roque cordero soliloquio no. 6 and sonata for cello and
TRANSCRIPT
Louisiana State UniversityLSU Digital Commons
LSU Doctoral Dissertations Graduate School
2014
Roque Cordero Soliloquio No. 6 and Sonata forCello and Piano: Structure and AnalysisIsaac Miguel Casal R.Louisiana State University and Agricultural and Mechanical College
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Recommended CitationCasal R., Isaac Miguel, "Roque Cordero Soliloquio No. 6 and Sonata for Cello and Piano: Structure and Analysis" (2014). LSUDoctoral Dissertations. 2702.https://digitalcommons.lsu.edu/gradschool_dissertations/2702
ROQUE CORDERO SOLILOQUIO NO. 6 AND SONATA FOR CELLO AND PIANO:
STRUCTURE AND ANALYSIS
A Dissertation
Submitted to the Graduate Faculty of the Louisiana State University and
Agricultural and Mechanical College in partial fulfillment of the
requirements for the degree of Doctor of Musical Arts
in
The School of Music
by Isaac M. Casal Rodriguez
B.M., Florida International University, 2005 M.M., Baylor University, May 2007
May 2015
ii
Acknowledgements
First I would like to thank my major professor, Dennis Parker, for his friendship,
nurturing and guidance, and for encouraging me to break my own parameters at all times
and look for new ideas and things of interest. I feel myself a better musician and cellist
because of his teaching.
I would also like to thank my committee members Dr. Robert Peck, Professor Yung
Chiao Wei, and Professor Jenna Tedrick Kuttruff for being on my committee, and for
assisting me in the completion of this project.
Special thanks, to my colleague, friend, and a wonderful pianist Liudmila
Georgiesvkaya, for collaborating in our performance of the Cello Sonata. Thanks to my
friends Mauricio Alvarez, Jacob Gran, Loraine Roy, Josue Ramirez, Sinmyung Min, Alvaro
Angulo, Alvaro Pereiro, Sussanah Montandon, and Mr. Claude Grenier for their friendship
and support, feedback and suggestions. Thanks to all members of our cello studio for
listening to my preparatory performances of Cordero’s “Soliloquio” and the “Sonata.”
Finally, I would like to thank M. Dimitri Cordero, Marie Labonville, Mr. Iwasaki, Mrs.
Odnoposoff, and Mr. Gutierrez for giving me their feedback about Mr. Cordero, his pieces,
and for sharing some insights on his approach and performance with me.
I have to thank my super wonderful wife Valeria who always encourages me and
inspires me to give my best. I want to thank my brother Luis, David and my sister Paola
Casal for their love and encouragement in everything. Lastly, to my parents, thank you for
giving the best of yourselves and supporting me in this musical journey.
iii
Table of Contents
Acknowledgements ................................................................................................................ ii
List of Figures ........................................................................................................................ iv
Abstract .................................................................................................................................. ix
Introduction ............................................................................................................................ 1
Roque Cordero’s Life, Legacy, and Selected Works ............................................................. 3 Cordero’s Life ..................................................................................................................... 4 Cordero’s Legacy ................................................................................................................ 8
Compositional Style ........................................................................................................ 9 Cordero’s selected works for cello ................................................................................... 11
Sonata for Cello and Piano ............................................................................................ 11 Soliloquio No.6 for Cello Solo ...................................................................................... 13
Structure and Analysis of Selected Works ........................................................................... 16 Sonata for Cello and Piano ............................................................................................... 18
First Movement: Allegro Molto Appasionato ............................................................... 21 Second Movement: Adagio ........................................................................................... 35 Third Movement: Vivace .............................................................................................. 43
Soliloquio No. 6 for Cello Solo ........................................................................................ 65 First Movement: Adagio - Allegretto ............................................................................ 67 Second Movement: Largo e tristo ................................................................................. 77 Third Movement: Allegro vigoroso .............................................................................. 85
Conclusion ............................................................................................................................ 99
Bibliography ....................................................................................................................... 100
Annex A: Dissertations, thesis, and essays on Roque Cordero .......................................... 102
Appendix I: Letter of Permission ....................................................................................... 104
Appendix II: Letter of Permission ...................................................................................... 105
Appendix III: Roque Cordero Artistic Advisor of ASM Festival ...................................... 107
Appendix IV: Recital Program ........................................................................................... 108
Appendix V: ASM Festival Homage to Roque Cordero .................................................... 109
Vita ..................................................................................................................................... 110
iv
List of Figures
Figure 1: Matrix used in the Sonata for Cello and Piano ..................................................... 19
Figure 2: Overall structure of the Sonata for Cello and Piano ............................................. 20
Figure 3: Rows used in the first movement. ......................................................................... 21
Figure 4: Form diagram of the Allegro molto appassionato movement. ............................. 21
Figure 5: Cordero: Cello Sonata, mvmt. I, mm. 1 – 9. ......................................................... 22
Figure 6: Cordero: Cello Sonata, mvmt. I, mm.15 – 25. Ending of section (a1) - beginning of section (a2). ............................................................................................................... 23
Figure 7: Cello Sonata mvmt. I, mm. 46 – 49. ..................................................................... 24
Figure 8: Cordero: cello Sonata mvmt. I, mm. 50 -55.......................................................... 25
Figure 9: Cordero: Cello Sonata, mvmt. I, mm. 74-76. Ending of (b2). .............................. 26
Figure 10: Cordero: Cello Sonata, mvmt. I, mm. 74-82. ...................................................... 27
Figure 11: Cordero: Cello Sonata, mvmt. I, mm. 85-94. (a5) theme group. ........................ 28
Figure 12: Cordero: Cello Sonata mvmt. I, mm. 103-104. ................................................... 29
Figure 13: Cordero: Cello Sonata, mvmt. I, mm. 106-108. .................................................. 30
Figure 14: Cordero: Cello Sonata, mvmt. I, mm. 116-118. .................................................. 30
Figure 15: Cordero: Cello Sonata, mvmt. I mm.131-133. .................................................... 31
Figure 16: Cordero: Cello Sonata, mvmt. I, mm.146-149. ................................................... 32
Figure 17: Cordero: Cello Sonata, mvmt. I, mm. 164-169. .................................................. 33
Figure 18: Cello Sonata mvmt. I, mm. 170-173. .................................................................. 33
Figure 19: Cordero: Cello Sonata, mvmt. I, mm. 174-177. .................................................. 34
Figure 20: Cordero: Cello Sonata, mvmt. I, mm. 182-185. .................................................. 34
Figure 21: Form diagram of the Adagio Movement. ............................................................ 35
Figure 22: Rows used in the second movement. .................................................................. 36
Figure 23: Cordero: Cello Sonata, mvmt. II, mm 1-9. ......................................................... 37
v
Figure 24: Direction on how to use extended techniques on the piano. ............................... 38
Figure 25: Cordero: Cello Sonata, mvmt. II mm. 14-20. ..................................................... 39
Figure 26: Cordero: Cello Sonata, mvmt. II, mm. 31-38. .................................................... 39
Figure 27: Cello Sonata Movement II, mm. 51-53............................................................... 40
Figure 28: Cordero: Cello Sonata, mvmt. II, mm. 60-63. .................................................... 41
Figure 29: Cordero: Cello Sonata, mvmt. II, mm. 71-84. .................................................... 42
Figure 30: Rows used in the third movement. ..................................................................... 43
Figure 31: Form diagram of the Allegro molto appassionato movement. ........................... 44
Figure 32: Cordero: Cello Sonata, mvmt. III, mm. 1-10. ..................................................... 45
Figure 33: Rabel rhythmic line. ............................................................................................ 46
Figure 34: Cordero: Cello Sonata, mvmt. III, mm.25-32. .................................................... 47
Figure 35: Cordero: Cello Sonata, mvmt. III, mm.33-37. .................................................... 47
Figure 36: Cordero: Cello Sonata, mvmt. III, mm. 47-51 (a2) closing section. ................... 48
Figure 37: Cordero: Cello Sonata, mvmt. III, mm. 52-59. Closing section in (a3) & beginning of section (a3). .............................................................................................. 49
Figure 38: Cordero: Cello Sonata, mvmt. III, mm. 60-63. ................................................... 50
Figure 39: Cordero: Cello Sonata, mvmt. III, mm. 80 – 83. Closing section of theme group (a3). ............................................................................................................................... 51
Figure 40: Cordero: Cello Sonata, mvmt. III, mm 84-91. Subsection (a4). ......................... 52
Figure 41:Cordero: Cello Sonata, mvmt. III, mm. 100-103. ................................................ 53
Figure 42: Cordero: Cello Sonata, mm. 51-58 (I mvmt.), mm. 135-137 (I mvmt.), mm. 103-106 (III mvmt.). Slow themes from movement I and II. ............................................... 53
Figure 43: Cordero: Cello Sonata, mvmt. III, mm. 103-107. (b1) slow section introduction. ....................................................................................................................................... 55
Figure 44: Cordero: Cello Sonata, mvmt. III, mm. 116-123, end of (b1) and beginning of (b2). ............................................................................................................................... 56
Figure 45:Cordero: Cello Sonata, mvmt. III, mm. 124- 126, end of section (b1). ............... 56
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Figure 46: Cordero: Cello Sonata, mvmt. III, mm. 127-129. End of section (b1) and the beginning of section (a5). .............................................................................................. 57
Figure 47: Cordero: Cello Sonata, mvmt. III , mm. 135-143. Subsection (a5) introduction. ....................................................................................................................................... 58
Figure 48: Cello Sonata Movement III, mm. 144-148. Ending of section (a5).................... 59
Figure 49:Cordero: Cello Sonata, mvmt. III, mm. 149-152. Beginning of Section (a6)...... 59
Figure 50: Cordero: Cello Sonata, mvmt. III, mm. 161-169. End of section (a6) and the beginning of section (a7). .............................................................................................. 60
Figure 51: Cordero: Cello Sonata, mvmt. III, mm. 179-186. End of section (a7) and beginning section (a8). .................................................................................................. 61
Figure 52: Cordero: Cello Sonata, mvmt. III, mm. 187-190. ............................................... 62
Figure 53: Cordero: Cello Sonata mvmt. III, mm. 191-194. (a8) ending coda. ................... 63
Figure 54: Cordero: Cello Sonata, mvmt. III, mm. 202-208. ............................................... 63
Figure 55: Cordero: Cello Sonata, mvmt. III, mm. 210-214. ............................................... 64
Figure 56: Matrix and rows used in the first movement: Adagio. ........................................ 66
Figure 57: Matrixes and rows used in the second movement: Largo e tristo ...................... 66
Figure 58: Matrixes and rows used in the third movement: Vivace ..................................... 66
Figure 59: Structure of the first movement of the Soliloquio No 6 for Cello solo. .............. 67
Figure 60: Matrix I used in Cordero: Soliloquio No. 6 for Cello solo, first movement. ...... 67
Figure 61: Cordero: Soliloquio No. 6, mvmt. I, mm. 1-4. .................................................... 68
Figure 62: Cordero: Soliloquio No. 6, mvmt. I, mm 5-10. ................................................... 69
Figure 63: Cordero: Soliloquio No. 6, mvmt. I, mm 8-18. ................................................... 69
Figure 64: Cinquillo rhythmic cell on danzon. .................................................................... 70
Figure 65: Cordero: Soliloquio No. 6, mvmt. I, mm. 19-41 ................................................. 71
Figure 66: Cordero: Soliloquio No. 6, mvmt. I, mm. 42-49. ................................................ 71
Figure 67: Cordero: Soliloquio No. 6, mvmt. I, mm.50-52 .................................................. 72
Figure 68: Cordero: Soliloquio No. 6, mvmt. I, mm.53-64. ................................................. 72
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Figure 69: Cordero: Soliloquio No. 6, mvmt. I, mm. 65-69 ................................................. 73
Figure 70: “Y Orelé” Tamborito tonada transcribed by Roque Cordero ............................. 73
Figure 71: Cordero: Soliloquio No. 6, mvmt. I, mm. 70-75. ................................................ 74
Figure 72: Cordero: Soliloquio No. 6, mvmt. I, mm. 76-81. ................................................ 74
Figure 73: Clave rhythm. ...................................................................................................... 74
Figure 74: Cordero: Soliloquio No. 6, mvmt. I, mm. 82-100. .............................................. 75
Figure 75: Parsimonious smooth voice leading from mm. 105 – 111. ................................. 76
Figure 76: Cordero: Soliloquio No. 6, mvmt. I, mm. 105 – 118. ......................................... 76
Figure 77: Soliloquio No. 6, mvmt. I, mm. 115-127. ........................................................... 77
Figure 78: Structure of the II movement of the Soliloquio No. 6 for cello solo. .................. 77
Figure 79: Matrix I used in Soliloquio No. 6 for Cello solo, second movement. ................. 78
Figure 80: Matrix II used in Soliloquio No. 6 for Cello solo, second movement. ............... 79
Figure 81: Cordero: Soliloquio No. 6, mvmt. II, mm. 1 – 7. ................................................ 79
Figure 82: Cordero: Soliloquio No. 6, mvmt. II, mm. 8 – 18 . ............................................. 80
Figure 83: Cordero: Soliloquio No. 6, mvmt. II, mm. 19-24. ............................................... 80
Figure 84: Cordero: Soliloquio No. 6, mvmt. II, mm. 25-40. ............................................... 81
Figure 85: Cordero: Soliloquio No. 6, mvmt. II, mm. 41-50. ............................................... 83
Figure 86: Cordero: Soliloquio No. 6, mvmt. II, mm. 50-64. ............................................... 84
Figure 87: Cordero: Soliloquio No. 6, mvmt. II, mm. 65-75. ............................................... 85
Figure 88: Cordero: Soliloquio No. 6, Movement II, mm.75-79. ......................................... 85
Figure 89: Structure of the third movement of the Soliloquio No. 6 for cello solo. ............ 86
Figure 90: Matrix 1 used in Cordero: Soliloquio No. 6 for Cello solo, third movement ..... 86
Figure 91: Matrix II used in Cordero: Soliloquio No. 6 for Cello solo, third movement. .... 87
Figure 92: Matrix III used in Cordero: Soliloquio No. 6 for Cello solo, third movement. .. 87
Figure 93: Ravel manuscript, part of a mejorana tune. ........................................................ 88
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Figure 94: Cordero: Soliloquio No. 6, mvmt. III, mm. 1-15. ............................................... 88
Figure 95: Cordero: Soliloquio No. 6, mvmt. III, mm. 16-40. ............................................. 89
Figure 96: Mejorana rhythm. ............................................................................................... 90
Figure 97: Cordero: Soliloquio No. 6, mvmt. III, mm. 40-56. ............................................. 91
Figure 98: Cordero: Soliloquio No. 6, mvmt. III, mm. 57-70. ............................................. 92
Figure 99: Tamborito song. .................................................................................................. 92
Figure 100: Cordero: Soliloquio No. 6, mvmt. III, mm.71- 91. ........................................... 93
Figure 101: Cordero: Soliloquio No. 6, mvmt. III, mm. 92-102. ......................................... 94
Figure 102: Cordero: Soliloquio No. 6, mvmt. III, mm. 103-136. ....................................... 95
Figure 103: Cordero: Soliloquio No. 6, mvmt. III, mm. 137-167. ....................................... 96
Figure 104: Cordero: Soliloquio No. 6, mvmt. III, mm. 168-184. ....................................... 97
Figure 105: Cordero: Soliloquio No. 6, mvmt. III, mm. 185-205. ....................................... 98
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Abstract
Roque Cordero (1917-2008) is the most recognized and accomplished composer of
Panama. Even though his music is not yet well known on the concert classical stage, he has
contributed to Latin American repertoire with his vast catalog of music. Richness is created
by the mixture of twelve-tone technique combined with Panamanian musical folk elements
and other Latin-American rhythms.
The objective of this monograph is to better understand the Sonata for Cello and
Piano and the Soliloquio No. 6 for cello solo, particularly to describe and analyze its
structure, and to look for traces of Panamanian folk music. The intent is that the analysis
can be used as a guide to learn about the Panamanian composer Roque Cordero; to have a
better understanding on how Panamanian elements have been used in dodecaphonic pieces,
and to provide an overview to cellists about how his music is organized and help them
decide how they would like to interpret these pieces.
This thesis is divided in four sections. Following the introduction comes a review of
Cordero’s life and musical output as well as an analysis of the factors that could have
influenced these compositions. The third section includes a description of structure and
analysis of both cello pieces. Finally, the main conclusions of this work are presented. The
results of these findings helped in my actual performance of these works.
1
Introduction
Since beginning my search for a topic, I wanted to look for a significant piece that
would be historically valuable, challenging to learn and perform, and one that was
undeservedly under-recognized and would hopefully start to find its way into the cello
repertoire. I began by looking at what my countrymen had done, and I found Roque
Cordero. Cordero had written two pieces for cello of which I had never heard a single
performance, recorded nor live. One of these two pieces, The Sonata for Cello and Piano is
published, and Soliloquio No.6 is not. I did find that other Panamanian composers had
written for cello. My brother, violinist Luis Casal and I had personally invited Maestro
Cordero to be the Honorary Artistic Advisor of our National Annual Music Festival of
Panama, Alfredo De Saint Malo in 2007-2008. Cordero already had an established
reputation as the most important living Panamanian composer, so I felt duty bound to learn
and investigate theses pieces further. I wanted to learn for whom these pieces were
composed, if they were performed, how they were written or constructed, and if they were
truly of interest to be performed.
