Dzonot

I-Luz Vertical-
II-El Ojo del Jaguar
III-Jade
IV-El vuelo de Toh

Dzonot (cenote in Spanish) is a term used solely in Mexico, derived from the Mayan word dzonot, meaning abyss. In Mayan culture, cenotes were considered to be sources of life itself. They also represented entrances into the underworld, or Xibalbá—a sacred place where darkness reigned, inhabited by shadows, gods, and spirits.

Dzonot is a concerto for cello and orchestra inspired by the cenotes of the Yucatán peninsula, which comprise an intricate, delicate system of subterranean rivers and caves that require careful conservation in order to protect their biodiversity and natural beauty. Moreover, the cenotes of southeastern Mexico supply drinking water to the entire region, and anthropological and paleontological remains have been found in them, as well.

Cenotes frequently contain openings of various sizes that admit rays of sunlight, in such a way that their effect on the water within these dark caves creates an aura of mystery—their beams of iridescent illumination doubtless reinforcing the profound spiritual connection experienced by the Mayans. In the cenote called Holltún, located near the archeological ruins of Chichén Itzá, the phenomenon of the sun’s passage overhead during the summer solstice causes the light to penetrate vertically; hence, its reflection falls into the very center of the cenote and not on the walls, unlike other days of the year.

Cenotes also possess unique biodiversity. They provide shelter to endemic species of flora and fauna that cannot be found any other place in the world, making habitat preservation indispensable for their conservancy. The jaguar, for example, is one of the most symbolic animals in our pre-Hispanic cultures. But unfortunately, here in Mexico, it is catalogued as an endangered species due to the destruction of its habitat, caused mainly by the construction of residential units, tourist venues, and transportation infrastructure in the forested regions of the Mayan Riviera.

Another threatened species is the toh bird, or turquoise-browed motmot, that lives in these caverns today. The legend of the toh bird tells us that its beautiful plumage made it feel superior to all other birds. This sense of superiority made it vain and ignorant, convinced that no harm would ever befall it until one day, the Mayan rain god Chaac decided to brew up a storm. Since he loved birds, Chaac warned them to build some sort of refuge and quickly take shelter. All of the birds made sanctuaries except for the toh, who arrogantly ignored the warning and did nothing. Once the storm had begun, the toh realized how exposed it was and desperately sought out shelter until finally, it found a small, abandoned burrow. It was able to enter the burrow, but its enormous tail was exposed to the inclement weather and inevitably, destroyed. When the storm ended, the toh emerged, proud to have remained safe despite making no effort whatsoever, not realizing that it no longer possessed its beautiful tail. Once the other birds began to mock it, however, the toh had no choice but to live in hiding from that day forward, flying through the darkness and shadows of the underground caves.

In the first movement, “Vertical Light,” the sound of the orchestra and song of the cello evoke the subaquatic environment and hypnotic effects produced by rays of sunlight among the shadows prevalent inside cenotes. In the second movement, “The Eye of the Jaguar,” the cello transforms subtly and metaphorically into the voice and body of this elegant feline, through diverse percussive sounds and passages of great virtuosity that dialogue with the orchestra with agility and skill. The third movement, “Jade,” is a sonorous, intimate reflection on the meaning and history of these subterranean rivers, where everything comes to life: the limestone eroded by the sands of time, the jade-green color and sound of the water, the cascades of reflected light, and even the humid aroma of the damp earth lining its banks. It has also been my wish that toward the end of this movement, the music shall metaphorically represent the natural disaster caused by major human industries and their relentlessly predatory machinery through constant, yet diverse rhythmic motifs that are repeated insistently with a mechanical pulse that brings us to a final climax, dissolved by the hopeful song of the cello. Finally, in the fourth movement, “Toh’s Flight,” the music nimbly unfolds with absolute freedom, manifested as a sonorous presage of sorts, in hopes that the toh bird will not lose its place in the rainforest, despite the deforestation and ecological destruction that threaten its existence.

As a form of protest, Dzonot constitutes my way of calling for an end to our neglect of the challenge presented by the urgent need to preserve these ecosystems within the context of the ongoing climate crisis. This composition is dedicated to the cellist Alisa Weilerstein, and was commissioned by the Los Angeles Philharmonic under the direction of Gustavo Dudamel.

—Gabriela Ortiz

New York Times
“evocative ... plush, flowing phrases pierced with soft, Debussyan light … brooding double-stops and expressive melodies … cosmic”

Los Angeles Times
"The concerto is full of sonic imagery that travels above and below ground, down to the rivers in deep caverns and up in the skies."

Musical America
“expressive intensity ... a distinctively fresh voice.”
“This challenging, engaging, and substantial work in four movements makes a credible bid for acceptance into the small group of major cello concertos.”

New York Magazine
"glittering, complex, and ornate"
"Ortiz’s music penetrates into those underground lairs, sounding out the mythologies they incubate, the creatures they nurture, and the cacophonous threat from tourism, roads, and industry.”

Seen and Heard International
"bold, absolutely dazzling for the orchestra"
"Dzonot ... is musically about passion, color and the kind of energy that only the most intrepid of soloists have the courage and chops to take on."

Bachtrack
“I can't remember when I've heard music that captured not only the natural world but an emotional response to it so vividly.”
“The first movement, Luz vertical (Vertical Light) ... evokes not only travel through a gorgeous landscape, but the awe it inspires, and manages to populate that landscape with diverse flora and fauna as well.”