Alberto Ginastera divided his remarkable career as a composer into three distinct phases, with each of his string quartets aligning with these periods. His String Quartet No. 1, composed in 1948, exemplifies what Ginastera termed “map nationalism.” During this phase, he was heavily influenced by the folk melodies of Argentina, echoing the style of his mentor Aaron Copland by weaving these traditional tunes into his works. A decade later, in his second quartet, he evolved into what he called “subjective nationalism,” blending the vibrant colors and textures from earlier compositions with more intricate structures inspired by Schoenberg’s twelve-tone technique.

The interpretations of the first two quartets by the Miró Quartet showcase emotionally rich compositions filled with striking moments that merit greater representation in concert lineups than they currently enjoy. Still, it is indeed Ginastera’s third quartet that emerges as a meaningful highlight within this series. Finished in1973 during his time in Europe—where he would eventually pass away in Geneva in1983—this piece embodies what he referred to as “neo-expressionism.” Influenced by Schoenberg’s second quartet, it features a solo soprano who delivers passionate renditions of texts written by three prominent twentieth-century Spanish poets—Juan Ramón Jiménez, Federico García Lorca, and Rafael Alberti.