Roque Cordero was born in Panama, in 1917. Coming from a humble family with
no musical background, he became one of the most notable and creative personalities in
Central America.1 Several orchestras, chamber groups, and soloists in the United States,
Europe, and Latin America have performed and recorded Cordero’s works. His
1 Gerard Béhague, “The Hispanic World, 1918-45,” in Modern Times from World War I to the Present, ed. Robert Morgan (Englewood Cliffs, New Jersey: Prentice Hall Inc., 1993).
2
compositional style fuses dodecaphonism with the rhythmic elements of Panamanian folk
dance and music2,3.
During his lifetime, Cordero composed only these two pieces for cello: the Sonata
for Cello and Piano (1963), and the Soliloquio No. 6 for cello solo (1992). Even though
Cordero’s notoriety is great, neither of these cello works have been commercially recorded
nor has proof of any academic documentation or study been found on them. An interesting
aspect to consider is that both works are dedicated to accomplished cellists: the Sonata for
Cello and Piano was dedicated to Adolfo Odnoposoff, and the Soliloquio No.6 for Cello
Solo was dedicated to Ko Iwasaki.
The objective of this monograph is to dissect the Sonata for Cello and Piano and the
Soliloquio No. 6 for Cello Solo, examine their structure, and to analyze and look for traces
of Panamanian folk music, all in the name of an interpretation and performance of these
works.
This thesis is divided into four sections. Following the introduction a review of
Cordero’s life and musical output as well as an analysis of the factors that could have
influenced his composition of these works is presented. The third section includes a
description of the structure and analysis of both cello pieces. Finally, the main conclusions
of this work are presented. Already, the knowledge and information gathered here has been
of great benefit in a concert I gave of the two works on April 23, 2014.
2 Marie Labonville, “Roque Cordero (1917-2008) in the United States.” Paper presented at the Latin American Music Center’s Fiftieth Anniversary Conference “Cultural Counterpoints: Examining the Musical Interactions between the U.S. and Latin America,” Indiana University, Bloomington, 2011. https://scholarworks.iu.edu/dspace/bitstream/handle/2022/15513) (accessed April 8, 2014). 3 Luis Casal, “Panamanian Art Music for Strings: Works for Violin/Piano and Violea/Piano by Roque Cordero, Eduardo Charpentier, and Fermin Castañedas.” (DMA diss., University of Oklahoma, 2006).
3
Roque Cordero’s Life, Legacy, and Selected Works
The following chapter provides some insight to Roque Cordero’s life and career. Its
main focus consists of those aspects of his life leading up to and during the composition of
the two selected pieces for this thesis, The Sonata for Cello and Piano (1963) and the
Soliloquio No.6 for Cello Solo (1992).
The information for this chapter was gathered mainly from an extensive
transcription of varying written sources discussing Maestro Cordero. Currently there are six
doctoral dissertations, six master theses, four essays, and three short analytical studies
relating to Cordero’s music. Some of the studies target particular musical works (i.e. his
symphonic works, piano compositions, chamber music works, among others), while others
place his work in a broader framework of Panamanian music. Annex 1 provides a list of the
academic works that have been studied, or written about. No book-length biography of
Cordero has been published, however, an American author, Marie Labonville, is presently
writing his biography. This information was complemented with information gathered
during several interviews with people very close to Cordero’s life and musical work,
namely: Ko Iwasaki, Berthe Huberman Odnoposoff (Odnoposoff’s wife), Germán
Gutiérrez (a pupil and very close friend of Cordero), Dimitri Cordero (his son) and Marie
Labonville (currently writing Cordero’s bibliography).
4
Cordero’s Life
Roque Cordero was born in 1917. Coming from a humble family with no musical
background he became one of the “most notable creative personality of Central America”.4
During his childhood, most public schools had no music program, nor was there a public
conservatory in Panama anywhere. In fact, during his childhood years he was not interested
in classical music; although his interest began later on as a result of a series of “amazing
circumstances”5.
During his teenage years he was mainly exposed to popular music (Marches,
Dances, Tangos, Pasillos, Fantasias of Italian Operas, and Spanish Zarzuelas), and he
taught himself solfege and harmony.6 In 1934 he began to receive musical training from
Maximo Herculando Arrates Boza (1859-1936). Around this time, he also received lessons
from Pedro Simon Rebolledo Puello (1895-1963), Herbert de Castro (1905-1969), and
others. During this period, Cordero composed several popular pieces, which were all played
by local bands, and he himself performed several of his own arrangements and adaptations
of mostly popular music. With these works he gained acceptance and certain level of
success at a national level7.
Roque Cordero started his career as a performer with the violin, which he played in
his early twenties (circa 1939-1943) with the newly created Symphony Orchestra of
Panama (later the National Symphony of Panama), but he also played the clarinet and viola. 4 Béhague, “The Hispanic World, 1918-45.” 5 Labonville makes a description of this “amazing circumstances” based on Cordero’s “Roque’s Memoirs” (transcription of informal oral memoirs dictated during the 1980s and 1990s; typescript, private collection of Roque Cordero). These memoirs were dictated into a tape recorder while Cordero and his wife made lengthy automobile trips. Cordero’s wife later transcribed the tapes into a 183-page typescript that was intended for members of the family. 6 Roque Cordero, “Remembranzas de Roque Cordero”, Revista Loteria, 368 (1987): p. 16. 7 Efrain Cruz de Gracia, “Roque Cordero, Compositor Panameño, Visto a Través de Algunas de sus Obras (Roque Cordero, Panamanian Composer, seen through some of his works)” (MM thesis, University of Panama, 2002).
5
According to Dimitri Cordero, his father’s account on how he began to play the viola was
that, at some point, the orchestra conductor, who played the viola himself, complained that
he wished he had someone who could play the viola. Cordero cheerfully volunteered to
give it a try. He had never played the viola before, but could read the C clef, so he
continued as a viola player in this orchestra.8
In 1939, he composed Capricho Interiorano, his first piece to be performed by a
professional orchestra. In 1943, with the help of Myron Schaeffer, an American composer
living and working in Panama,9 he came to the United States of America on a nine-month
scholarship to study music education.10
A month into his studies in Minnesota, while conducting his band piece in a
university concert, Cordero met John Sherman, a renowned music critic from the
Minneapolis Star. Sherman was impressed by Cordero, and introduced him to Dimitri
Mitropoulos, conductor of the Minneapolis Symphony. Although Mitropoulos was
impressed by Cordero’s piece, he argued that he needed training in counterpoint, and
introduced Cordero to Ernst Krenek, from Hamline University.11 Cordero went on to study
musical composition with Krenek for three and a half years.12,13 In 1947, he graduated
Magna Cum Laude from Hamline University14. After graduation, while he received the
Guggenheim Fellowship, he remained in the States for another three years until 1950.15
8 Dimitri Cordero, email message to author, February 11, 2015. 9 Cordero was a student of Schaeffer, in music appreciation course at the University of Panama (Dimitri Cordero, email message to author, February 11, 2015) 10 Dimitri Cordero, email message to author, February 11, 2015. 11 Labonville, “Roque Cordero (1917-2008) in the United States.” 12 As a demonstration of the esteem that Cordero had towards Mitropoulos, one of Cordero’s first child was named Dimitri (personal communication Germán Gutiérrez, March 29, 2014). 13 Dimitri Cordero, email message to author, February 3, 2014. 14 In 1966 he received the Doctor honoris causa diploma from this University. 15 Dimitri Cordero, email message to author, February 11, 2015.
6
Studying with Krenek, one of the main exponents of Schoenberg’s Second Viennese
School, will become a major influence in his career as a composer, the reason for
“Cordero’s marriage with dodecaphonism”.16
After seven years of living in the United States, he returned to Panama in 1950
eager to share his knowledge with his fellow Panamanians. He was offered a part-time
teaching position in music Theory and Harmony at the Panama’s National Conservatory of
Music, and later on the position of Assistant to the Director, a position in which he found
several challenges. Number one, the level of Panamanian musicians was not high enough to
play his pieces. He found that most of the students approached music as a hobby and not as
a career given that there were few possibilities for such. Furthermore, he experienced a
defiance to his introduction of change that would improve the situation. In 1953 he was
appointed Director of the Conservatory. Still he encountered resistance and opposition from
peers and politicians, and needed to work under severe economic constraints.17
Finally, in 1966, frustrated and disappointed, he left Panama to accept a three-year
position at Indiana University as Assistant Director of the Latin American Music Center
and teacher of composition. “Cordero began his voluntary exile in searching for a
supportive artistic environment in the name of his country, outside of his country”18. His
friend, German Gutierrez, refers to the mixed feeling that Cordero had about his homeland,
Panama: “…nostalgic, mixed with a bitter taste generated by the ignorance and lack of
recognition to his efforts to improve the Panamanian classical music world and the quality
and value of his work.” 19 After three years at Indiana University and three years working
16 Germán Gutiérrez, interview by author, March 29, 2014. 17 Casal, “Panamanian Art Music for Strings:” 18 Ibid. 19 Germán Gutiérrez, interview by author, March 29, 2014.
7
for his publishing house Peer Southern as a music editor, he took a position at Illinois State
University’s first professor of composition. This opportunity at Illinois State University
“immersed him in the musical life,” kept him close to world-class musicians he could
compose for, and facilitated his creation of the annual Latin American Music Concert, an
event where he could showcase his music and the music of composers across the
Americas.20
In 1987, being 70 years old, he retired from full-time teaching. However, until 2000
he continued to teach composition part-time, at Illinois State University. He also continued
composing, attending international festivals, and accepting commissions as well as
invitations as a lecturer and guest conductor. In 2000 he moved with his wife to Dayton,
Ohio, where his oldest son still lives. He remained there until his death in 2008.21 In August
2012, as a tribute to his love for his country, his mortal remains were transferred to
Panama22.
According to Cordero’s son, Cordero never made a “blanket statement” about his
thoughts on the future of classical music in Panama. However, he received important
encouragement from many of his contemporary countrymen who worked towards raising
the cultural level of Panama.23
20 Dimitri Cordero, email message to author, February 11, 2015 21 Labonville, “Roque Cordero (1917-2008) in the United States.” 22 Germán Gutiérrez, interview by author, March 29, 2014. 23 Dimitri Cordero, email message to author, February 11, 2015
8
Cordero’s Legacy
Labonville describes him as an “energetic musician who was active as a conductor,
educator, writer, and composer.”24 Prominent artists and institutions such as Adolfo
Odnoposoff, Dimitri Mitropoulos, the Koussevitzky Foundation, the Catholic University of
Chile, the Third Festival of Caracas, the Council of the Arts of Illinois, the University of
Hamline, the University of Alabama, the Second Festival of Guanabara in Brazil, and the
Kennedy Centre, among others, have commissioned works by Cordero. His mature works
include approximately twelve pieces for piano, fourteen for orchestra, five for string
orchestra, three for soloist and orchestra, thirty-two for chamber ensemble, five for chorus,
one for chorus and orchestra, two for ballet dancers, and one film score.25
Noteworthy soloists, chamber groups and orchestras have performed and recorded
Cordero’s pieces in Europe, South, Central and North America. Although he is first and
foremost a composer, Cordero has also been guest conductor, active lecturer in various
countries and has served on juries for many international composition competitions26.
His legacy also includes harmony, counterpoint and solfege methods, along with
sixty prosaic writings, some of them related to music in Panama, music education, or the
subject of musical nationalism27.
All of Cordero’s compositions have been printed, although only about half of his
compositions are published commercially, mostly by Peer Classical. The works not yet
published belong mainly to his early composition days and to a period in the 1980s and
1990s when he composed many shorter pieces for the faculty at Illinois State University.
24 Ibid. 25 Ibid. 26 Casal, “Panamanian Art Music for Strings:” 27 Labonville, “Roque Cordero (1917-2008) in the United States.”
9
According to Cordero’s son, efforts continue to bring attention to these pieces individually,
on a demand basis.28
Compositional Style
Cordero’s compositional style successfully blends dodecaphonism with the
rhythmic elements of Panamanian folk music. According to Gutierrez, “Cordero respected
and followed the composers from the Viennese School, the ones that have studied with
Schoenberg – adding the Latin American ingredient to most of his works. Therefore, he is a
composer with a strong Latin American identity, but writing with a serial language.” 29
Cordero’s interest in folk elements can be traced back to his early years in his
Capricho Interiorano (1939). Even though he could be labeled a nationalistic composer for
using Panamanian elements, he did not consider himself one.
“My music is not nationalist in the sense of being a conscious exploitation of the folklore of my country, but that music, if I must be honest in my creations, it must be the expression of something that belongs to my people, which does not allow my music to sound like French, Italian, or German music. That "something" I try to express through melodic figures related to our folklore and through the exploitation of rhythmic vitality of our dances. National art without being nationalist.”30 His encounter with dodecaphonic music happened through hearing a performance of
the dances of Carlos Paz, an Argentinean composer and the first Latin American to utilize
the method. However, it was while studying with Krenek when he first considered the
possibility of using that technique in his music; specifically after discovering his book
“Studies in Counterpoint Based on the Twelve-Tone Technique”31 that explains the
dodecaphonic method. Cordero realized that if he mastered the twelve-tone system, he 28 Dimitri Cordero, email message to author, February 11, 2015 29 Germán Gutiérrez, interview by author, March 29, 2014. 30 Gilbert Chase, Introducción a la Música Americana Contemporánea (Argentina: Editorial Nova, 1958) 31 Tim Ashley, "Krenek, Ernst," The Oxford Companion to Music. Oxford Music Online. Oxford University Press, accessed November 26, 2014. http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e3775
10
would be able to find a way to use it and at the same time not lose or abandon his existing
identity. When he first asked Krenek to teach him the method, Krenek was hesitant.
Cordero himself stated that Krenek knew how much Cordero32, wanted to be a
“Panamanian composer”, and he believed that a central European technique was unsuited to
the sensibility or aesthetic of Latin American composition.
After Cordero’s argument that he desired mastery of the technique in order to use it
in service of his personal aesthetic, Krenek agreed to teach Cordero the method to see what
could result. Since then, Cordero remained a dodecaphonic composer, occasionally
returning a more tonal style33. According to Gutierrez the intense use of serialism in his
music could be the reason why Cordero’s music has not been so widespread, “…it was
listened to during that time, but the rise of serialism has vanished.”34 A similar situation
occurred with Krenek. According to Gutierrez, “there was an abuse of serial music by the
composers at that time, and the audiences just got tired of it. Dodecaphonic music not only
implies a challenge for musicians to perform, but because of its aridity, Serialism brings
several difficulties for listeners as well.”35
“Cordero crafted his rows in such a way that they would create melodies or
harmonies that had tonal characteristics without being explicitly tonal in order to bring
Panamanian elements into his pitch materials.”36
The fusion between nationalism and dodecaphonism was challenging, particularly
back in the 1950’s. A main question that emerged was if it was indeed logical, convenient, 32 Roque Cordero, “El serialismo” 1–2, in Labonville, Marie. “Roque Cordero (1917-2008) in the United States.” Paper presented at the Latin American Music Center’s Fiftieth Anniversary Conference “Cultural Counterpoints: Examining the Musical Interactions between the U.S. and Latin America, Indiana University, Bloomington, 2011. 33 Casal, “Panamanian Art Music for Strings:” 34 Germán Gutiérrez, interview by author, March 29, 2014. 35 German Gutierrez, interview by author, March 29, 2014. 36 Labonville, “Roque Cordero (1917-2008) in the United States.”
11
or even natural for Latin American composers to merge folk music with European styles.37
According to these critiques, the only way to compose something that differed from
European music was the artistic exploitation of the Latin American folklore. After several
criticisms Cordero wrote an essay discussing this merger for the Second Festival of Latin
American Music, where he challenged the opposition of nationalism and dodecaphonism.
In his opinion:
“This question is unnecessary. Should it be considered illogical that today’s man expresses himself in the language of his time? Is it not logical and healthy that being in the second half of the twentieth century, a man takes advantage of all technical, scientific, and social achievements of recent years? … Or is it that the only way to compose music for everybody is to use common fragments, which could easily be identified by an audience? Why underestimate the power of an appreciative?”38
Cordero’s selected works for cello
During his career, Cordero wrote two pieces for cello: the Sonata for Cello and
Piano and the Soliloquio No. 6 for cello solo.
Sonata for Cello and Piano
The Sonata for Cello and Piano was composed in 1963 when Cordero was 46 years
old. It falls within the period 1958-1964 that according to Labonville was distinguished by
the prize given to his Symphony No. 2 (1956) at Second Festival of Latin American Music
in Caracas. The cash awarded by this prize greatly helped the financial situation of his
family. Most importantly, Cordero began earning more respect and recognition in Panama
after winning the award. He also began to participate in international festivals and
37 Cordero, Roque. Nacionalismo versus Dodecafonismo. Revista Muscial Chilena, 13(67), 1956, p. 28. 38 Ibid.
12
conferences regularly.39 These trips brought him into contact with the leading composers of
many nations. He became the leading composer of his own country.40 In spite of this he
continued facing obstacles due to politics in the local Panamanian music community,
eventually causing him to leave Panama in 1966.
