All counter
digit indications located in the video progress bar belongs to ‘Argentum’ performance
at Teatro Colòn in Buenos Aires
The musical director Nicolas Sorin claims that the opening of ‘Argentum’ is an adaptation in part of his ‘Antarctic Symphony’. {YouTube title 'Sinfonia Antartica (work in progress)'
The musical director Nicolas Sorin claims that the opening of ‘Argentum’ is an adaptation in part of his ‘Antarctic Symphony’. {YouTube title 'Sinfonia Antartica (work in progress)'
Whilst in
regard to leitmotiv (*), his
statement:
"We
took about four minutes to open the show {‘Ondeggiare’ (gruppo dei archi)
Introduction followed by ‘Spiccato’ (gruppo dei archi) Overture - counter 00:01 thru
04:59}, which begins in Patagonia , and a fragment then
becomes the leitmotif that makes the transition
between each of the regions",
raises the first question:
raises the first question:
is he referring to Georges Bizet‘s , Giacomo Puccini‘s and Giuseppe Verdi‘s reminiscent leitmotivs, to Franz Liszt‘s transforming leitmotivs or to Richard Strauss‘ and Richard Wagner‘s allusive leitmotivs ?
https://www.clarin.com/mundo/what-is-the-argentum-suite-journey-through-argentina-cultural-diversity_0_XC-6PZMXr.html
https://www.clarin.com/mundo/what-is-the-argentum-suite-journey-through-argentina-cultural-diversity_0_XC-6PZMXr.html
(*) Leitmotif, German Leitmotiv (“leading motive”), is a recurring
musical theme appearing usually in operas but also in symphonic poems. It is
used to reinforce the dramatic action, to provide psychological insight into
the characters, and to recall or suggest to the listener extramusical ideas
relevant to the dramatic event.
In regard
to Overture, his statement:
“the
overture of the show is mainly from the symphony which I wrote (Sinfonía
Antártica) which at the same time functions as the leitmotiv for spinning
all the regions”,
raises the
first assumption:
he is referring
to the ‘Spiccato’ (gruppo dei archi) Overture (counter 02:21 thru 05:09) and surely
not to the Malambo Overture (counter 05:10 thru 07:15) which consists of excerpts
from scene V – Final dance ‘Malambo’ of Alberto
Ginastera`s one
Act Ballet 'Estancia' (scenes I thru V).
https://tn.com.ar/musica/hablamos-con/nicolas-sorin-uno-de-los-creadores-de-argentum-me-llevo-dos-dias-darme-cuenta-todo-lo-que-paso_921757
However, the overall Overture isn’t constructed as in Jean-Baptiste Lully‘s French overture tradition (adagio-allegro-adagio sections) or farthest as in Alessandro Scarlatti‘s Italian overture tradition (allegro-adagio-allegro sections), which could wrongly lead us to believe that we are instead in the presence of a concert Overture:
In regard to Program Act listing, there is a discrepancy between the Printed Program and the Video Program :
Pampa Humeda: Buenos Aires , south SantaFe, southeastern Cordoba
ºººººººººººººººººººººººººººº
However, the overall Overture isn’t constructed as in Jean-Baptiste Lully‘s French overture tradition (adagio-allegro-adagio sections) or farthest as in Alessandro Scarlatti‘s Italian overture tradition (allegro-adagio-allegro sections), which could wrongly lead us to believe that we are instead in the presence of a concert Overture:
The concert overture, is based on the style
of overtures to Romantic operas, and became established in the 19th
century as an independent, one-movement work, which took either the classical
sonata form or the free form of a symphonic poem. Examples of such works
include Felix Mendelssohn’s ‘Hebrides’ overture and Elliott Carter’s much later ‘Holiday ’ overture. Concert overtures were
also written for performance on special occasions, i.e., Johannes Brahms’ ‘Academic
Festival’ overture. Other works, such as Beethoven’s overture to
Goethe’s ‘Egmont’, originally were intended to be performed as an
introduction to a spoken play.
