Populares Argentinas. Both Chacarera and Gato involve the pianist in mind-bending combinations of triple and duple rhythms, thankfully slowed to a gentle lilt in the wistful cadences of the central song, Zamba. Ginastera (1916–1983) was a leading figure in Argentinean music, both as composer and teacher, a founder-member of the Composers’ League of Argentina and honoured by academic foundations not only in Buenos Aires, but also in Chile, Brazil and the USA. A confirmed nationalist in his early works, he later adopted a more radical style that he called Neo-Expressionism, partly as a result of studies in the United States. Even early folk-based works like these songs (composed in 1943 at the age of 27) are spiced with modernistic tonal clashes and Bartókian cross-rhythms, and have a generally leaner texture than those of his more traditional contemporaries. This not only lends bite to the more extrovert numbers but also tempers the sweetness of the lullaby, Arrorró, and gives a sense of space to the distant calls in the piano introduction to Triste.

from notes by Roger Vignoles © 2002

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