The Sonata for Cello and Piano was commissioned by Adolfo Odnoposoff, an
Argentine-born-and-raised cellist with Russian-Jewish background who concertized for five
decades under the baton of several conductors such as Arturo Toscanini, Erik Kleiber, Sir
John Barbirolli, Eduardo Mata, Jorge Sarmientos, among others. Odnoposoff was principal
cellist in the most important orchestras of Latin America and the Caribbean. He gave
recitals for many presidents, was Pablo Casals’ teaching assistant for several years in
Puerto Rico, and also performed in North America, Europe, Israel, and the former USSR.
Mrs. Berthe Odnoposoff, Odnoposoff’s wife and pianist, was interviewed during the
spring of 2014. She remembers Maestro Cordero dearly and recalls performing his piece
together with her husband. At the present time, Mrs. Odnoposoff is in her nineties.
“Look into her husband’s documents to find any material that could prove that the
Odnoposoff actually performed the piece was not an easy task.”41 Fortunately, Dimitri
Cordero keeps material confirming that the Cello Sonata was first performed on September
10, 1985 and again on September 22 in 1992 by Ko and Yuri Iwasaki. Additionally, he also
has a recording by Adolfo Odnoposoff in collaboration with his wife, Bertha Odnoposoff,
39 Labonville, “Roque Cordero (1917-2008) in the United States.” 40 Ibid. 41 Berthe Odnoposoff, interview by author, April 1, 2014
13
but there is no precise date as to when this performance took place. 42 Cellist Ko Iwasaki,
during a telephone conversation recalled performing the piece internationally. 43
Soliloquio No.6 for Cello Solo
The Soliloquio No.6 for cello solo was composed in 1992, situated within the period
1987–2000 of Cordero’s life. During this period Cordero was already retired but continued
teaching composition part-time at Illinois State University, maintaining his series of
campus concerts of Latin American music, participating in international music festivals,
and accepting invitations as guest conductor.
Then later on, I decided I would write another Soliloquio this time for cello, for my friend Ko Iwasaki, who always collaborated with my Latin American Concerts. And, while I was in Oregon one summer, I started writing a Soliloquios número seis, for solo cello. I came back to ISU that summer, and while I went to check my mail, I was informed that my friend Bernie Eichen, who was not in very good health he had been suffering of his heart before, and he had a pacemaker although he seemed to be feeling fine when I saw him a few days before I went to Oregon and he was looking forward to going to Spain with the Youth Orchestra of Kansas City but he passed away in New York, among friends, and his violin in his hands, after playing while he rested, and never came back. Of course, I was quite moved by the news. He was a very close friend of Ko Iwasaki.44
The Soliloquio No.6 was dedicated to cellist Ko Iwasaki. Iwasaki is a Japanese
cellist who studied with Hideo Saito, Leonard Rose, Harvey Shapiro, and Pablo Casals. He
won numerous international cello competitions (i.e. the Vienna, Munich, Budapest,
Cassado, and Tchaikovsky competitions) and awards (i.e. Arts Minister Award for Young
Artists and the Arts Festival Record Prize for his performance of contemporary Japanese
cello music). Since 1974, he has relocated in the United States where he has performed 42 Dimitri Cordero, email message to author, November 24, 2014. 43 Ko Iwasaki, interview by author, April 1, 2014. 44 Cordero, “Roque’s Memoirs,” 158. Informal memoirs of Roque Cordero kindly provided by Marie Labomvile.
14
extensively both as a soloist and as a chamber music artist. He has also performed in
Europe, the former Soviet Union, and Japan. In addition, he has participated in numerous
festivals (i.e. Marlboro, Aspen, Santa Fe, Lockenhaus, and Kuhumo). He has taught at
Illinois State University, University of Illinois, and the Southern Methodist University.45
Since 1990, he has been invited to serve as jury member at many international competitions
such as Cassado, Munich, the Tchaikovsky, and Isang Yun. Currently, he is an adjunct
professor at Toho Conservatory in Tokyo, and regular faculty member at the Institute for
Strings (Dallas), and the Montecito International Music Festival in California.46
During the spring of 2014, I was able to interview Prof. Ko Iwasaki who described
Mr. Cordero as a happy, friendly person and a profound composer. Prof. Iwasaki was more
interested in the Soliloquio than in the Sonata. He stated that he played the Soliloquio No. 6
at a recital during his faculty residence at Illinois University, but he was unable to find a
program of the event. Also, he did not recall having recorded the piece. Mr. Iwasaki
mentioned that he performed the Soliloquio only at Illinois State University.47 Fortunately,
Mr. Dimitri Cordero had a recording of the world premiere of the Soliloquio No. 6 by Mr.
Iwasaki on April 6, 1993 who later performed the piece on November 9, 1993. Cellist
Gregory Hamilton made another performance, on October 29, 1996.48
One of my research questions was if Soliloquio No. 6 had a larger connection to -or
musical sequences among- the other five soliloquies. In this regard, Mrs. Labonville
provided some information based on Mr. Cordero’s memoirs. According to the memoirs,
each Soliloquio was created for a different circumstance, unrelated between them. 45 Chamber Music International, 2014 Concert Season. Accessed March 5, 2014, http://www.chambermusicinternational.org/index.php?main=artists&artist_id=10. 46 Ibid. 47 Hiro Iwasaki, interview by author, April 1, 2014. 48 Dimitri Cordero, email message to author, November 24, 2014.
15
Soliloquio No. 1 [1975] was written upon request of his friend Max Schoenfeld, flutist;
Soliloquio No. 2 [1976] was a request by Jim Boitos, for alto sax; Soliloquio No.3 [1976]
for Aris Chávez, for solo clarinet; Soliloquio No. 4 [1981] for percussion, written and
dedicated to David Shrader; and Soliloquio No. 5 [1981] for string bass, for his friend
Arthur Corra.49
49 Cordero, “Roque’s Memoirs,” 92. Informal memoirs of Roque Cordero kindly provided by Marie Labombile.
16
Structure and Analysis of Selected Works
The following section describes the structure and provides an analysis of the
selected pieces. This analysis was made by using the “Twelve-Tone” composition system.
The system consists of the twelve notes inside the octave (C-C#/Db-D-D#/Eb-E-F-F#/Gb-
G-G#/Ab-A-A#/Bb-B-C. The system works in an “ordered relationship where all notes are
treated as equal, and no group of notes predominates as in major/minor key system.”50
In the Schoenberg method, precursor of this technique:
all pitches are related to a fixed order of the 12 chromatic notes, this order providing the work's basic shape. The fixed order is called a note-row (or series or set). No note is repeated within a row, which therefore comprises 12 different notes and no other. The note-row is not a theme but a source from which the comp. is made. It can be transposed to begin on any of the 12 pitches, and it may appear in retrograde, inversion, and retrograde�inversion. Since each of these transformations may also be transposed, each note-row can have 48 related pitch successions. 51
For the two pieces, the main matrixes are created by assigning P0 to the first row of
the works and the designation does not change for the following movements. I refer to the
main matrix because in Soliloquio No. 6, Cordero uses three different matrixes, although
the overall piece is mainly structured by using the first matrix. “The labels for other rows
are numbered in relation to their transposition. Consequently, if P0 begins with an F-
natural, P1 will begin with a F-sharp.
For inversions, each inversion row I0-11 will start on the same pitch as the associated 50 "Twelve-Note Composition." The Oxford Dictionary of Music, 2nd ed. rev. Oxford Music Online. Oxford University Press, accessed February 3, 2015, http://www.oxfordmusiconline.com/subscriber/article/opr/t237/e10517. 51 "Serialism, Serial Technique, Serial Music." The Oxford Dictionary of Music, 2nd ed. rev.. Oxford Music Online. Oxford University Press, accessed February 14, 2015, http://www.oxfordmusiconline.com/subscriber/article/opr/t237/e9301.
17
prime row, P0-11. So if the row P0 starts on “G'', then I0 will too.”52 “The retrograde
inversion rows contain all the same pitches as their associated primary or inversion rows,
only in reverse order. For example, R0 contains the same pitches as P0 in reverse order.
Similarly, RI0 is the reverse of I0. This means that the proceeding pitch of an R or RI row
will be the same as the ending pitch of the similarly-numbered P or I row.”53
The matrix is provided in both cases, and the rows used on each matrix have been
colored for each movement, followed by a discussion of elaboration and form. The analysis
of the piece was made by a thorough identification of rows. Understanding the relationship
between different rhythms along with the search for possible Panamanian or Latin
American folk tunes and rhythmic patterns is essential to determining how Cordero’s
musical ideas were shaped throughout these pieces.
In Spring 2014 I performed these compositions while simultaneously working on
the process of the theoretical analysis. This performance proved to be very successful,
enriching both sides of my research. In addition, the Russian pianist Liudmila
Georgievskaya kindly accepted my request to participate in the project, and we played this
Sonata together. Some insights from the perspective of a pianist about the performance of
the work are included in the discussion of the analysis.
52Composer Tools. http://composertools.com/Tools/matrix/MatrixCalc.html (Accessed February 16, 2015). 53 Ibid.
18
Sonata for Cello and Piano
This Sonata is based on the dodecaphonic technique, but what makes this piece -
and many others Cordero’s pieces - different, is the clever use of tone rows and free
manipulation to serve his musical ideas. He uses much of the same material throughout
each movement, with some elaboration. Functional harmony is completely absent
throughout the Sonata.
All movements from the Sonata begin and end with the same row pattern. The way
that tonal music begins and ends in the tonic key and the different tempo markings,
dynamics, combination of rows and rhythmic patterns all delineate the relationships within
this piece that are analogous and constructed on a typical 18th or 19th century model which
consists of: 1) establishment of a tonic, 2) movement away from the tonic, and 3) return to
the tonic.54 In this case, in place of a tonic key or primary theme, the composer establishes,
moves away from, and returns to the Prime Row. Cordero treats the prime row, “like” a
tonic or as a post-tonal analogy to a tonic. A tonic is a consonant triad or key area, which a
12-tone row can never be. Instead, the prime form of the row is a stable point of reference
for the organization of the work.
The Sonata has three movements: Allegro molto appasionato, Adagio, and Vivace.
Figure 1 shows the matrix used in the Sonata, and Figure 2 provides an overview of its
structure.
All movements use the prime row (5, 4, 10, 9, 0, 1, 7, 2, 3, 6, 8, 11), and the
permutations I0 (5, 6, 0, 1, 10, 9, 3, 8, 7, 4, 2, 11) and RI0 (11, 2, 4, 7, 8, 3, 9, 10, 1, 0, 6, 5).
54James Webster, "Sonata form," Grove Music Online. Oxford Music Online. Oxford University Press, accessed November 22, 2014 http://www.oxfordmusiconline.com/subscriber/article/grove/music/26197.
19
As shown in Figure 2, the first and second movements of this work use the fewest
number of permutations while the third movement utilizes them the most. The Allegro
molto appassionato uses the prime row and six permutations; the second movement,
Adagio, uses the prime row and six permutations (R0, I0, I6, I7, I11 and RI0); and the third
movement, Vivace, uses (PO, P1, P2, R0, R5, R11, I0, I6, I7, I11, and RI0).
I0 I11 I5 I4 I7 I8 I2 I9 I10 I1 I3 I6
P0 5 4 10 9 0 1 7 2 3 6 8 11 R0
P1 6 5 11 10 1 2 8 3 4 7 9 0
R1
P7 0 11 5 4 7 8 2 9 10 1 3 6
R7
P8 1 0 6 5 8 9 3 10 11 2 4 7
R8
P5 10 9 3 2 5 6 0 7 8 11 1 4
R5
P4 9 8 2 1 4 5 11 6 8 10 0 3
R4
P10 3 2 8 7 10 1 5 0 1 4 6 9
R10
P3 8 7 1 0 3 4 10 5 6 9 11 2
R3
P2 7 6 0 11 2 3 9 4 5 8 10 1
R2
P11 4 3 9 8 11 0 6 1 2 5 9 10
R11
P9 2 1 7 6 9 10 4 11 0 3 5 8
R9
P6 11 10 4 3 6 7 1 8 9 0 2 5
R6
RI0 RI11 RI5 RI4 RI7 RI8 RI2 RI9 RI10 RI1 RI3 RI6
Figure 1: Matrix used in the Sonata for Cello and Piano
20
Allegro molto Appasionato
P0 = 5, 4, 10, 9, 1, 7, 2, 3, 6, 8, 11 P2 = 7, 6, 0, 11, 2, 3, 9, 4, 5, 8, 10, 1 I0 = 5, 6, 0, 1, 10, 9, 3, 8, 7, 4, 2, 11 I2 = 11, 8, 6, 3, 2, 7, 1, 0, 9, 10, 4, 5 R0 = 11, 8, 6, 3, 2, 7, 1, 0, 9, 10, 4, 5 R9 = 11, 8, 6, 3, 2, 7, 1, 0, 9, 10, 4, 5
RI0 = 11, 2, 4, 7, 8, 3, 9, 10, 1, 0, 6, 5
Adagio
P0 = 5, 4, 10, 9, 1, 7, 2, 3, 6, 8, 11 R0 = 11, 8, 6, 3, 2, 7, 1, 0, 9, 10, 4, 5 I0 = 5, 6, 0, 1, 10, 9, 3, 8, 7, 4, 2, 11 I6= 11, 0, 6, 7, 4, 3, 9, 2, 1, 10, 8, 5 I7 = 0, 1,7, 8, 5, 4, 10, 3, 2, 11, 9, 6
I11 = 4, 5, 11, 0, 9, 8, 2, 7, 6, 3, 1, 10 RI0 = 11, 2, 4, 7, 8, 3, 9, 10, 1, 0, 6, 5
Vivace
P0 = 5, 4, 10, 9, 1, 7, 2, 3, 6, 8, 11 P1 = 6, 5, 11, 10, 1, 2, 8, 3, 4, 7, 9, 0 P2 = 7, 6, 0, 11, 2, 3, 9, 4, 5, 8, 10, 1 R0 = 11, 8, 6, 3, 2, 7, 1, 0, 9, 10, 4, 5 R5 = 4, 1, 11, 8, 7, 0, 6, 5, 2, 3, 9, 10
R11 = 10, 7, 5, 2, 1, 6, 0, 11, 8, , 9, 3, 4 I0 = 5, 6, 0, 1, 10, 9, 3, 8, 7, 4, 2, 11 I6 = 11, 0, 6, 7, 4, 3, 9, 2, 1, 10, 8, 5 I7 = 0, 1, 7, 8, 5, 4, 10, 3, 2, 11, 9, 6 I11 = 4, 5, 11, 0, 9, 8, 2, 7, 6, 3, 1, 10 RI0 = 11, 2, 4, 7, 8, 3, 9, 10, 1, 0, 6, 5
Figure 2: Overall structure of the Sonata for Cello and Piano
21
First Movement: Allegro Molto Appasionato
Figure 3 shows the rows used in the first movement, organized in a compound
ternary form: ABABA, and Figure 4 shows a diagram of the organization of the first
movement.
I0 I11 I5 I4 I7 I8 I2 I9 I10 I1 I3 I6 P0 5 4 10 9 0 1 7 2 3 6 8 11 R0
P1 6 5 11 10 1 2 8 3 4 7 9 0 R1 P7 0 11 5 4 7 8 2 9 10 1 3 6 R7 P8 1 0 6 5 8 9 3 10 11 2 4 7 R8 P5 10 9 3 2 5 6 0 7 8 11 1 4 R5 P4 9 8 2 1 4 5 11 6 8 10 0 3 R4 P10 3 2 8 7 10 1 5 0 1 4 6 9 R10 P3 8 7 1 0 3 4 10 5 6 9 11 2 R3 P2 7 6 0 11 2 3 9 4 5 8 10 1 R2 P11 4 3 9 8 11 0 6 1 2 5 9 10 R11 P9 2 1 7 6 9 10 4 11 0 3 5 8 R9 P6 11 10 4 3 6 7 1 8 9 0 2 5 R6
RI0 RI11 RI5 RI4 RI7 RI8 RI2 RI9 R10 R1 R3 R6 Figure 3: Rows used in the first movement.
Allegro molto appassionato A
Theme group a1 a2 a3
mm. 1 – 17 18 – 39 40-53
Moderato quasi Andante B
Theme group b1 b2 mm. 54-69 70-76
Tempo I A Theme a4 a5 a6 a7
mm. 77 – 85 85.5 - 98 99 - 111 112 – 131
Andante quasi adagio B’
Theme group b3 b4
mm. 132-138 139-145
Allegro appassionato A
Theme group a4 a5 CODA
mm. 146 - 159 160-167 168 -186
Figure 4: Form diagram of the Allegro molto appassionato movement.
subsec
piece.
