- Piano Sonata No.1, Op. 22
- Piano Sonata No.2, Op. 53
- Piano Sonata No.3, Op. 54
- Danzas argentinas, 3 pieces for piano, Op. 2
- Piezas (3), for piano, Op. 6
- Malambo, for piano, Op. 7
- American Preludes (12) for piano, Op. 12
- Creole Dance Suite, for piano, Op. 15
- Rondo on Argentine Children's Songs, for piano, Op. 19
- Pampeana No.1, for violin & piano, Op. 16
- Milonga, for piano (arranged from "Canción del arbol olvido" Op.2)
- Dances from Estancia, dance suite from the ballet, Op. 8a: Tres Danzas
- Arrangement: Domenico Zipoli's "Toccata per organo", for piano
- Quintet, for piano & strings, Op. 29
- Pampeana No.2, rhapsody for cello & piano, Op. 21
- Cello Sonata, Op. 49
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Barbara Nissman's excellent and authoritative recordings of the piano music of Argentine composer Alberto Ginastera at one time belonged to a group of recordings purchased by Sony from Newport Classics and subsequently never used. Small Texas-based indie Pierian Recording Society deserves congratulations in recognizing the need for the return of these releases to the active catalog. This two-disc set Ginastera: The Complete Music for Piano and Piano Chamber Ensembles contains all of Ginastera's piano music save a tiny, two-minute scrap called the "Peqeña Danza." It also includes three chamber works, "Pampeana No. 1 for violin and piano, Op. 16," "Pampeana No. 2, Op. 21," and "Sonata for cello & piano, Op. 49"; and finally, Ginastera's "Quintet for piano and string quartet, Op. 25." To some, Ginastera's extraordinary talents early on, and his easy assimilation of Argentine folk elements into a spicy Bartókian idiom, indicated he might become Argentina's answer to Heitor Villa-Lobos. This view also argues that Ginastera was ultimately brought down by the scandal of his ribald 1967 opera "Bomarzo" and a need to "keep up with the Joneses" in terms of making his style increasingly difficult, "modernistic," and sympathetic to trends in mid-century European composition. Ginastera's post-1952 piano output, such as his second and third piano sonatas, are a tough sell, being discordant in the extreme. Nonetheless, Ginastera never has lost his interest in rhythm; younger listeners who embrace challenging and disruptive music will easily enjoy the later Ginastera pieces included here. In the "Sonata for cello & piano" of 1979, Ginastera's widow Aurora Natola-Ginastera is featured in the solo part in what is a very finely wrought and expressive work that deserves to be better known. Average listeners should not have any trouble with the piano pieces dating from 1952 backward, including the famous "Piano Sonata No. 1." All of these are superlative pieces that are central to the proper understanding of twentieth century Argentine music. Barbara Nissman is the ideal advocate for them: she is physically strong and able to project the music's moments of fiery intensity without driving the bus through the flowerbed in parts that are more gentle. The Newport Classic recordings are of such quality of engineering that they have not dated at all.