A. Ginastera: "Danza de la Moza Donosa"

As any respectable dictatorship would do, that of General Onganía in Argentina in the sixties did not beat about the bush to apply censorship to a wide range of cultural manifestations. In the field of music, a ballet by Béla Bártok and The Rite of Spring by Igor Stravinsky were censored. And as a fair law is not a strict law, was also banned the performance of Bomarzo opera, a work from a compatriot, a fellow, the composer Alberto Ginastera, prohibited by decree due to his "excessive reference to sex, violence and hallucination."

Ginastera (1916 - 1983), one of the most outstanding Latin American composers of the 20th century was at that time an international celebrity. He had studied with Aaron Copland (among those who had studied with him were Astor Piazzolla and Waldo de Los Ríos). But the most important Argentine composer of all time never maintained good relations with the political authorities, whether dictatorships or not.
In the year 1945, he was exonerated from his position as professor of the Military Lyceum. After a series of skirmishes with Peronism, a Guggenheim scholarship allowed him to leave the country.

Upon his return, two years later, he founded the Conservatorio de La Plata, which he was its director. The authorities forced him to give the conservatory the name of Eva Perón, which Ginastera opposed. Evita had justly promoted the female vote, but from the point of view of art she was a good reciter and very popular actress of radio drama series but nothing linked her to music. Ginastera was again exonerated in 1952, for being "anti-Peronist".

Danzas Argentinas, opus 2
An author of an extensive work of chamber music, two concertos for piano, two for cello, one for violin, three operas and many others, Alberto Ginastera became a leading figure of Argentine musical nationalism. His composition for piano, Danzas Argentinas, 1937, led to the identification of his music throughout the world as the "music of the pampas", the "gaucho" music. The Danzas... comes from an early period he called 'objective nationalism', in which he often used folk themes.
So, the three dances that make up the piece carry a title of great evocative power: "Danza del viejo boyero" (roughly translated as Dance of the old Oxen-Keeper), "Danza de la Moza Donosa" (Dance of the graceful maiden) and "Danza del gaucho matrero" (Dance of the Bandit Gaucho).
Danzas Argentinas enjoyed great popularity since its premiere and today they are part of the traditional repertoire of pianists, at least of Latin Americans.

Danza de la moza donosa
In a brilliant rendition, the first-rate Argentinean pianist, Martha Argerich, plays the second dance, "Danza de la moza donosa". A live performance in Amsterdam, when Marthita was a maiden, and also a "donosa" maiden.

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