An Analysis of Two Works for Orchestra: Adagio Trágico and Ocho Miniaturas by Panamanian Composer Roque Cordero

Abstract

Roque Cordero (1917-2008) is perhaps the most successful composer to emerge from Panama, yet his compositions remain relatively unknown in the orchestral repertoire. This document studies two works for chamber orchestra: Adagio Trágico (1955) and Ocho Miniaturas (1948), and shows how his fusion of dodecaphonism and Latin American folk rhythms sets him apart from other twelve-tone composers. It begins by briefly discussing political history in mid-twentieth century Panama in order to better understand the climate in which Cordero was composing, and continues to discuss the life and compositional style of Cordero. This paper then discusses the challenges that twelve-tone works present to an orchestra, and suggested approaches to solve these problems. The analysis of Adagio Trágico shows how Cordero utilizes ostinatos, fugues, intense climaxes, and long melodies in a twelve-tone setting. The analysis of the second work, Ocho Miniaturas, shows how Cordero is able to combine dodecaphonism with the folk rhythms of Latin America, and how Cordero also utilizes incomplete rows, hemiolas, polyrhythms, and fugues in his music.