As
to avoid jumping into conclusions, a more appropriate approach would be guessing
the ‘Spiccato’ Overture
section resembles Christoph Gluck‘s ‘Alceste’ and in ‘Iphigénie en Tauride’ Operas, where the overtures instead
of closing before the curtain rises, merge into the music and the mood of
the opening Act. Even Mozart in his Overtures also set
the emotional tone of the drama to follow, as in ‘Don Giovanni’ and ‘Die Zauberflöte’ (The Magic Flute)
where he alludes to themes from the
operas. Similar thematic anticipation occurs in the works of Carl Maria von Weber, Beethoven and Richard Wagner (‘Tristan und Isolde’).
But in this special case and considering Nicolas Sorin statement: “the overture is mainly from the
symphony (Sinfonía
Antártica)” , the ‘Spiccato’ Overture section (counter 02:21 thru
05:09) seems it functions rather as a thematic
retardation , since derives from a
previously performed musical fragment, the ‘Ondeggiare’ Introduction (counter
00:01 thru 02:26).In regard to Program Act listing, there is a discrepancy between the Printed Program and the Video Program :
ºººººººººººººººººººººººººººººº
Printed
Program (Actos)
ºººººººººººººººººººººººººººººº
1. Patagonia
-
Tierra del Fuego, Antartic & south
Atlantic Isles, Chubut , Neuquèn,
SantaCruz & RioNegro, south
Mendoza/LaPampa/Buenos Aires
2. Cuyo -
Mendoza, SanJuan, SanLuis & south LaRioja
3. Centro -
and east LaPampa
4. Litoral -
Misiones, Corrientes y EntreRíos (Mesopotamia between rivers
Paranà/Uruguay), Formosa ,
Chaco (northeast upto river Paraguay
and SantaFe (between rivers Salado/Parana)
5. Norte -
Jujuy, Salta, Tucumán, Catamarca, northern
LaRioja y Santiago
DelEstero, west Formosa/Chaco and northwestern Córdoba.
ºººººººººººººººººººººººººººº
Video
Program (Actos) as appearing in Television Publica broadcast
ºººººººººººººººººººººººººººº
Act
numbering DOES NOT match the one in Printed Program:
thru 08:48
and
supposedly coming next
5. Cuyo –
Assuming Acto 1. Patagonia lower third (on-screen text or graphic overlay) placement at counter 08:29 IS correct, the musical structure is as follows:
***************
Basic Formal Units (Motive, Phrase, Period) - Counter digits
***************
G20
'Argentum' Colon
( YouTube title
‘Argentum, el espectáculo que emocionó al G20’
====================
Ondeggiare Introduction (a type of string arpeggiato with Taurus
flavour)
flavour)
====================
SUMMARY
00:00
thru 00:55 - Ondeggiare Introduzione
(Orchestra
layout 00:53 thru 01:14)
(Flauti arpeggiato 01:48 thru 02:18)
BREAK DOWN Intro - time signature
4/4 (simple meter)
...................................
Period
I (8 measures)
...................................
00:02
thru 00:15 - Phrase A (4 measures)
Vn II Ondeggiare
Vl dactyl + spondee Pizz rhythm (semiphrase
repeated)
repeated)
scenography:
Colon
choreography:
none
Note:
Foot
in poetic Classical meter. In quantitative verse, often used in
Greek
or Latin. Dactyl is a long syllable followed by two short syllables,
Spondee
two long syllable and Proseleusmatic are four short syllables.
00:16
thru 00:29 - Phrase B (4 measures)
Vn II Ondeggiare
Vl dactyl + proseleusmatic Pizz rhythm
(semiphrase
repeated), thus
Vl dactyl Pizz rhythm (1st & 3rd
measures)
Vl proseleusmatic Pizz rhythm (2st &
4th measures)
scenography:
Colon
choreography:
none
....................................
Period
II (8 measures)
....................................
00:30
thru 00:42 - Exposition
Phrase A (4 measures) - Anticipation Theme I
Vn I & Vn II Ondeggiare
Vl/Vc sustained whole note + proseleusmatic
Pizz
rhythm
rhythm
Flutes staccato included (semiphrase repeated)
00:43
thru 00:55 - Exposition
Phrase B (4 measures) - Anticipation
Theme I
Vn I & Vn II Ondeggiare
Vl/Vc sustained whole note + proseleusmatic
Pizz
rhythm
rhythm
Flutes NOT included (semiphrase repeated)
scenography:
Colon
Multilingual Welcome Greetings
choreography:
5 kids representing regions I. Patagonia, II. Cuyo,
III. Centro, IV. Litoral and V. Norte.
.....................................