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23
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onata mvmt.
n (a2) ends w
m. 50, letting
rime row, an
the last integ
how he links
hough the pie
st group them
This partitio
he prime row
ion of (a1) a
that is driven
ime row and
xture of enth
the combinat
s meanwhile
of single and
I, mm. 46 –
with a glissan
g the piano p
nd in this man
ger of the pr
s group them
ece is compl 24
me (a3) with
on is shaped
w. For examp
and in mm. 4
n to arrive in
d it prolongs
husiasm is cr
tion of a sixt
the piano pa
d double stop
– 49.
ndo from the
prepare the n
nner finalizi
ime row in m
me (a1) with
ex rhythmic
variations o
d by the repe
ple, from mm
46-47, we ca
n m. 48. Wh
the line with
reated by a s
teenth note p
art still use m
ps implying
e integer 9 (A
next mood w
ing the sectio
m. 53, with t
part B, Mod
cally in terms
of subsection
etition of sho
m. 31-45, the
an hear a des
here the perm
h an appeali
sequence pro
pause follow
members of
harmonic su
A) to the int
with a descen
on in mm. 5
the next perm
derato quasi
s of its ensem
n (a1). This
orts motives
e music
scending line
mutation I0 is
ing rhythmic
oduced by
wed by
the prime ro
upport (see
eger 3 (E-fla
ding line wi
2-53. Corde
mutation R0
Andante (se
mble playing
of
e
s
c
ow
at)
th
ro
in
ee
g,
some r
short f
entran
Figure
= 72 M
mm 54
Subsec
Corde
lyricis
many 55 Liudm
rubato in the
fragments (i.
nces in the ca
e 8: Cordero
Moderato q
M). The temp
4 -76 and is
ction (b2) ca
ro clearly m
sm. This sec
other section mila Georgiesv
e piano part
.e. motives o
antabile writ
: cello Sonat
quasi Andan
po of this se
divided in tw
an be consid
marks in m. 5
ction is short
ns, Cordero vkaya, e-mail m
may be desi
of two or thr
ting, or in tra
ta mvmt. I, m
nte resets the
ction is slow
wo subsectio
dered the cou
4 “cantando
ter than the A
cleverly com message to auth 25
ired. In this c
ee notes), or
ansitional ma
mm. 50 -55.
e mood by sl
w and serene
ons: (b1) (mm
unter phrase
o” (singing),
A section an
mbines three
hor, October 3
context, it is
r in the lines
aterial (mm.
lowing down
. The B sect
m. 53-69) an
of subsectio
allowing wi
nd we can ap
e different ro
1, 2014.
s allowed onl
s between the
51-53).55
n the tempo
tion theme gr
nd (b2) (mm
on (b1). In th
ider expressi
ppreciate how
ows to be pla
ly for very
e cello
(quarter not
roup is from
m. 70-76).
his section,
ion and
w, like in
ayed at the
e
m
same t
permu
I2 in th
closing
same p
is a pe
used in
repeat
left ha
cello l
beginn
the cel
energe
Figure
Figure
time. For exa
utation R0 in
he piano left
g theme (b2)
permutation
ermutation th
nstead of the
ted in the las
and, the perm
line (mm. 54
ning of the s
llo line. Part
etic coming
e 9).
e 9: Cordero
ample, in su
the cello lin
t hand. Subse
), the permu
R0, which is
hat is the rev
e prime row
t three meas
mutation P2 r
4-56): where
ection, with
t B ends in m
section with
: Cello Sona
ubsection (b1
ne, the prime
ection (b1) i
utation RI0, R
s located in t
verse of the p
in the piano
sures of subs
recalls the m
as in the righ
the permuta
m. 76, prepar
h an accelera
ata, mvmt. I,
26
1), from mm
e row in the p
is built on pe
R9, R0, and P
the introduct
prime row. O
o line. The sa
section (b2) f
main melody
ht hand, he r
ation R2. He
ring the liste
ndo marking
mm. 74-76.
m. 54-56, he u
piano right h
ermutations
P2. The (b2) s
tion of the p
On the other
ame techniqu
from mm. 74
from the beg
reutilizes the
continues w
ener for an up
g and sixteen
. Ending of (
uses member
hand, and the
R0, I0, I2 and
subsection e
piece in the c
hand, permu
ue of using m
4-76. For ex
ginning of p
e cello melod
with the perm
pcoming agg
nth notes fig
(b2).
rs of the
e permutatio
d for the
ends with the
cello line. RO
utation P2 is
multi-rows i
xample, in th
part B in the
dy from the
mutation R0 i
gressive and
gures (see
on
e
O
s
he
in
d
organi
111), a
repetit
group
begins
Beside
also sh
same r
Figure
The second
ized in four t
and (mm. a7
tion of the si
(a4), music
s with the pr
es the percus
hares rhythm
rhythmic fig
e 10: Cordero
d A section i
theme group
7) (mm. 112-
ixteenth note
returns to th
ime row. Ho
ssive charact
mic cell patte
gures from m
o: Cello Son
in this move
ps: (a4) (mm
-134). The e
es and its rhy
he same temp
owever, the p
ter created b
erns from pre
m. 48 (see Fig
nata, mvmt. I
27
ment is base
m. 77-85.1), (
ntire section
ythmic vigor
po from the
piano begins
by the repetit
eviews sectio
gure 10).
I, mm. 74-82
ed on new m
(a5) (mm. 85
n is distinctiv
r throughout
beginning o
s with the pe
tion of sixtee
ons. For exa
2.
material and i
5.5-98), (a6)
ve because o
t the movem
of the piece a
ermutation I4
enth notes, th
ample, m. 79
its structure
(mm. 99-
of percussive
ment. In them
and it also
4 instead of P
he section
9 shares the
is
e
me
P2.
which
techni
leaps a
a re-ar
in orde
hand a
Figure 56 Liudm
The theme
comes from
cal challeng
across the fin
rrangement b
er to create a
and only the
e 11: Cordero mila Georgiesv
group (a5) i
m the main m
ges for a celli
ngerboard. A
between the
a long legato
first three w
o: Cello Son vkaya (persona
is characteri
melodic idea
ist, including
According to
hands is nee
o line in m.9
with the right
nata, mvmt. I al communicati 28
ized for the t
in Part B. Th
g awkward s
o the pianist
eded (for the
2, I play the
t.”56 (see Fig
I, mm. 85-94
ion October 31
texture that p
he intervals
string crossin
Liudmila Ge
e piano). For
e first five 16
gure 11).
4. (a5) them
1, 2014)
prolongs the
in mm. 83-8
ngs and long
eorgievskay
r instance, in
6-th notes wi
me group.
e melody,
84 create
g, sudden
ya “sometime
n mm. 85-93
ith the left
es
,
m. 99,
which
in the
shape
“re-arr
are clu
the rig
in orde
follow
Figure
57 Ibid. 58 Ibid.
Subsection
, utilizing the
is full of ne
cello line. A
the music to
rangement b
umsy unless
ght hand (see
er to be on ti
ws it (see Fig
e 12: Cordero
n (a6) is char
e prime row
ew textures. F
Abrupt desce
owards an en
between the h
you play the
e Figure 12).
ime for the d
gure 13).”58
o: Cello Son
racterized by
again. This
For example
nding scales
nergetic temp
hands is nee
e "c#" octav
. In m. 107, t
downbeat of
nata mvmt. I
29
y recitation o
segment rec
e, the compo
s in the piano
perament in
ded as well.5
e with the le
the last octav
f the next me
, mm. 103-1
of the main m
capitulates th
oser adds acc
o part based
m. 106 (Fig
57 For examp
eft hand and
ave should be
easure and fo
104.
melody com
he same mel
cented pizzic
on the prim
gure 13). In t
ple in m. 103
the last two
e played wit
or the high "
ming from a2
lodic idea,
cato techniqu
me row help t
this section,
3, the jumps
octaves wit
h two hands
d" that
in
ue
to
s
th
s,
Figure
illustra
118. M
achiev
note th
Figure
e 13: Cordero
(a7) return
ate, the pian
Meanwhile, t
ved by the co
he integer 9,
e 14: Cordero
o: Cello Son
s with variat
o plays shor
the cello crea
ombination o
8, 6, 3 (Figu
o: Cello Son
nata, mvmt. I
tions of the m
rt motivic ide
ates an energ
of the sixteen
ure 14).
nata, mvmt. I 30
I, mm. 106-1
marching ch
eas with mem
getic texture
nth notes, a r
I, mm. 116-1
08.
haracter from
mbers of the
e with memb
rich harmon
118.
m mm. 112-1
e prime row
bers for the R
ny created by
134. To
in mm. 116-
R0. This is
y one pedal
-
with th
music
rallent
to a pe
Andan
(B) se
138; a
than in
In con
section
that th
Figure
After the th
he same text
arrives at a
tando and di
eaceful state
nte quasi Ada
The structu
ction and it i
and b2’ found
n the B secti
ntrast with th
n is intended
he quarter eq
e 15: Cordero
hundering of
ture. The cel
long harmon
minuendo m
. The mood
agio.
ure of Andan
is also divid
d in mm. 13
on. This is a
he cello, the p
d to be slowe
quals 69 beat
o: Cello Son
f sounds reso
llo line plays
nic E on the
markings. Th
changes onc
nte quasi Ada
ded in two m
9-145. The m
achieved thro
piano sustain
er than its ho
ts per minute
nata, mvmt. I
31
onates in sub
s a sequence
D string wh
he exciting so
ce more at th
agio (B’) is
ain themes,
melody is ev
ough the add
ns chords wi
omologous B
e (BMP).
I mm.131-13
bsection (a7)
e of glissandi
hile the piano
ounds of thu
he arrival of
shorter than
(b1’) which
ven more har
dition of dou
ithin permut
B section. Co
33.
), this music
i with row R
o sets the mo
under and ma
B’ recapitul
n Moderato q
h are located
rmonized an
uble stops (se
tations I0 and
ordero clearl
c continues
R0, until the
ood with
arching retur
lation, the
quasi Andan
in mm. 132-
nd elaborated
ee Figure 15
d P0. This
ly specifies
rn
te
-
d
5).
Allegr
coda (
charac
beginn
Figure
passagin the which m. 167(coda)neededinterva
The final r
ro appassion
(168-186). (a
cterized prev
ning of the p
e 16: Cordero
(a9) subsecges are like ahigh registermakes this s7, where we c) that is drived in this sectallic distance
ecapitulation
nato is divide
a8) section e
vious A secti
piece: mm. 1
o: Cello Son
ction and Coa rollercoaster of the cello.section techncan hear the en by motiviction, as the cees (see Figur
n (A section
ed into subse
expands, and
ions. This se
-4 (see Figu
nata, mvmt. I
da are the mer made of st. Complex rhnically demanmusic approc ideas from ellist must doe 17). 32
s) returns in
ections (a8) (
d develops th
ection utilize
ure 16).
I, mm.146-1
most powerfuacks of chordythmic pattending. (a9) coaching a cadprevious secominate som
n Allegro app
(mm.146-16
he individual
es rows and m
149.
l in terms of ds in the pianerns are presontinues an dence. Cordections. Securme uncomfort
passionato, m
63), (a9) (160
l component
motivic idea
f sound and tno part and dsent in the piunrestrainedero adds closre technical ptable shifts c
mm. 146-18
0-167) and t
ts that
as found at th
echnique. Thdouble stopsiano part, d passage uning material preparation icovering larg
6.
the
he
he s ntil is e
Figure
the pia
Figure
prepar 59 Ibid.
e 17: Cordero
In Figure 1ano in its nee
e 18: Cello S
When the m
ring the liste
o: Cello Son8, in mm. 17
eds to emula
Sonata mvmt
music arrive
ner for the f
nata, mvmt. I
70-171, “rhy
ate a percuss
t. I, mm. 170
es at m. 175,
final bars of t 33
I, mm. 164-1
ythmic formu
sive instrume
0-173.
a descendin
the section (
169.
ulas bring an
ent without l
ng piano scal
(see Figure 1
n acoustical
losing its ton
le emerges w
19).
challenge fo
ne quality.”5
with the R0,
or
59
Figure
ideas t
memb
indepe
row. T
the pie
These
beat’s
Figure
e 19: Cordero
Afterwards
taken form th
bers of the pr
endent gestu
The compose
ece within th
pitch classe
sonority bea
e 20: Cordero
o: Cello Son
s, the piano c
he I10 row a
rime row in m
ure to every i
er fits every
he piano line
es are also m
at of the mov
o: Cello Son
nata, mvmt. I
continues th
and P2 from m
mm. 182-18
integer and f
component o
e, ending the
members of th
vement (see
nata, mvmt. I
34
I, mm. 174-1
he conclusive
mm. 178-18
6 with Cord
finishing the
of the R0 per
movement w
he prime row
Figure 20).
I, mm. 182-1
177.
e material w
1. The cello
dero majestic
e movement w
rmutation in
with the tetr
w, which in f
185.
with short frag
o line continu
cally giving
with each m
n the last two
rachords [5,
fact are utiliz
gments of
ues with
an
member of th
o measures o
10, 4, 9].
zed in the la
e
of
ast
35
Second Movement: Adagio
As shown in Figure 21 the II movement is organized in ternary form: ABA. Figure
22 shows the rows –in color- used in the construction of the second movement.
II Movement: Adagio
Theme Group
A B A
a1 a2
b1 b2
b3 a3’ a4’
mm. 1-19 19-36 37-43 43-52 52.5 - 61 62-72 72-84
Figure 21: Form diagram of the Adagio Movement.
As in any slow second movement from a classical or romantic sonata, the second
movement contains the most relaxed tempo within this piece. Its overall form can be
described as thoughtful and delicate with grotesque sounds in the middle section or part B.
Similar to with the first and third movement, the permutations that are presented in the first
melodic ideas at the beginning of the piece are also the ones that conclude the movement.
In the second movement, the case is different. It begins with the permutations I9 and P0,
and it ends with two different ones, are I4 and I10. Another feature that separates this
movement from the other two is the use of extended techniques. For example, the pianist is
instructed to play inside the piano to pluck the instrument’s strings. The performer needs to
figure out when to stand up and when to sit down so their sound is no disturbance of any
kind while doing this. Another challenge of this technique is in the holding of the pedal
while the pianist is standing. 60
60 Ibid.
36
I0 I11 I5 I4 I7 I8 I2 I9 I10 I1 I3 I6
P0 5 4 10 9 0 1 7 2 3 6 8 11 R0
P1 6 5 11 10 1 2 8 3 4 7 9 0 R1
P7 0 11 5 4 7 8 2 9 10 1 3 6 R7
P8 1 0 6 5 8 9 3 10 11 2 4 7 R8
P5 10 9 3 2 5 6 0 7 8 11 1 4 R5
P4 9 8 2 1 4 5 11 6 8 10 0 3 R4
P10 3 2 8 7 10 1 5 0 1 4 6 9 R10
P3 8 7 1 0 3 4 10 5 6 9 11 2 R3
P2 7 6 0 11 2 3 9 4 5 8 10 1 R2
P11 4 3 9 8 11 0 6 1 2 5 9 10 R11
P9 2 1 7 6 9 10 4 11 0 3 5 8 R9
P6 11 10 4 3 6 7 1 8 9 0 2 5 R6
RI0 RI11 RI5 RI4 RI7 RI8 RI2 RI9 RI10 RI1 RI3 RI6 Figure 22: Rows used in the second movement.
The movement is in ABA form. Each part is divided in subsections. The A part is
divided in subsections: (a1) (1-19), (a2) (19-36). Part B is divided in subsections: (b1) (mm.
37-41), (b2) (mm. 37-51), (b3) (51-61) and part A’ is divided in the subsections: (a3) (mm.
62-72), (a4) (mm. 72-84). In the first subsection (a1), begins with an introduction of the
row I11 (4, 5, 11, 0, 9, 8, 2, 7, 6, 3, 1, 10) in the cello part. The cello line begins with four
measures of a solo lyrical phrase and the piano follows the line by gently adding chords
using every member of the permutation P2 (7, 6, 0, 11, 2, 3, 9, 4, 5, 8, 10, 1) in m. 4. From
mm. 5-12, the melody is developed in the cello line, which creates a conversational musical
line with the countermelody expressed by the piano. A complex rhythm helps to materialize
the alternation of the rhythmical figures. For example, in m. 5-11 you will find groups of
four - five and seven notes per measure within measures of 2/4 & 3/4. This makes the
collabFigure
Figure
cadenc
figure
signal
contai
oration betwe 23).
e 23: Cordero
Sound text
ce, created b
s in m. 17, w
s that the sec
ns extended
ween the pian
o: Cello Son
tures are the
by fervent do
which expose
ction is abou
technique fo
no and cello
nata, mvmt. I
same from t
ouble stops q
e a motivic i
ut to conclud
for the piano
37
very interes
II, mm 1-9.
the beginnin
quintuplets. T
idea in the fo
de. The (a2)
line, can be
sting and me
ng of the mov
The cello pr
ollowing me
section start
divided into
etrically amb
vement until
resents these
easure (m.18
ting at m. 18
o three them
biguous (See
l the final
rhythmic
). This gestu
8, which
me groups.
e
ure
how to
Figure
I11 and
instruc
these s
line, th25).
arrives
long d
contou
tree, th
motion
subsec
Figure 24 i
o perform ex
e 24: Directio
Subsection
d I6. The pian
cted by symb
specific soun
After the m
he group the
This new m
s on its cons
descending m
ur was to be
hen being pi
n is created b
ction (b1). U
llustrates the
xtended tech
on on how to
n (a2) is the c
no sets the to
bols presente
nd effects.
motivic idea
eme is first in
motivic idea
equent phra
musical line s
described in
cked up by a
by sequence
Upon arrival,
e chart writte
hniques on th
o use extend
countermelo
one through
ed by Corde
presented by
ntroduced in
is developed
se (a2) in m
starting at m
n a non-musi
a the wind an
es using perm
a theme beg
38
en by Corde
he piano.
ded techniqu
ody of subsec
its theme pr
ero (shown a
y members o
n the second
d within the
. 26, which i
mm. 26-36 fo
ical manner,
nd floating d
mutations I6
gins in m. 37
ero himself, w
ues on the pia
ction (a1) an
resented in m
above in Figu
of the I11 per
beat of m. 1
following m
is driven by
orms the mus
, we could pi
downward a
and I11 until
7 (see Figure
with specific
ano.
nd it’s organ
m. 18. The p
ure 24) in th
rmutation in
0 by the cel
measures unt
the permuta
sic. If this m
icture a leaf
again. Such d
l the music ae 25).
c directions
ized through
ianist is
he creation of
the piano
lo (see Figurtil the music
ation I6. A
melodic
f falling from
downward
arrives in the
on
h
f
re
m a
e
Figure
Figure
e 25: Cordero
e 26: Cordero
o: Cello Son
o: Cello Son
nata, mvmt. I
nata, mvmt. I 39
II mm. 14-20
II, mm. 31-3
0.
