Ginastera - Mambo from Estancia: Is this by Bacalav? It's pretty tonal. Repetition getting a bit shrill without direction. Xylophones (glocks) too loud. Good opener. Oh! Ginastera!

3 Argentine Songs: Wow...waifish Soprano...whodathunkit. Oh come on people, don't clap for too long just because she's cute. Sensuous first song. OK second, a bit feisty. "Come hither" third. OK, enough of the clapping.

Bacalov - Theme from Il Postino for bandoneon and strings: Mmm...schmaltzy.

Bacalov - Triple Concerto for bandeneon, piano and soprano: He's trying to be Liszt. Start and stop. Stop and Go. Can't even hear the bandeneon. Too rhapsodic to the point of incoherence. Too many blatant gestures (look! flutter tongue!). Too many glissandi at the wrong places. Why soprano for the second movement? Doesn't seem to fit. 3rd is cadenza. Melodies sound Shostakovich almost. Finale the soprano is up on a balcony to the right. Was that written into the score? What is that supposed to be? Entertaining thoughts of her falling off the balcony. Not impressed over all. Sounds like 80 different gestures and ideas thrown into one piece. Front spot lights went out and threw soloists and conductor into the dark for a while.

Intermission - Decent. Though a bit long.

Ginastera - Overtor for the Criollo "Faust." Opus 9: I know it's Ginastera this time. Still a bit heavy on holding figurations steady and changing only dynamics but fun. Good rhythmic drive.

Piazzola - Tres Movimentos Sinfonicos, Buenos Aires(1953): First time this piece has been played outside of Argentina apparently. Much better than Bacalov. Wears heart on sleeve but doesn't muck it up with semi-pretentious gestures (which Bacalov seems to). Western orchestration and technique, Argentinian inspiration. Tango-y. Bandeneon still a little bit overpowered by orch. Too loud too often. But still fun. Finally virtuoso Bandeneon playing at the end of Presto (last mvmt.). Not bad. I like it enough.

Piazzola - Adios Nonino: Written right after death of father. In tears says the conductor. Reminded of Rorem saying composers hardly ever write in tears or in the throes of passion or depression...if they were so emotional, they wouldn't have the wits about them to write. Schmaltzy, VERY schmaltzy, but again, heart on sleeve, refershingly innocent and straightforward. Encore also a tango thingy by Piazzolo. Lights go out again. Some stage tech is going to be whipped.