Abstract. Alberto Ginastera is one of the most infl uential representatives of the Argentine school of composers of the 20th century. A distinctive feature of his work was the organic synthesis of European avant-garde writing techniques and the rich heritage of Argentine music. The article is devoted to the study of two late piano sonatas of the composer, little covered in Russian art criticism. The emphasis is on the complication of the composer’s language, moving into the sphere of more abstract sound. The main trends in the development of such musical means of expression as timbre, dynamics, registration, texture, features of fi gurative content are traced. Special attention is paid to rhythm and its formative function. The problems of interpreting late sonatas, which are less performed compared to the fi rst one, are considered: extreme tempos and dynamic characteristics, continuous rhythmic movement. Using the example of the third sonata, it is shown how the analysis of textured presentation can help in solving the tasks facing the performer.
Keywords: sonata, rhythm, timbre, dynamics, texture
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