38.
created
lyrical
in m. 3
Such a
harsh
six), w
on a fi
This h
53 (se
Figure
Subsection
d between th
l than the pre
37, followed
Those grou
a developme
double stops
with permuta
ierce soundin
In B sectio
happens on b
e Figure 27)
e 27: Cello S
n (b1) sounds
hese paired n
evious sectio
d by a long su
ups of notes
ent happens t
s, murmuring
ations RI0 an
ng chord in m
on, the cello b
beat four in th
).
Sonata Move
s whimsical
notes (Triton
on. Subsectio
ustained not
are a develo
through a so
g sixteenth n
d I6 complem
m. 52.
begins perfo
he same mea
ement II, mm
40
and ironic d
nes, aug. 5th,
on (b1) is or
te, which las
opment of sh
ound elabora
notes sonorit
ment the sou
orming a clos
asure, while
m. 51-53.
due to the dis
dim. 4th , etc
rganized in s
sts around tw
hort motivic
ation in the c
ties in the pi
und. The sub
sing theme,
the piano su
ssonant soun
c.). This sub
six groups of
wo measures
ideas from m
cello, consist
iano (divided
bsection (b3)
which belon
ustains a cho
nds that are
bsection is le
f eighth note
: mm. 38-39
mm. 43-51.
ting of dry an
d in groups o
) finally land
ngs to (b3).
ord at mm. 5
ess
es
9.
nd
of
ds
52-
from t
first tim
Meanw
section
piece i
Figure
metric
not be
7, 4, 3
accom
whole
unison
decrea
emplo
The closing
the beginning
me in the pi
while, the pi
n ends in m.
in m. 62 (see
e 28: Cordero
The recapi
cal and perm
egin with the
, 9, 2, 1, 10,
mpaniment te
section end
n creates a cl
ases in volum
oyed during t
g theme is a
g of (b1) sec
ece. The cel
iano accomp
57 and mm
e Figure 28)
o: Cello Son
tulation occu
mutations fou
e same permu
8, 5) and th
exture sound
ds where the
limatic point
me and dyna
the final mea
mixture of a
ction. Here, t
lo line in mm
panies the sol
. 57.5-61 ser
.
nata, mvmt. I
urs in mm. 6
und in subsec
utation but c
hen in m. 64
ds different fr
cello and pia
t in this secti
amic. The ex
asures. The l
41
a fragmentat
the cello line
m. 54-57 is v
lo line with
rve as pivota
II, mm. 60-6
62-84. It shar
ction (a1) un
continues the
proceeds wi
from the intro
ano play tog
ion. After th
tended techn
listeners ima
tion between
e introduces
very express
gentle and s
al passage to
63.
res the same
ntil m. 71. Ho
e line with th
ith the prime
oduction of t
gether in unis
he climax, in
niques applie
agine that Co
n the piano a
the permuta
sive and beau
soft motivic i
o the recapitu
e permutatio
owever, the
he permutati
e row. There
this moveme
son. The abo
n m. 72, the m
ed in section
ordero is rec
and cello line
ation I7 for th
utiful.
ideas. The
ulation of th
ns, lyrical an
piano does
ion I6 (11, 0,
efore, the
ent. This
ove-mention
music
n B is also
calling music
es
he
e
nd
6,
ned
c
from t
cello.
the mo
Figure
the past. The
The piano fi
ovement arri
e 29: Cordero
e music conti
inishes the m
ives into its l
o: Cello Sonat
inues in a ca
movement w
last resolutio
ta, mvmt. II, m 42
alm atmosph
ith permutat
on, a B dimin
mm. 71-84.
here with me
tion I6 and sh
nish chord (
embers of the
hort motivic
(see Figure 2e I0 row in th
c ideas until 9).
he
43
Third Movement: Vivace
The third movement is written in A-B-A ternary form. In comparison with the other
two, this movement is outlined by Panamanian “strong rhythms” 61 punto and mejorana.
The occurrence of hemiolas can be found as this movement progresses, which consists of
“the articulation of two units of triple meter as if they were notated as three units of duple
metre.”62 Hemiolas are components of the native Panamanian rhythm in the mejorana and
punto.63 Another characteristic of this part is a vast section played in pizzicato: for example,
at the beginning of the piece. Last but not least, the third movement utilizes the greatest
range and variety of permutations. In Figure 30, the matrix shows the rows used in the first
movement and Figure 31 shows the form diagram of the Allegro molto appassionato
movement.
I0 I11 I5 I4 I7 I8 I2 I9 I10 I1 I3 I6 P0 5 4 10 9 0 1 7 2 3 6 8 11 R0
P1 6 5 11 10 1 2 8 3 4 7 9 0 R1
P7 0 11 5 4 7 8 2 9 10 1 3 6 R7
P8 1 0 6 5 8 9 3 10 11 2 4 7 R8
P5 10 9 3 2 5 6 0 7 8 11 1 4 R5
P4 9 8 2 1 4 5 11 6 8 10 0 3 R4
P10 3 2 8 7 10 1 5 0 1 4 6 9 R10
P3 8 7 1 0 3 4 10 5 6 9 11 2 R3
P2 7 6 0 11 2 3 9 4 5 8 10 1 R2
P11 4 3 9 8 11 0 6 1 2 5 9 10 R11
P9 2 1 7 6 9 10 4 11 0 3 5 8 R9
P6 11 10 4 3 6 7 1 8 9 0 2 5 R6 R0 R11 R5 R4 R7 R8 R2 R9 R10 R1 R3 R6
Figure 30: Rows used in the third movement. 61 Casal, “Panamanian Art Music for Strings:” 62 Julian Rushton, "Hemiola," Grove Music Online. Oxford Music Online. Oxford University Press, accessed November 20, 2014, http://www.oxfordmusiconline.com/subscriber/article/grove/music/12768. 63 Casal, “Panamanian Art Music for Strings:”
44
Figure 31: Form diagram of the Allegro molto appassionato movement.
The first A section is comprised of four subsections: (a1) mm. 1-26, (a2) mm. 27-
52, (a3) mm. 53-84, (a4) mm. 85-102. What characterizes subsection (a1) from subsections
(a2) and (a3) is the use of the same melodic contour from the two bar introduction of (a1)
where each is developed differently. In comparison with (a1) and (a2), (a3) begins the
section with an augmentation of the main theme of (a1) and the second motive is the same
as m. 2 of (a1). Group (a4) on the other hand, is rhythmically related to the beginning of the
piece with a persistent group of 6/8 pedal notes. The section ends with the main motivic
cell of the beginning of the piece in mm. 100-103. In contrast with the first movement, that
also uses the prime row, the third movement uses the 6/8-meter form the mejorana rhythm,
giving a completely different texture and contour to the movement.
Subsection (a1) initiates the piece by using each member of the prime row in the
cello line. In the piano staff line, Cordero elaborates the accompaniment with members of
the permutation P2. In mm. 2-6, the music responds to the motivic idea presented in the
cello line. Landing in the accompaniment moving in a descending line with members of
III Movement: Vivace
A
Theme Group a1 a2 a3 a4
mm. 1-26 27-52 53-84 85-102
B
Theme Group b1 b2
mm. 37-43 44-52
A’
Theme Group a5 a6 a7 a8 CODA
mm. 127-148 149-162 163-179 180-191 180-218
permu
creatin
Figure
Panam
this re
utation P2, th
ng a differen
e 32: Cordero
In Figure 3ma. The melo
egional instru
hen landing i
nt texture in t
o: Cello Son
33, we can a
ody for a mej
ument.
n the prime
the accompa
nata, mvmt. I
appreciate an
ejorana is usu
45
row in m. 7
animent of th
III, mm. 1-1
n example of
ually given t
with syncop
he cello (see
0.
f a traditiona
to the rabel,
pated rhythm
e Figure 32).
al mejorana r
a three-strin
ms, thus
rhythm from
ng fiddle from
m
m
Figure
piano
m.26.
idea is
Techn
created
the pia
Figure
contai
increa
created
long n
mome
All of
64 Narci
e 33: Rabel r
Cordero co
in m. 15. Me
Sub-group
s slightly dif
nically, this p
d by glissand
ano begins to
e 34). This g
ning groups
ases.
In m. 32, t
d by groups
notes include
entarily creat
f these happe
iso Garay, Trad
rhythmic line
ontinues elab
eanwhile, in
(a2) continu
fferent from
passage is m
do technique
o elaborate a
esticulation
of three to e
the elaborati
of long note
e: a) dotted q
ting a syncop
en in mm 33-
diciones y Can
e.64
borating this
n m. 17, the p
ues the musi
(a1) because
ore demandi
e. Such textu
a new texture
will be deve
eight 8th not
ion of (a2), r
es containing
quarter note,
pation), follo
-42. The pia
ntares de Panam
46
s section by g
permutation
ic with the sa
e permutatio
ing for the c
ure helps to c
e through lo
eloped in m.
tes. Refer to
resumes with
g members o
b) dotted qu
owed by c) a
no also chan
ma. (Panama: L
giving the m
I4 further de
ame 6/8 tem
on I6 overlap
cello; due to
create intere
ng leaps bet
33 by incre
Figure 34 to
h a different
of the prime
uarter slurred
a dotted quar
nges its cont
Litho Impresor
main motivic
evelops the t
mpo marking
s with the pr
the leaps an
esting sound
tween the no
asing the rhy
o find such r
texture. The
row. These
d to an 8th n
rter slurred t
tour through
ra Panamá S.A
idea to the
theme until
. The motivi
rime row.
d gestures
s. In m. 29,
otes (see
ythmic cell
rhythmic cel
e texture is
augmented
note (thus
to a quarter.
the elaborat
A., 1982), pp. 19
ic
ll
te
91.
cycles
notes s
Figure
Figure
s of leaps fro
separated by
e 34: Corder
e 35: Cordero
om one integ
y an eighth re
ro: Cello Son
o: Cello Son
ger to anothe
ests, found i
nata, mvmt. I
nata, mvmt. I
47
r with rhythm
n members o
III, mm.25-3
III, mm.33-3
mic patterns
of the permu
32.
37.
s of syncopat
utation I11 (s
ted eighth
see Figure 355).
can he
Afterw
and 2,
Figure
section
and 10
beginn
contou
permu
to find
to imit
previo
The closing
ear how Cord
wards, the se
thus creatin
e 36: Cordero
After the re
n closes with
0 (e minor) (
In-group th
ning of the p
ur through a
utation I11 an
d an appropr
tate a percus
ously present
g section of
dero manipu
ection finishe
ng a b minor
o: Cello Son
eiteration of
h chords bui
(see Figure 3
heme (a3), th
piece. The se
sequence fo
nd the prime
iate sound c
ssive instrum
ted in the int
(a2), takes o
ulates the row
es with sever
chord (see F
nata, mvmt. I
f chords, a su
lt by integer
37). he music con
ection begins
ormed by an
row. Becaus
olor for the p
ment without
troduction of
48
over from mm
w I0 by repea
ral pizzicato
Figure 36).
III, mm. 47-
udden glissan
rs 5 and 9 (f
ntinues with
s in mm. 53-
ascending li
se of some o
piano in this
t losing its to
f (a1) this th
m. 47-54 on
ating the sam
o double stop
-51 (a2) clos
ndo appears
minor harm
the same in
-54, with the
ine of chord
of its rhythm
s section. As
one quality. A
heme is deve
nwards. In th
me material i
ps built from
sing section.
in the cello
monies) down
ntensity conta
e piano prese
members of
mic formulas,
s before, the
As seen in 7
eloped throug
his section, w
in mm. 48-4
m integers 7
line. This
n to integers
ained in the
enting a new
f the
, it is difficu
piano needs
7 the motive
gh hemiolas
we
49.
4
w
lt
s
in
the cel
the ma
Figurebeginn
elabor
These
passag
first on
hand p
the lef
harmo
llo part, mm
ain theme in
e 37: Cordening of sectio
Cordero th
rated through
integers are
ge found in m
ne is the rela
position from
ft hand move
onics a diffic
m. 55-56. In m
(a1).
ero: Cello Son (a3).
hen imitates m
h an ascendin
e shaped in th
mm. 60 is tec
atively fast s
m having to p
ement descri
culty of its ow
m. 57, the mu
Sonata, mvm
mm. 3-4 from
ng line comp
he cello line
chnically ch
speed of the
pluck the str
ibed above m
wn (see Figu 49
usic repeats
mt. III, mm
m (a1) an oc
posed by int
with artifici
hallenging fo
movement, a
ring the meas
makes the cleure 38).
the same rh
m. 52-59. C
ctave lower i
tegers 2, 3, 6
ial harmonic
or the cellist
along with a
sure before.
ear executio
hythmic char
Closing secti
in m. 60. Th
6, 8 of the pr
c sounds. Th
for several r
a sudden cha
Secondly, t
on of those ar
racteristics o
ion in (a3)
his is
rime row.
his short
reasons. The
ange of left
the nature of
rtificial
f
&
e
f
Figure
43 in t
be hea
takes o
memb
both c
excitem
octave
the cel
piano
cello j
rhythm
share t
cello.
e 38: Cordero
We observ
the cello. Th
ard until the
over with the
bers of the pr
cello and pian
ment throug
es within the
What is ex
llo line, P10 i
continues th
oins P2 in m
mic cells take
the same me
All of this h
o: Cello Son
ve that the mu
hen in mm. 7
closing secti
e first two m
rime row on
no continue
gh glissandos
e piano part.
xhilarating is
is the row th
he musical lin
m. 82 and the
en from mot
elodic contou
happens in m
nata, mvmt. I
usic retains
73 -76, variat
ion of (a3) a
main motivic
the left hand
preparing th
s in the cello
how Corder
hat has been
ne, playing o
piano line s
tivic ideas fo
ur in both pi
mm.82 throug
50
III, mm. 60-
its melodic c
tions of the f
arrives in mm
ideas of the
d, and P2 in t
he listener fo
o and ascend
ro combines
exploited un
octaves from
switches to th
ound in (a1)
ano and cell
gh 84 (see Fi
-63.
contour in m
four main m
m. 77-84. In
e piece, whic
the right han
or the next se
ding lines con
s rows in this
ntil m. 82 ap
m members o
he row I11 in
main theme
lo parts, firstigure 39).
mm. 61-72 fr
motivic ideas
mm. 77-80,
ch has been w
nd. Starting i
ection by bu
ntaining perm
s passage. Fo
ppears. Mean
of P2 and P4
n m. 83. Afte
e (specificall
t the piano li
rom mm. 33-
from (a1) ca
the piano
written with
in mm. 81-8
uilding
mutation P2
or example,
nwhile, the
rows. The
erwards,
ly in mm. 2-4
ine, then the
-
an
84,
in
in
4)
Figure(a3).
it finis
more m
subsec
section
entire
with fo
passag
playin
examp
needed
e 39: Corder
Group them
shes an ascen
With no br
musical exci
ction is a var
n. The rhyth
section, is th
four groups o
ge, we can ob
ng two or mo
ple, in m. 89
d to finish th
ro: Cello Son
me (a3) is co
nding glissan
reaks betwee
itement and
riation of rhy
hmic cell whi
he grouping
of three slurr
bserve that C
ore lines of d
, permutatio
he row, thus
nata, mvmt.
ompleted in m
ndo from int
en sections, s
intensity tha
ythmic patte
ich creates a
of eighth no
red eighth no
Cordero play
different row
on I11 is foun
also utilizin
51
III, mm. 80
m. 84, simila
teger 1 to int
subsection (a
an subsection
rns found in
an effect of e
otes that start
otes, thus cre
ys around wi
ws at the sam
nd. On a sepa
ng permutatio
– 83. Closin
arly to the en
teger 7 (see
a4) takes ov
ns (a1), (a2)
n m. 1, also s
excitement d
rt at the secon
eating a sync
ith the manip
me time, their
arate note, in
on P2 in the c
ng section o
nding of (a2
Figure 40). ver in mm. 85
and (a3). Th
serving as lin
depicted thro
nd half of th
copated rhyt
pulation of r
r members ar
ntegers 1 and
cello line (se
of theme gro
2), but instea
5-101, with
he (a4)
nk to B
oughout the
he first beat
thm. In this
rows: when
re shared. Fo
d 10 are
ee Figure 41
oup
ad
or
).