Period
III (8 measures)
.....................................
Phrase
A (4 measures)
Vn II Ondeggiare
Vl/Vc sustained whole note +
proseleusmatic Pizz
rhythm
rhythm
Flutes staccato included (semiphrase
repeated)
Phrase B (4 measures)
Vn II Ondeggiare
Vl/Vc sustained whole note + proseleusmatic
Pizz
rhythm
rhythm
Flutes NOT included (semiphrase repeated)
scenography:
Argentina physical location
in South America
choreography:
5 kids representing regions
Note:
00:53
thru 01:14 - THIS Orchestra layout Theme I Exposition
Vn I
- Left (far from stage)
Vn
II - Left (near stage)
Vl
- Right (near stage)
Vc - Right (far from stage)
Cb - Right (far from stage)
......................................
Period
IV (8 measures)
......................................
01:24
thru 01:37 - Exposition
Phrase A (4 measures)
Tutti Archi Ondeggiare (except Cb)
Cb + Timpani proseleusmatic rhythm
01:38
thru 01:51 - Exposition
Phrase B (4 measures)
Tutti Archi Ondeggiare (except Cb)
Cb + Timpani proseleusmatic rhythm
Campane tubolari (2nd semiphrase - 1st
measure)
Legni arpegiatto (2nd semiphrase - 2nd
measure)
scenography:
Argentina
choreography:
5 kids representing regions
Note:
01:24
thru 01:30 - Orchestra layout
.....................................
Period
V (8 measures)
.....................................
Phrase A (4 measures)
Vl/Vc & gruppo dei Legni Ondeggiare
gruppo dei Ottoni (2nd and 4th measures)
Cb + Timpani proseleusmatic rhythm
Percussione (piatti manuale)
Phrase B (4 measures)
Vl/Vc & Legni Ondeggiare
Cb + Timpani proseleusmatic rhythm
Campane tubolari (2nd semiphrase - 1st
measure)
Percussione (piatti sospesi)
scenography:
Southern penguins/whales & Andes Mountain
range
choreography:
5 kids representing regions
Note:
02:18
thru 02:26 - Orchestra layout
===============
Spiccato Overture (a type of off-the-string bowing with Leo flavour)
===============
SUMMARY
02:21
thru 02:26 - Overture announced on screen
Orchestra layout
02:27
thru 02:49 - Vn II (pyrrhic rhythm) + Pizz. Vc
Note:
Foot
in poetic Classical meter. In quantitative verse, often used in
Greek
or Latin. Pyrrhic rhythm are two short
syllables.
BREAK DOWN Overture - time
signature 12/8 (compound meter),
then time signature 3/4 (simple meter)
...................................
Phrase
I (4 measures)
...................................
02:50
thru 03:09 - Vn II (pyrrhic rhythm) overlaps change of time
signature to 12/8 (compound meter)
Vl/Vc Pizz + Flauti staccato
scenography:
visual effects
choreography:
all female but 2 male dancers performing 'zapateo' steps
.....................................
Phrase
II (4 measures)
.....................................
time signature 12/8 (compound meter)
03:22
thru 03:30 - Orchestra layout Vc Theme II
scenography:
visual effects
choreography:
male and female dancing to a lyrical context
......................................
Phrase
III (4 measures)
......................................
Vn II detache pyrrhic rhythm
Phrase (4 measures) + additional measure
(ottoni)
Orchestra layout Vn I Theme II (03:31 thru
03:39)
scenography:
ship sailing ocean south and jumping whales
choreography:
male and female dancing to a lyrical melody
......................................
Phrase
IV (4 measures)
......................................
time signature to 3/4 (simple meter)
scenography:
southern whales then visual effects
choreography:
equine men (like Greek centaurs) dressed as 'gauchos'
................................
Period
(8 measures)
................................
04:07
thru 04:18 - Coda (orchestra)
Phrase V (4 measures)
04:19
thru 04:26 - Coda (orchestra)
Phrase VI (4 measures)
Orchestra layout Equines (thru
04:27)
scenography:
visual effects
choreography:
equine men (like Greek centaurs) dressed as 'gauchos'
........................................
