Samuel Zyman’s "Concerto for Cello and Orchestra": An Analytical Approach

Jorge Barrón Corvera

doi:10.5070/d85247924

Abstract

A professor at The Juilliard School since 1986, Zyman is one of Mexico’s foremost composers of today. His cello concerto (1990) exhibits solid technique, intense expression, and effective interaction between soloist and orchestra. The author demonstrates much stylistic and formal freedom. His opus mixes both antique and modern references within traditional instrumental usage and prevailing neomodal flair. One outstanding feature is the full exploitation of a basic melody to generate an interrelated musical idiom that reveals both unity and variety. The appendix contains an interview with the Mexican artist.

Highlights

Achieved, Zyman’s cello concerto displays great craftsmanship and deep, alluring expression.[1]. It succeeds in a large number of musical parameters –melody, harmony, texture, rhythm, form, and orchestration
The composer seems to “juggle” these aspects continuously in a creative, organic manner. This is music that immediately captures the heart of the listener and drives him or her to a stage of elevated emotions
The solo and orchestral parts fully comply with their tasks

Summary

Introduction

Achieved, Zyman’s cello concerto displays great craftsmanship and deep, alluring expression.[1]. The composer seems to “juggle” these aspects continuously in a creative, organic manner This is music that immediately captures the heart of the listener and drives him or her to a stage of elevated emotions. The solo and orchestral parts fully comply with their tasks Zyman is internationally recognized as one of Mexico’s foremost composers of today He studied in Mexico’s National Conservatory and obtained his master’s and doctorate degrees in composition from The Juilliard School, where he has taught since 1986. His vast work has been performed in the United States, Mexico, Canada, Europe, and South America.[4]. On August 13, 1991, the cellist recorded it with the Mexican conductor Enrique Diemecke and Mexico’s National Symphony Orchestra.[5]

The embryo concept

The round up model

Melodic derivations

First movement

Third movement