Figure
are fin
rhythm
ending
intege
piano
sequen
first m
is deve
the ori
first an
e 40: Cordero
After an up
nalized in an
mic variation
g with the in
rs 4 to 5. Su
lines, along
Another in
nce made by
movement, an
eloped throu
iginal motive
nd third mov
o: Cello Son
plifting feeli
abrupt, emp
n of m. 1-2 fr
nteger 5-4 do
ubsection (a4
with membe
nteresting fea
y the connect
nd the other
ugh three sec
e of Movem
vements, ind
nata, mvmt. I
ng of excitem
phatic F note
from (a1), ex
ownward, it e
4) is finalized
ers of the pri
ature in this m
tion of two d
comes from
ctions that sh
ment I in its o
dicating the t
52
III, mm 84-9
ment created
e in m. 103.
xactly like in
ends in rever
d with memb
ime row (see
movement is
distinctive sl
m the third mo
hare the sam
own b1 sectio
tempo marki
91. Subsectio
d by subsect
This effect i
n subsection
rse (upward)
bers of the ro
e Figure 41)
s the organiz
low sections
ovement (ju
me melodic co
on. Cordero
ings in each
on (a4).
tion (a4) mus
is created thr
(a2). Howev
) with a gliss
ow P2 in bot
.
zation of a sp
s. One is take
ust the slow m
ontour, whic
cleverly seq
group from
sic textures
rough a
ver, instead o
sando from
th cello and
pecific
en from the
material). Th
ch is found in
quences the
a fast to a
of
his
n
slow p
(quarte
third m
Figure
Figure106 (I
pace. For ins
er ca. 72) an
movement co
e 41:Cordero
e 42: CorderII mvmt.). S
stance, the fir
nd another se
ontains a sec
o: Cello Sona
o: Cello SonSlow themes
rst movemen
ection named
ction Molto A
ata, mvmt. I
nata, mm. 51from movem
53
nt has a sect
d Andante Q
Adagio (qua
II, mm. 100-
1-58 (I mvmment I and II
tion marked
Quasi Adagio
arter ca. 60)
-103.
mt.), mm. 135I.
Moderato Q
o (quarter ca
(see Figure 4
5-137 (I mvm
Quasi Andant
a. 69), and th42).
mt.), mm. 10
te
he
03-
54
Analysis of the return to the third movement is market by this slow, lyrical next
section. This B’ section is divided in two subsections - b1 (mm.103-118) and b2 (mm. 118-
131). This section is a reprise of (b1) from the first movement. In this movement, (b1)
quotes the first exact melody line from measures (54-56) from the first movement and as a
whole, the section is longer than the previous two (b) sections from the first movement.
As in the Moderato quasi andante section, music in (b1) is shaped by permutation
R0 and the same cello line from mm.54-56 (b1, Movement I) in mm. 103-106. Therefore,
these rows give a natural identity that differentiates this section from the rest of the piece;
where the prime row usually is the predominant row that marks the melodic line on each
section. The piano line, in comparison with the (b1) section from the Moderato quasi
andante, creates a different texture with members of the prime row and then with members
of permutation R10. The music in m. 113 is shaped by the addition of a new row R5 (4, 1,
11, 8, 7, 0, 6, 5, 2, 3, 9, 10), which overlaps in m. 106 with permutation R0 (see Figure 43).
Subsection (b1) ends in a tranquil state on pitch class 2 (d natural) in m. 118.
Subsection (b2) contains an alternation of angry and dreamy characters, the latter ending
the section. The piano begins (b2) in m.118 with the next theme group, which is based on
permutation R0. It continues this phrase with the main motive presented in m.103: at first in
the right hand, then in the left hand. This is created by passing the motivic cell of integers
8, 6, 3, 2, 7 of the melody in the left hand through a descending major second interval,
happening in mm. 118-119.
Figure
the cel
harmo
hand c
with m
e 43: Cordero
The alterna
llo is indicat
onics starting
continues de
members of t
o: Cello Son
ation of char
ted to perform
g from the la
veloping the
the prime row
nata, mvmt. I
racters is mo
m rough sou
ast beat of m
e main motiv
w in mm. 12
55
III, mm. 103
ore noticeabl
unds in mm.
.122, extend
vic idea from
21-123 (see F
3-107. (b1) s
le as the mus
121-122.5,
ding to m. 12
m the beginn
Figure 44).
slow section
sic progresse
followed by
23. The pian
ning of the pi
introduction
es. Abruptly
y soft
no on the oth
iece (mm.1-2
n.
,
her
2)
Figure(b2).
quite aFigure
Figure
e 44: Corder
This altern
and serene che 45).
e 45:Cordero
ro: Cello So
nation of moo
haracter, uti
o: Cello Sona
onata, mvmt.
ods continue
lizing permu
ata, mvmt. I
56
. III, mm. 1
es until the e
utation R0 in
II, mm. 124-
16-123, end
end of the sec
n the cello an
- 126, end o
d of (b1) and
ction. It con
nd R5 in the p
f section (b1
d beginning
ncludes with
piano (see
1).
of
a
excitem
(a6) m
this se
of form
can pl
1-2 at
right h
two-ba
repeat
Figurebeginn
excitem
(a6) m
this se
Once the la
ment. A’ occ
mm. 149-162
ection, Corde
ms. Furtherm
ay this final
The piano
(a1) in mm.
hand. Then, a
ar motivic id
ted by elabor
e 46: Corderning of sectio
Once the la
ment. A’ occ
mm. 149-162
ection, Corde
ast notes from
curs in mm.
, (a7) mm. 1
ero restates t
more, due to
section with
initiates sub
132-133 wi
an answer to
dea in the ce
rating of this
ro: Cello Soon (a5).
ast notes from
curs in mm.
, (a7) mm. 1
ero recapitul
m section B
132-218 and
163-179, (a8
the ideas pre
the nature o
h more joy a
bsection (a5)
ith members
o the musica
llo in mm. 1
s conversatio
onata, mvmt
m section B
132-218 and
163-179, (a8
lates the idea 57
are played,
d is compose
) mm. 180-1
esented in pa
of these vario
and exciteme
through a v
of permutat
l statement m
33-135 invo
on (see Figur
t. III, mm. 1
are played,
d is compose
) mm. 180-1
as presented
the recapitu
ed of subsec
191 and the C
art A by elab
ous rhythmic
ent. variation of th
tion P2 in the
made by the
olving permure 46).
127-129. En
the recapitu
ed of subsec
191 and the C
in part A by
ulation A’ rev
ctions: (a5) m
CODA (mm
borating them
cal forms, th
he main them
e left hand, a
piano is fol
utation RI0. A
nd of section
ulation A’ rev
ctions: (a5) m
CODA (mm
y elaborating
vives the
mm. 131-148
m. 192-218).
m in a variety
he performer
me from mm
and P1 in the
lowed by a
All this is
n (b1) and t
vives the
mm. 131-148
m. 192-218).
g them in a
8,
In
y
rs
m.
e
the
8,
In
variety
perfor
variou
1-2 at
right h
two-ba
repeat
Figure
y of forms. F
rmers can pla
us rhythmica
The piano
(a1) in mm.
hand. Then, a
ar motivic id
ted by elabor
e 47: Cordero
Furthermore
ay this final
al forms expl
initiates sub
132-133: w
an answer to
dea in the ce
rating the co
o: Cello Son
, due to the n
section with
lained earlier
bsection (a5)
with members
o the musica
llo in mm. 1
onversation (
nata, mvmt. I
58
nature of var
h more joy an
r in the chap
through a v
s of permuta
l statement m
33-135 invo
(see Figure 4
III , mm. 135
rious rhythm
nd exciteme
pter. variation of th
ation P2 in th
made by the
olving permu
47).
5-143. Subs
mical forms,
nt due to the
he main them
he left hand,
piano is fol
utation RI10
ection (a5) i
the
e nature of
me from mm
and P1 in th
lowed by a
0. All this is
introduction
m.
he
.
glissan
Figure
shares
in this
reache
piano
Figure
Cordero re
ndo moving
e 48: Cello S
After subse
s the same rh
s subsection,
ed through th
and cello (se
e 49: Cordero
epeats mm. 1
upwards in
Sonata Move
ection (a5), t
hythmic char
is that it retu
he continuou
ee Figure 49
o: Cello Son
1-6 (a1) in m
m. 148 (see
ement III, mm
the music m
racteristics o
urns to the p
us repetition
).
nata, mvmt. I
59
mm. 143-148Figure 48).
m. 144-148.
moves to subs
of subsection
prime row in
of chords, o
III, mm. 149
(a5), closin
Ending of s
section (a6)
n (a4) in the
nstead of per
one hears in
9-152. Begin
ng the section
section (a5).
in mm. 149.
cello line, bu
rmutation P2
theses line c
nning of Sec
n with
. This section
ut what diffe
. Since (a6) created by th
tion (a6).
n
ers
is
he
(a4). A
listene
(a2) (m
Subseq
until m
(see Fi
Figurebeginn
Subsection
After the glis
er for the nex
Subsection
mm.37-43). T
quently, the
m. 165, whenigure 50).
e 50: Corderning of sectio
n (a6) ends w
ssando, a gra
xt section. A
n (a7) (mm.1
The cello lin
line continu
n the left han
ro: Cello Soon (a7).
with upward
and pause oc
After a G.P. i
63-179) sha
ne begins the
ues with perm
nd line of the
onata, mvmt
60
glissando as
ccurs in m. 1
n 9/8, subse
ares material
e subsection
mutation P2.
e piano cont
t. III, mm. 1
s seen in the
162. This eff
ction (a7) ar
l in the cello
with memb
Meanwhile,
tinues the lin
161-169. En
ending of su
fect helps to
rrives.
line from th
ers of the pr
, the prime r
ne with perm
nd of section
ubsection
prepare the
he subsection
rime row.
row remains
mutation P2
n (a6) and t
n
the
instead
79) wi
In the
right h
in (a8)
in m. 1
of its r
of frag
measu
Figurebeginn
Subsection
d of connect
ith (a8) (m. 1
piano line, m
hand, wherea
) continues i
180, the inte
row, but we
The vigoro
gments from
ures 87-88 fr
e 51: Cordening section
ns (a7) and (a
ting the two
180) with a l
music from (
as permutatio
in m.180, bo
eger 11, does
can conside
ous Subsectio
m first measur
rom subsecti
ero: Cello S(a8).
a8) are conn
sections (a7
long note-ut
(a7) is finali
on I0 is utiliz
oth in the cell
s note fit in t
r that the int
on (a8) arriv
re of (a7) in
on (a4) in m
Sonata, mvm
61
nected in the
and a8) wit
ilizing integ
zed with inte
zed in the le
lo line as we
the chord, be
teger is conn
ves in m. 180
m. 180 and
mm. 183-187
mt. III, mm
following m
th glissando,
ger 2 (D natu
eger 5 from
ft hand. Sub
ell as the pia
ecause it doe
nected with i
0. It is organ
by developi
(see Figure
m. 179-186.
manner. In th
, Cordero ble
ural) from pe
permutation
bsequently, th
ano part. We
es not follow
integer 11 in
nized by the
ing sequence51).
End of sec
he cello line
ends (a7) (m
ermutation P
n R0 in the
he prime row
can see that
ws in the orde
n m. 82. combination
es from
ction (a7) a
e,
m.
P2. w
t
er
n
and
subsec
shaped
memb
groups
more r
Figure
octave
charac
grandi
prime
is a fra
198. W
he star
the las
R0 (se
After the fe
ction from m
d by double
bers of the pr
s of four sixt
rhythmic act
e 52: Cordero
This segme
e higher.
Finally the
cterizes secti
iose end. Th
row in the r
agmentation
We observe t
rted with the
st beat of m.
e Figure 53)
fervent bars i
m. 188-191 b
stops with m
rime row in t
teenth notes
tivity, this pa
o: Cello Son
ent ends in m
e coda arrive
ion (a8) with
e piano take
right hand an
of the mater
that in m. 19
e prime row,
194 in the le
.
in mm. 182-
by adding hem
members of t
the right han
are played o
art is clearly
nata, mvmt. I
m. 191 with
s in m. 192.
h the prime r
es the lead by
nd members
rial presente
94, Cordero c
but integer
eft hand of t
62
187, Cordero
miolas in mm
the permutat
nd are played
on each beat
y the climax o
III, mm. 187
another gliss
It continues
row. This sec
y starting a d
of permutati
ed at the beg
created anoth
4 is missing
the piano lin
o elaborates
m. 188-189
tion I7. In the
d continuous
t using the le
of the sectio
7-190.
sando from i
s building th
ction prepare
descending l
ion R11 in th
ginning of the
her puzzle w
g in the line.
ne, also as me
s the closing
in the cello l
e piano, cho
sly, whereas
eft hand. By
on (see Figur
integer 10 to
e excitemen
es the listene
line with mem
he left hand.
e piece from
with rows. In
We see this
ember of the
of the
line. This is
rds formed b
aggressive
creating evere 52).
o integer 10
nt that
er for its
mbers of the
This section
m mm. 192-
n the cello lin
happening i
e permutatio
by
en
an
e
n
ne,
in
on
Figure
parts.
intege
piano,
becom
Figure
e 53: Corder
In mm. 199
A cello line
rs are combi
Cordero ela
me a single m
e 54: Cordero
ro: Cello Son
9, the prime
develops th
ined with tw
aborates grou
melody in the
o: Cello Son
nata mvmt. I
row starts ta
e row with a
wo groups of
ups of two a
e cello line (
nata, mvmt. I
63
III, mm. 191
aking over th
a motivic ide
f nine consec
and three con
see Figure 54
III, mm. 202
-194. (a8) en
he section in
ea from integ
cutive eighth
nsecutive no4).
2-208.
nding coda.
n both cello a
gers 2, 3, 6,
h notes in the
tes that in m
and piano
and 8. These
e cello. In th
m. 206 finally
e
he
y
while
Corde
Finally
cello l
Figure
In m. 210,
alternating w
ro connects
y in m. 114 t
line and in th
e 55: Cordero
the sonority
with integer
two differen
the piece con
he piano, the
o: Cello Son
y created at th
2 (D natura
nt hexachord
ncludes by u
e reverse of t
nata, mvmt. I
64
he fortissimo
al), until the
ds with perm
using every s
the prime row
III, mm. 210
o is extende
arrival of m
mutations RO a
single memb
w, R0 in mm
0-214.
d for a full t
m.213. In mm
and P0 mirro
ber of the pri
m. 217 (see F
three bars,
m. 213-214,
oring the row
ime row in t
Figure 55). w.
the
65
Soliloquio No. 6 for Cello Solo
The following section describes the structure and provides an analysis of Soliloquio.
No. 6. Soliloquio is a piece that can be described as a solo sonata for cello with three
complex movements. The movements are not organized in the common style of classical or
romantic sonata, but they are mostly characterized by the style of song and dances from
Panamanian or Latin American rhythmic patterns. These patterns reflect various moods and
tempo changes. The overall structure of the piece is as follows: First movement: slow-
moderato- fast – slow, Second movement: slow, and Third movement: fast. According to Cordero’s memoirs, the writing of the first movement was interrupted
-and the second movement inspired- by the loss of a close friend of his, which accounts for
its solemn mood. He later resumed his work on the first movement and upon its’
completion of the first movement, he used the main motive from the second movement to
craft the joyful mood of the third.
So I stopped writing the first movement of the piece for Ko, and wrote the second movement—Lento e tristo—just to show my sadness for losing the friend. After I finished the second movement, I went back and completed the first—and then took the motive of the sad second movement and exploited that for the last movement—with some dance character—an affirmation of life. So, that was the reason for that so sad movement in the Soliloquios número seis [1992].65
Cordero uses three different matrixes for this piece. There is a “mother” matrix used
during the entire piece –that can be referred to as Matrix I-. In the second movement
Cordero uses Matrix I with the addition of a new matrix, Matrix II. In the third movement,
65 Cordero, “Roque’s Memoirs,” 158. Informal memories of Roque Cordero kindly provided by Marie Labombile.
66
he uses Matrix I and II plus a third matrix, Matrix III. Figure 56, Figure 57, and Figure 58
show the matrixes and rows used in each movement.
Matrix I P0 = 4, 5, 11, 2, 1, 8, 10, 9 , 0, 6, 7, 3 I0 = 4, 3, 9, 6, 7, 0, 10, 11, 8, 2, 1, 5 P11 = 3, 4, 10, 1, 0, 7, 9, 8, 11, 5, 6, 2 RI2 = 7, 3, 4, 10, 1, 0, 2, 9, 8, 11, 5, 6
R11 = 2, 6, 5, 11, 8, 9, 7, 0, 1, 10, 4 , 3 RI0 = 5, 1, 2, 8, 11, 10, 0, 7, 6, 9, 3, 4 Figure 56: Matrix and rows used in the first movement: Adagio.