Phrase
VII (4 measures)
........................................
Orchestra layout
scenography:
Glacier 'Perito Moreno'
choreography:
equine men (like Greek centaurs) dressed as 'gauchos'
.................................
Period
(8 measures)
.................................
04:38
thru 04:59 - End themes Overture
scenography:
Glacier 'Perito Moreno'
choreography:
equine men (like Greek centaurs) dressed as 'gauchos'
05:00
thru 05:09 - Diminuendo & 1st Applause
===============
Malambo Overture (a male dance performed by ‘gauchos’)
===============
05:10 thru 07:15 - Excerpts
Ginastera 'Estancia' (Scene V Malambo)
{ Danza del trigo Scene II and Danza final Scene
V
danza final counter 04:58
Orchestra layout (06:26 thru 06:32)
07:16
thru 07:23 - 2nd Applause
scenography:
running horses ('Pampa Humeda' region), northwestern
canyons and visual effects
canyons and visual effects
choreography:
'zapateo' performed by men (only two in traditional
'gaucho salteño' costume) and two female with
'gaucho salteño' costume) and two female with
'boleadoras'.
********************************
********************************
Recurring musical Passages and Themes
********************************
G20
'Argentum' Colon
( YouTube title
‘Argentum, el espectáculo que emocionó al G20’
==============
Act 1. Patagonia
==============
07:50 thru 08:23 - Da Capo Ondeggiare
Introduzione
Period I
08:24
thru 08:45 - Da Capo Ondeggiare Introduzione
only Phrase A (4 measures) Period II
==================
Act 2. Pampa
==================
11:40
thru 12:34 - Da Capo Ondeggiare Introduzione in Rock genre
Period I (truncate 6 measures)
12:35
thru 12:53 - Da Capo Ondeggiare Introduzione in Rock genre
only semiPhrase A (2 measures) Period II
===========
Act 3. Litoral
===========
20:15
thru 20:55 - Da Capo Ondeggiare Introduzione
Period I Theme I (tempo adagio)
20:56
thru 21:15 - Da Capo Ondeggiare Introduzione
only Phrase A Period II Theme I (tempo adagio)
Period I (truncate 6 measures)
Vn II (pyrrhic rhythm) + Pizz. Vc
Orchestra layout (21:45 thru 21:55)
Iguazu WaterFalls 21:21 thru 21:36
21:47
thru 22:08 - Spiccato Overture
Phrase I (4 measures)
Vn II (pyrrhic rhythm) overlaps change of
time
signature to 12/8 (compound meter)
Vl/Vc Pizz + Flauti staccato
Orchestra layout (21:46 thru 21:55)
Phrase II (4 measures) + 1 additional measure
time signatute 12/8 (compound meter)
Orchestra layout (22:04 thru 22:11)
dancer Julio Boca (22:12 thru 22:59)
Phrase I (4 measures)
Vn II detache pyrrhic rhythm
Vn II detache pyrrhic rhythm
Hints
Unless
there are missing parts in this Television Publica video ( YouTube title ‘Argentum, el
espectáculo que emocionó al G20’ https://www.youtube.com/watch?v=goHxpNWthbk
):
There are
not Recurring musical Passages or Themes
from Sinfonia Antartica (work in
progress) connecting Act 3. Litoral with Act 4. Norte (Acto 4. Norte announced on screen 25:56 thru 26:53).
Furthermore,
there aren`t Recurring
musical Passages or Themes connecting Act 4. Norte with supposedly next last Act
5. Cuyo neither:
Act
5. Cuyo was never announced on screen. Unless unnoticed, it was not contained
in this Television Publica live broadcasting
> OR < considering musical director Nicolas Sorin’s love affair with musical shakes, somehow it finished being mingled with 1. Patagonia – Acto 1. Patagonia
announced on screen at 08:29 thru 08:48.
References
G20
'Argentum' Colon
https://www.lanacion.com.ar/2198521-ricky-pashkus-argentum-mauricio-macri-me-llamo
https://www.lanacion.com.ar/2198521-ricky-pashkus-argentum-mauricio-macri-me-llamo
continued in 'Argentum' - Acto 1. Patagonia
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