Matrix I Matrix II RI2 = 7, 3, 4, 10, 1, 0, 2, 9, 8, 11, 5, 6 P0 = 5, 1, 0, 3, 11, 8, 9, 6, 4, 2, 10, 7
P9 = 2, 10, 9, 0, 8, 5, 6, 3, 1, 11, 7, 4I0 = 5, 9, 10, 7, 11, 2, 1, 4, 6, 8, 0, 3
Figure 57: Matrixes and rows used in the second movement: Largo e tristo
Matrix I P0 = 4, 5, 11, 2, 1, 8, 10, 9, 0, 6, 7, 3 P7 = 11, 0, 6, 9, 8, 3, 5, 4, 7, 1, 2, 10 I8 = 0, 11, 5, 2, 3, 8, 6, 7, 4, 10, 9, 1 P3 = 7, 8, 2, 5, 4, 11, 1, 0, 3, 9, 10, 6 R11= 2, 6, 5, 11, 8, 9, 7, 0, 1, 10, 4, 3 RI2 = 7, 3, 4, 10, 1, 0, 2, 9, 8, 11, 5, 6 P5 = 9, 10, 4, 7, 6, 1, 3, 2, 5, 11, 0, 8 I0 = 4, 3, 9, 6, 7, 0, 10, 11, 8, 2, 1, 5,
Matrix II P0 = 5, 1, 0, 3, 11, 8, 9, 6, 4, 2, 10, 7 R2 = 9, 0, 4, 6, 8, 11, 10, 1, 5, 2, 3, 7 R0 = 7, 10, 2, 4, 6, 9, 8, 11, 3, 0, 1, 5 I0 = 5, 9, 10, 7, 11, 2, 1, 4, 6, 8, 0, 3
Matrix III P0 = 4, 8, 7, 2, 1, 3, 11, 10, 0, 5, 9, 6
Figure 58: Matrixes and rows used in the third movement: Vivace
67
First Movement: Adagio - Allegretto
All movements use a row from the matrix of the prime row (4, 5, 11, 2, 1, 8, 10, 9,
0, 6, 7, 3) presented at the beginning of the piece. The first movement is organized in a
rondo form. The first section begins in a very slow tempo, which we will refer to as section
A. This “Adagio” serves as the introduction to the piece, after which the music accelerates
through the use of syncopation ultimately arriving in the Andante section. Once again, the
music slows down only to speed up again as it approaches the playful Allegretto, or C-
section. This movement will conclude with the slow character of theme one. Figure 59
shows the structure of the first movement and Figure 60 highlights in color the rows used.
Adagio Andante Adagio Allegretto Meno mosso Allegretto Adagio Molto Adagio1-18 19-45 46-52 53-100 101-11 112-116 118-121 122-127
A B A C Transition C A Coda Figure 59: Structure of the first movement of the Soliloquio No 6 for Cello solo. I0 I1 I7 I10 I9 I4 I6 I5 I8 I2 I3 I11 P0 4 5 11 2 1 8 10 9 0 6 7 3 R0 P11 3 4 10 1 0 7 9 8 11 5 6 2 R11 P5 9 10 4 7 6 1 3 2 5 11 0 8 R5 P2 6 7 1 4 3 10 0 11 2 8 9 5 R2 P3 7 8 2 5 4 11 1 0 3 9 10 6 R3 P8 0 1 7 10 9 4 6 5 8 2 11 11 R8 P6 10 11 5 8 7 2 4 3 6 0 1 9 R6 P7 11 0 6 9 8 3 5 4 7 1 2 10 R7 P4 8 9 3 6 5 0 2 1 4 10 11 7 R4 P10 2 3 9 0 11 6 8 7 10 4 5 1 R10 P9 1 2 8 11 10 5 7 6 9 3 4 0 R9 P1 5 6 0 3 2 9 11 10 1 7 8 4 R1 RI0 RI1 RI7 RI10 RI9 RI4 RI6 RI5 RI8 RI2 RI3 RI11 Figure 60: Matrix I used in Cordero: Soliloquio No. 6 for Cello solo, first movement.
where
long s
itself i
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ithout specif
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With the m
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movement, A
has a quasi-im
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the first four
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actually is th
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note. After
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ght beats per
marking of
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followed by
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ger of the pr
mt. I, mm. 1-
“(slow)” in
9. This sho
troduction o
s rhythmic g
few beats re
ement of the
oughout the e
eeling of cul
, 9, 0, 6, 7, 3
and (I0) (4, 3,
music is org
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a quarter no
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two 32nd no
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the fifth me
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with the rhy
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f a rite.
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eighth
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e 62: Cordero
The second
in m. 6 onto
h were the m
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prime row (
thing began
e 63: Cordero
l, “Panamanian
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er 4, 5, 11, th
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musical gest
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he end of m
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8, 2, 1, 5 (I0)
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Figure 74).
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major e 75: Parsimo
Finally, in
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utation P0 on
e 77).
106
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o the Allegre
c and sarcast
2. All this se
o: Soliloquio
ve measures A
mpo marking
a solemn an
107
major/ b minor m
oth voice lea
arrive (at lea
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tic sounds, u
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o No. 6, mvm
Adagio retur
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76
108
G# minor G#
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using glissan
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a whispering
109
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mm. 105 – 11
gestion of Eb
re 76). Corde
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05 – 118.
the moveme
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110
G minor 7th
11.
b major. The
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section.
ent towards M
itch material
Eb in pianiss
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G minor 7Eb majo
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io
Figure
Secon
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sound
This m
melod
the dia
piece.
(see F
a Figure
e 77: Soliloq
d Movemen
The second
bed as a med
l of double st
ination of su
n repetition o
. Chords tha
s. Following
movement is
dic, temporal
atonic scales
Nevertheles
igure 78).
A B
e 78: Structu
uio No. 6, m
nt: Largo e tr
d movement
ditative tune
tops. Small m
ul-pontecello
of dissonant
at are membe
g the dissona
divided in t
l, and rhythm
s or classical
ss, the overa
a ure of the II m
mvmt. I, mm.
risto
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e, that later re
music ideas
technique a
t chords (G,
ers of the pri
ant chords, th
hree section
mic patterns,
l or romantic
ll movement
movement o 77
. 115-127.
movement o
eturns to the
are built wit
and tremolo n
F#, E) creati
ime row of t
he music retu
ns. The main
rather than
c sonata form
t is organize
B bb
f the Soliloq
of the piece.
e melancholi
th whisperin
notes. The m
ing the soun
the second m
urns to a mo
length of ea
through cho
ms. This ana
ed in a ternar
quio No. 6 fo
The music c
ic idea in a r
ng sounds cr
music continu
nd of someon
matrix P0 mak
ournful and d
ach section i
ordal progres
alysis applies
ry form: A, B
Aa’ b
or cello solo.
can be
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ues to a
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dying mood.
s organized
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B, A’ form
A’ b’ a’.
e
in
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by
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78
Rather than saturating every single possibility in the application of a row, a new
matrix is added, from the Matrix II only the prime row P0 (5,1, 0, 3, 11, 8, 9, 6, 4, 2, 1), the
permutation I10 (5, 9, 10, 7, 11, 2, 1, 4, 6, 8, 0, 3), and P9 (2, 10, 9, 0, 8, 5, 6, 3, 1, 11, 7, 4)
are used (Figure 79). From the Matrix I, the permutation RI10 (7, 3, 4, 10, 1, 0, 2, 9, 8, 11,
5, 6) is the only one used (Figure 79). It could be assumed that Cordero mixed the two
matrixes in one movement to be innovative and add a new musical line with a new row.
Figure 79 shows the table of row in color used in Matrix I, and Figure 80 the rows in colors
used in Matrix II.
I0 I1 I7 I10 I9 I4 I6 I5 I8 I2 I3 I11 P0 4 5 11 2 1 8 10 9 0 6 7 3 R0 P11 3 4 10 1 0 7 9 8 11 5 6 2 R11 P5 9 10 4 7 6 1 3 2 5 11 0 8 R5 P2 6 7 1 4 3 10 0 11 2 8 9 5 R2 P3 7 8 2 5 4 11 1 0 3 9 10 6 R3 P8 0 1 7 10 9 4 6 5 8 2 11 11 R8 P6 10 11 5 8 7 2 4 3 6 0 1 9 R6 P7 11 0 6 9 8 3 5 4 7 1 2 10 R7 P4 8 9 3 6 5 0 2 1 4 10 11 7 R4 P10 2 3 9 0 11 6 8 7 10 4 5 1 R10 P9 1 2 8 11 10 5 7 6 9 3 4 0 R9 P1 5 6 0 3 2 9 11 10 1 7 8 4 R1 RI0 RI1 RI7 RI10 RI9 RI4 RI6 RI5 RI8 RI2 RI3 RI11 Figure 79: Matrix I used in Soliloquio No. 6 for Cello solo, second movement.
P0 P4 P5 P2 P6 P9 P8 P11 P1 P3 P7 P10 Figure
2, 10,
the int
from t
(Cb). T
lands o
5 is th
Figure
I0 I8 5 1
9 5
10 6
7 3
11 7
2 10
1 9
4 0
6 2
8 4
0 8
3 11 RI0 RI8 e 80: Matrix
The second
7) from Mat
teger 5 (F), a
the third inte
The ensuing
on the intege
he first intege
e 81: Corder
I7 I100 3
4 7
5 8
2 5
6 9
9 0
8 11
11 2
1 4
3 6
7 10
10 1RI7 RI1II used in So
d movement
trix II. Follo
a major third
eger of the P0
g music respo
er 7, which i
er of the perm
ro: Soliloquio
0 I6 I 11
3
4
1 1
5
8
1 7
10
0
2 1
0 6
9 10 RI6 Roliloquio No
t “Largo e tr
owing a four
d to the integ
0: 3 (Eb), wh
onds with an
in this case c
mutation I0 i
o No. 6, mvm 79
I3 I4 8 9
0 1
1 2
10 11
2 3
5 6
4 5
7 8
9 10
11 0
3 4
6 7 RI3 RI4 o. 6 for Cello
risto,” is pres
bar motivic
ger 1 (Db). T
hich moves d
n ascending b
can be heard
in m. 8 (See
mt. II, mm. 1
I1 I11 6 4
10 8
11 9
8 6
0 10
3 1
2 0
5 3
7 5
9 7
1 11
4 2 RI1 RI11o solo, secon
sented by P0
idea, the me
The same mo
down a majo
both in regis
d as a leading
Figure 81).
1 – 7.
I9 I5 2 10
6 2
7 3
4 0
8 4
11 7
10 6
1 9
2 11
5 1
9 5
0 8 RI9 RI5 nd movemen
0 (5, 1, 0, 3, 1
elody moves
otivic idea is
or third to th
ster and dyna
g tone to inte
I2 7 R0
11 R40 R59 R21 R64 R93 R86 R18 R1
10 R32 R75 R1 RI2
nt.
11, 8, 9, 6, 4
s down from
s repeated
he integer 11
amics, which
eger 5. Integ
0 4 5 2 6 9 8 1 1 3 7 0 4,
m
h
ger
presen
contin
the row
82).
Figure
the Ma
movem
Figure
note =
Cordero w
nted at the be
nues transitio
w P0, dividin
e 82: Cordero
The compl
atrix II. Cord
ment (see Fig
e 83: Cordero
The B sect
=66 (BMP) a
rites a four b
eginning of t
on with this m
ng the movem
o: Soliloquio
lete section e
dero uses ea
gure 83).
o: Soliloquio
tion of the m
as well as a r
bar descendi
the moveme
melodic idea
ment with th
o No. 6, mvm
ends in m. 24
ach row to id
o No. 6, mvm
movement is m
request for m
80
ing melody t
nt in m. 8 w
a for another
he following
mt. II, mm. 8
4 with the in
dentify the di
mt. II, mm. 1
marked with
molto vibrato
to form a res
with the perm
r three bars.
g form of: a –
8 – 18 .
nteger 7, the
ifferent musi
19-24.
h the metron
o. Permutatio
sponse to the
mutation I0. In
The music c
–b –a form (
last integer
ical ideas am
nome notatio
on RI2 (7, 3,
e theme
n m. 12, he
continues wi
(see Figure
of the P0 fro
mong the
n of a quarte
4, 10, 1, 0, 2
ith
om
er
2,
9, 8, 1
RI10 i
faster
The m
prepar
main t
Figure
combi
connec
referri
73 Waxe
1, 5, 6), a ro
is a music qu
pace, pizzic
music is refle
res the listen
theme from t
e 84: Cordero
Cordero’s
ination of tw
ction by par
ing to the neo-Riemaleading ratdefines smonly one vtones… [ois maintainthat skip to
er, "Salsa,"
ow member o
uotation from
ato, frequen
ctive as if po
ner for the cli
the beginnin
o: Soliloquio
organization
wo permutatio
simonious v
annian transfther than by
mooth voice lvoices movesor] … motionned while theo chords, all
of the Matrix
m mm. 72-75
cy of pauses
ondering a p
imax of the
ng of the piec
o No. 6, mvm
n of this sect
ons, thus giv
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leading as ms by semitonns that skip oe other tow vthree voices
81
x I, is enliste
5, and mm. 1
s creates the
particular tho
second mov
ce (see Figur
mt. II, mm. 2
tion is uniqu
ving a sense
g. Parsimonio
which are gofundamental-
motions from ne, while all one chord invoices moves move by se
ed for this se
112 from the
texture of th
ought. In m.
vement. The
re 84).
25-40.
ue. This chor
of tonal dire
ous is a term
overned by p-bass progre
m one chord tof the others
n the system,e by semitonemitone.73
ection. The p
e first movem
his transition
36 a rapid c
music then r
ral sounding
ection. We c
m given by R
parsimoniouessions… Coto another ins hold comm, one commone; and in mo
permutation
ment. The
nal passage.
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passage is a
can hear in th
Richard Cohn
us voice ohn n which mon on tone otions
e
a
he
n,
82
Here, a voice leading between two chords is described as parsimonious if no
intervals are larger than a whole step. Similarly, any close relationship between any two
chords within the tonal harmony system is therefore parsimonious. Although the
methodology in this section is based on the twelve-tone technique and not in the new-
Riemannian theory, the idea of parsimonious voice leading is useful to consider when
explaining this passage. Also, Cohn’s work centers on triadic voice leading, and the chords
being described are not all triadic. Beginning in m. 41, the main theme reappears but with
accompaniment. The musical idea is presented with the permutation P9 (2, 10, 9, 0, 8, 5, 6,
3, 1, 11, 8) from Matrix II. This is the first and only time this permutation is used in this
arrangement. The theme is accompanied by the prime row P0 that had previously presented
the main theme in the beginning of the movement from mm. 1 - 4. The tonal center here is
D and we can hear the harmony of D minor in the first two beats, moving a half step
downward to Db minor. In m. 42 the bass moves downward from D-flat to C from beat 4. Bb is on top and
it connects the musical line by suspending the B-flat to A, thus arriving at A minor sonority
in the first two beats. In the fourth beat, A remains but as a member of B-flat major with D
in the bass. D from the bass on beat three from m. 42, moves stepwise to the next chord in
m. 43 to E-flat, where E-flat is the first inversion of C minor, therefore B-flat major from
the previous beat can be heard as the C minor 7th chord. In m. 43, the chord C and E-flat
drop a major third in parallel motion to A-flat minor, but there is no connection between the
two chords. A continuation from the previous beat in m. 42 where A in beat four moves a
half step down to A-flat in beat two from m. 43 can be noticed. Continuing the musical
line, the chord in beat two, A-flat minor, becoming F minor in beat three. F natural in the
third b
resolu
F# min
F# min
and th
C# mi
major-
47, wh
found
from g
the ba
– 50, w
culmin
passag
Figure
beat moves a
ution, to end
In the fourt
nor chord. In
nor chord fro
he voice exch
inor in beats
- seventh wi
here the mus
in a descend
g minor in m
ss. G major
where we he
nates in a pia
ge ends in m
e 85: Cordero
a half step up
on A-flat on
th beat, Ab i
n m. 44, we
om the previ
hange is repe
3 and 4, sha
th C# as com
sic moves to
ding scale in
m. 48, were G
7 follows on
ear a C major
anissimo on
m. 50 with me
o: Soliloquio
pward to F-s
n the bass. in the bass m
hear a D#7 a
iews chord m
eated in m. 4
aring the C#
mmon chord
G minor on
nitiating with
G on the top
n beat 3 and
r chord with
Eb major. A
embers of th
o No. 6, mvm 83
sharp creatin
moves up ano
and F# mino
moving from
45. D#7 is re
as the comm
d in m. 46 an
n beat four. M
h Bb, Ab, F#
of the chord
4. G continu
h a Db as an
After the dev
he prime row
mt. II, mm. 4
ng an augmen
other half ste
or. A voice e
m the top voi
epeated in m
mon chord. T
nd the same c
Members of
#, E, and D. A
d moves to E
ues as the co
escape tone
velopment of
w (P0) (see Fi
41-50.
nted six cho
ep to A natu
exchange occ
ice to the bas
measure 45, a
The chord m
chord is sust
a whole tone
A voice exch
E minor in m
ommon chor
in m. 49. Th
f the choral s
igure 85).
rd without
ural, creating
curs with the
se in m. 44
and it moves
moves to D
tained until m
e scale can b
hange occur
m. 49 with G
rd from m. 4
he section
section, the
g a
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to
m.
be
rs
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Figure
music
This s
and sc
The b’ sect
ic ideas that
bers of the pr
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a staccato bow
ic ideas repe
ded totaling
s. The additi
lps to add a
e 86: Cordero
The closing
into a suspe
ensation con
creaming dis
tion begins i
creates a ph
rime row of M
next beat. T
w stroke. Th
eated. Howev
nine. The re
ion of the ge
moment of i
o: Soliloquio
g theme foll
enseful sound
ntinues in m.
sonant chord
in the fifth b
hrase from m
Matrix II wi
he other gro
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ver, the seco
esponding m
estures from
irony to the p
o No. 6, mvm
ows with su
d. This excit
. 67 with the
ds from m. 6
84
eat of m. 50
mm. 50-60. T
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on I0 takes o
ond time inst
motives are co
the B sectio
piece (see F
mt. II, mm. 5
l ponticello
tement build
e adding of d
68 to m. 72.
. This sectio
The conversa
of five sixtee
e eighth note
over the pass
tead of using
omposed in
on, for examp
igure 86).
50-64.
that takes ov
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double stops
Short burles
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enth notes fo
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artificial har
ple m.31-32
ver in m. 64,
scendo and t
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sque eighth a
ersation of tw
ted with
ollowed by an
by eighth re
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Figure
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brief mood
and nine thirt
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mt. II, mm. 6
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86
piece a playful character. The movement is full of syncopated rhythms that could have been
taken from Panamanian folklore or other African or Latin-American origin. Cordero
manipulates the twelve-tone technique by using a number of members of specific rows
instead of using a full row. He also combines members from a single row with members
from a different rows. The organization of the third movement is described in Figure 89. Allegro giocoso
Andante cantabile
Allegro Andante Tempo primo
m.1-70 m.71-91 m.92 -136 m.137-167 m.168-208 A B A B A
Figure 89: Structure of the third movement of the Soliloquio No. 6 for cello solo.
A diagram or the rows in color used on each matrix is shown in Figure 90, Figure
91, and Figure 92.
I0 I1 I7 I10 I9 I4 I6 I5 I8 I2 I3 I11 P0 4 5 11 2 1 8 10 9 0 6 7 3 R0 P11 3 4 10 1 0 7 9 8 11 5 6 2 R11 P5 9 10 4 7 6 1 3 2 5 11 0 8 R5 P2 6 7 1 4 3 10 0 11 2 8 9 5 R2 P3 7 8 2 5 4 11 1 0 3 9 10 6 R3 P8 0 1 7 10 9 4 6 5 8 2 11 11 R8 P6 10 11 5 8 7 2 4 3 6 0 1 9 R6 P7 11 0 6 9 8 3 5 4 7 1 2 10 R7 P4 8 9 3 6 5 0 2 1 4 10 11 7 R4 P10 2 3 9 0 11 6 8 7 10 4 5 1 R10 P9 1 2 8 11 10 5 7 6 9 3 4 0 R9 P1 5 6 0 3 2 9 11 10 1 7 8 4 R1 RI0 RI1 RI7 RI10 RI9 RI4 RI6 RI5 RI8 RI2 RI3 RI11 Figure 90: Matrix 1 used in Cordero: Soliloquio No. 6 for Cello solo, third movement
87
I0 I8 I7 I10 I6 I3 I4 I1 I11 I9 I5 I2 P0 5 1 0 3 11 8 9 6 4 2 10 7 R0 P4 9 5 4 7 3 0 1 10 8 6 2 11 R4 P5 10 6 5 8 4 1 2 11 9 7 3 0 R5 P2 7 3 2 5 1 10 11 8 6 4 0 9 R2 P6 11 7 6 9 5 2 3 0 10 8 4 1 R6 P9 2 10 9 0 8 5 6 3 1 11 7 4 R9 P8 1 9 8 11 7 4 5 2 0 10 6 3 R8 P11 4 0 11 2 10 7 8 5 3 1 9 6 R11 P1 6 2 1 4 0 9 10 7 5 2 11 8 R1 P3 8 4 3 6 2 11 0 9 7 5 1 10 R3 P7 0 8 7 10 6 3 4 1 11 9 5 2 R7 P10 3 11 10 1 9 6 7 4 2 0 8 5 R10 RI0 RI8 RI7 RI10 RI6 RI3 RI4 RI1 RI11 RI9 RI5 RI2 Figure 91: Matrix II used in Cordero: Soliloquio No. 6 for Cello solo, third movement.
I0 I4 I3 I10 I9 I11 I7 I6 I8 I1 I5 I2 P0 4 8 7 2 1 3 11 10 0 5 9 6 R0 P8 0 4 3 10 9 11 7 6 8 1 5 2 R8 P9 1 5 4 11 10 0 8 7 9 2 6 3 R9 P2 6 10 9 4 3 5 1 0 2 7 11 8 R2 P3 7 11 10 5 4 6 2 1 3 8 0 9 R3 P1 5 9 8 3 2 4 0 11 1 6 10 7 R1 P5 9 1 0 7 6 8 4 3 5 10 2 11 R5 P6 10 2 1 8 7 9 5 4 6 11 3 0 R6 P4 8 0 11 6 5 7 3 2 4 9 1 10 R4 P11 3 7 6 1 0 2 10 9 11 4 8 5 R11 P7 11 3 2 9 8 10 6 5 7 0 4 1 R7 P10 2 6 5 0 11 1 9 8 10 3 7 4 R10 RI0 RI4 RI3 RI10 RI9 RI11 RI7 RI6 RI8 RI1 RI5 RI2 Figure 92: Matrix III used in Cordero: Soliloquio No. 6 for Cello solo, third movement.
The beginning of this movement recalls the traditional Panamanian folk dance
melodic rhythm called mejorana begins the piece. Figure 93 shows an example of a
traditional mejorana rhythm.
Figure
paralle
10, 9,
132 (B
and rh
permu
94).
Figure
mm. 2
over th 75 Garay
e 93: Ravel m
The main t
el phrases th
0, 6, 7, 3). T
BMP). There
hythmic idea
utations R11,
e 94: Cordero
The main m
20-22. A con
he music, he y, Tradiciones
manuscript, p
theme in the
hat are initiat
The rhythm i
efore, it is fa
a last from m
I8, and RI10
o: Soliloquio
melodic phra
ntrasting phra
ere lengtheni y Cantares, 19
part of a mej
third movem
ted by the pr
in 6/8, with m
ster than the
mm. 1-6 and t
continue and
o No. 6, mvm
ase is presen
ase follows f
ing this part 91. 88
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Cordero alter
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utations P7 (1
mon note betw
ero: Soliloqu
of Cordero’
t transitiona
mm. 185-18
m Matrix I. T
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The contrast
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97
vmt. III, mm
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ting phrase (
til closing in
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hythmic line
ow by omitti
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t permutatio
3, 8, 7, 6, 4,
s in mm. 199
m. 168-184.
a transitiona
introduces a
rd from the p
(mm. 189-19
n m. 193. The
a 3-2 “salsa c
e leads to m.
ing the integ
combination
ns. Astutely
10, 9, 1) by
9-200.
al passage to
a hexachord
permutation
92) of the tra
e climax her
clave” rhythm
201. Unexp
er 5 of the R
of two diffe
y, he links tw
using intege
the closing
from the
P3 in mm.
ansition
re (mm. 193
m from mm
pectedly, in m
RI2 and
erent
wo
er 3 as the
3-
.
m.
row of
beginn
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Figure
The final m
f Matrix I. H
ning of the e
ork, characte
e 105: Corde
melody follow
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entire work. E
er all togethe
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ws in m. 202
re finishing t
Even though
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98
2 with the tr
this piece w
h he used the
nt here in this
vmt. III, mm
ransition of p
with the ident
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permutation
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ovement (se
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e beginning
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me
of
).
99
Conclusion
This thesis presented a formal analysis of Cordero’s Soliloquio No. 6 and Sonata for
Cello and Piano and the historical perception of several aspects of his compositional style.
This formal analysis complemented the performance of both “Sonata” and “Soliloquio” in a
recital at Louisiana State University in the Spring of 2014. Theoretically, as well as
performance-wise, I found both pieces enormously interesting and challenging. Perhaps the
Sonata for Cello and Piano is slightly more technically demanding than the Soliloquio No.
6. The Soliloquio he added technical difficulty of performing complex Latin America
rhythm. By thoroughly studying and analyzing this music, I was able to observe Cordero’s
creative genius and complex intellect. His skills at blending different rhythmic patterns of
Panamanian and Latin American rhythms with creative use of dodecaphonic technique are
unique. His innovative use of three different matrixes in one piece distinguishes him from
other composers of his time. He fuses these native Latin American elements with serial
technique in a way no one else has done before. Understanding the organization of his
music was crucial for the performance of these pieces.
Furthermore, in the process of studying these pieces, I was able to learn more about
the boundless possibilities of combining twelve-tone technique with any type of rhythm
and I was inspired by the richness of the Panamanian folk rhythms and tunes. My objective
for this research was to help others interested in Cordero’s work to better understand his
music, particularly these cello works. Personally, I found great joy and excitement in
learning both pieces. I felt honored to have this responsibility and I hope to perform more
of his music and to continue to disseminate his valuable output as Panama most prolific and
important composer to date.
100
Bibliography
Ashley, Tim. "Krenek, Ernst." The Oxford Companion to Music. Oxford Music Online. Oxford University Press. Accessed November 26, 2014. http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e3775
Béhague, Gerard. “The Hispanic World, 1918-45.” In Modern Times from World War I to the Present, edited by Robert Morgan. Englewood Cliffs, New Jersey: Prentice Hall Inc., 1993.
Casal, Luis. “Panamanian Art Music for Strings: Works for Violin/Piano and Violea/Piano by Roque Cordero, Eduardo Charpentier, and Fermin Castañedas.” DMA diss. University of Oklahoma, 2006.
Chase, Gilbert. Introducción a la Música Americana Contemporánea. Argentina: Editorial Nova, 1958.
Cordero, Roque. “Nacionalismo versus Dodecafonismo”. Revista Muscial Chilena, 13(67): 28-38, 1956.
Cordero, Roque. “Remembranzas de Roque Cordero”. Revista Loteria, 368 (1987):15-25.
Cordero, Roque. “El serialismo” 1–2. In Labonville, Marie. “Roque Cordero (1917-2008) in the United States.” Paper presented at the Latin American Music Center’s Fiftieth Anniversary Conference “Cultural Counterpoints: Examining the Musical Interactions between the U.S. and Latin America, Indiana University, Bloomington, 2011.
Cruz de Gracia, Efrain. “Roque Cordero, Compositor Panameño, Visto a Través de Algunas de sus Obras (Roque Cordero, Panamanian Composer, seen through some of his works).” MM thesis,�University of Panama, 2002.
Garay, Narciso. Tradiciones y Cantares de Panama. Panama: Litho Impresora Panamá S.A., 1982.
Gerard Béhague, et al., “Panama.” Grove Music Online. Oxford Music Online. Accessed September 3, 2014 http://www.oxfordmusiconline.com/subscriber/article/grove/music/41089
The Oxford Companion to Music. "Giocoso." The Oxford Companion to Music. Oxford Music Online. Oxford University Press. Accessed September 30, 2014.
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Gradante, William and Jan Fairley. "Danzón." Grove Music Online. Oxford Music Online. Oxford University Press. Accessed March 31, 2014.
101
Labonville, Marie. “Roque Cordero (1917-2008) in the United States.” Paper presented at the Latin American Music Center’s Fiftieth Anniversary Conference “Cultural Counterpoints: Examining the Musical Interactions between the U.S. and Latin America, Indiana University, Bloomington, 2011.
Rushton, Julian. "Hemiola." Grove Music Online. Oxford Music Online. Oxford University Press. Accessed November 20, 2014, http://www.oxfordmusiconline.com/subscriber/article/grove/music/12768.
Schechter, John M. "Mejoranera" Grove Music Online. Oxford Music Online. Oxford University Press. Accessed November 28, 2014. http://www.oxfordmusiconline.com/subscriber/article/grove/music/18295
The Oxford Companion to Music. "Ex.1 Cinquillo Rhythm.” Grove Music Online. Oxford Music Online. Oxford University Press. Accessed September 24, 2014. http://www.oxfordmusiconline.com/subscriber/article/img/grove/music/F010650.
The Oxford Companion to Music. “Ex.3 Arriba monteriano, tamborito tonada; transcr. R. Cordero." Grove Music Online. Oxford Music Online. Oxford University Press. Accessed October 5, 2014. http://www.oxfordmusiconline.com/subscriber/article/img/grove/music/F005148.
Waxer, Lise. "Salsa." Grove Music Online. Oxford Music Online. Oxford University Press. Accessed September 3, 2014. http://www.oxfordmusiconline.com/subscriber/article/grove/music/24410.
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102
Annex A: Dissertations, thesis, and essays on Roque Cordero Benjamin, Jerry. Sonatina ritmica by Roqué Cordero: A paper analyzing the composition, 9
pp, Indiana University, 1963.� Brawand, John Edward. �The Violin Works of Roué Cordero. �DMA Dissertation, 125 pp,
�The University of Texas Austin, 1985. Byrd, Donald . Roué Cordero: violin concerto. Indiana University, 1968. Casal, Luis. Panamanian Art Music for Strings: Works for Violin/Piano and Violea/Piano
by Roqué Cordero, Eduardo Charpentier, and Fermin Castañedas. DMA Thesis, 125 pp, University of Oklahoma, 2006.
Chase, Gilbert. Composed by Cordero, Inter-American Music Bulletin, 10, 1-4, Spring 1958.
Chase, Gilbert. Creative Trends in Latin American Music II, Tempo, 50, 25- 28, Winter, 1959.
Cruz de Gracia, Efrain. Roqué Cordero, Compositor Panameño, Visto a Través de Algunas de sus Obras (Roqué Cordero, Panamanian Composer, seen through some of his works). M.M. Thesis, 168 pp,�University of Panama, 2002.
De Dobay, Thomas Raymond. �A stylistic analysis of selected short works by Roué Cordero. M.M. Thesis, 89 pp,�Indiana University, 1971.
Deatsman, Gerald. An Analysis of the Sonatina ritmica: for piano by Roué Cordero, �Submitted as term paper, 7 pp, 1963.
Filós Gooch, Prischilla. �The piano in the works of Roque Cordero �D.M. Thesis, 87 pp, �Indiana University, 1974.
Greaves, Earl S. �Structural elements in selected works of Roque Cordero. M.M. Thesis, 98 pp,�Southern Illinois University, 1977.
Guevara, Moises. Panamanian folk influences in Roque Cordero’s music. �M.M. Thesis, 63 pp,�University of Oklahoma, 2001.
Labonville, Marie. Roque Cordero (1917-2008) in the United States. Paper presented at the Latin American Music Center’s Fiftieth Anniversary Conference “Cultural Counterpoints: Examining the Musical Interactions between the U.S. and Latin America,” Indiana University, Bloomington, 2011. Available from
103
IUScholarWorks (https://scholarworks.iu.edu/dspace/handle/2022/15513); accessed [February 15, 2014].
Maxine Ennett, Dorothy. �Analysis and comparison of selected piano sonatas by three contemporary black composers: George Walker, Howard Swanson, and Roque Cordero. �Ph.D. Dissertation, 142 pp, New York University, 1973.
Paputsas, Christine. Unity and contrast in two works of Roque Cordero. �M.M. Thesis, 93 pp,�Indiana University, 1979.
Ray Jakey, Lauren. An analysis of six Latin American works for violin and piano composed since 1945. �D.M. Dissertation Thesis, 176 pp, �Indiana University, 1971.
Reid Kerr, Hortense. The chamber music for piano and strings of three African-American composers: The Chevalier de Saint-Georges, William Grant Still, and Roque Cordero. �D.M.A. Dissertation, 355 pp, The Catholic University of America, 1996.
Sider, Ronald R. Roque Cordero: The Composer and His Style seen in Three Representative.
Apppendix I: L
104
Letter of PPermission
Apppendix II:
105
Letter of P
Permissionn
106
Appenddix III: Roqque Corder
107
ro Artistic
Advisor off ASM Festival
108
Appendix IV: Recital Program
ROQUE CORDERO Suite No. 6, BWV 1012 (1917-2008) Adagio – Allegretto Largo e tristo Allegro vigoroso
INTERMISSION
ROQUE CORDERO Sonata for Cello and Piano (1917-2008) Allegro molto appassionato Adagio Vivace
GRADUATE RECITAL
Isaac Casal, cello Liudmila Georgievskaya, piano
Wednesday, April 23, 2014 | 5:30 p.m. | Recital Hall
This recital is given in partial fulfillment of the requirements of the Doctor of Musical Arts in Performance. Isaac Casal is from the Studio of Dennis Parker.
Apppendix V: ASM Festi
109
ival Homagge to Roquue Cordero
110
Vita
Panamanian cellist Isaac Casal has appeared in numerous solo recitals, chamber
music concerts, and as soloist throughout Africa, Europe and the Americas. An
experienced orchestra player, Isaac served as principal cellist of the Youth Symphony of
Panama and was one of the youngest cellists to join the cello section of the National
Symphony of Panama. In 2003 he became the first Panamanian to join the Youth
Orchestra of the Americas (YOA) international tours performing alongside renowned
conductors such as Carlos Miguel Prieto, Isaac Karabtchvsky, Valery Gergiev, Benjamin
Zander, Gustavo Dudamel, and Plácido Domingo. Isaac served as cello instructor for the
Mountain View Community College from 2007 to 2011.
Isaac began his cello studies at the Escuela Juvenil de Música de Panama at the age
of 7. From the age of nine, he participated in music camps organized by the Concert
Association of Panama, and in 1998 was granted a scholarship to attend the Daniel Heifetz
International Institute in Annapolis, Maryland. In 2000 he moved to the United States after
being awarded a scholarship to study at the Southwest Minnesota State University in
Marshall, MN. Since then his major teachers have included Karen Melik-Stefanov, Keith
Robinson from the Miami String Quartet, Javier Arias from the Amernet String Quartet,
Gary Hardy, and Andres Diaz. He has degrees from Florida International University,
Baylor University, and Southern Methodist University, where he earned the prestigious
Artist Certificate as a student of Andres Diaz in May 2010.
Isaac Casal began his doctoral studies at Louisiana State University in 2011, and
earning his DMA in May 2015 under the tutelage of Dennis Parker.