SONGS AND DANCES
OF BRAZIL
ROBERT LINDAHL
TROMBONE
RUBIA SOUZA SANTOS
PIANO

GUEST ARTIST CONCERT SERIES
KATZIN CONCERT HALL
SUNDAY, OCTOBER 7, 2007 • 7:30 PM

M USIC
1-ferbergerCollege
of the

Arts

ARIZONA STATE UNIVERSITY

Program
Jose Alberto Kaplan
(b. 1935)

Tres Pecas (1987)
1. Humoresca
2. Noturno
3. Tarantella

Gilberto Gagliardi
(b. 1922)

Cantiga Brasileira

Ernst Mahle
(b. 1929)

Concerto para trombone (1983)
Moderato
Adagio
Vivo

**There will be a 10-minute intermission**
Osvaldo Lacerda
(b. 1927)

Andante para trombone e piano

Aria from "Bachianas Brasileiras
No. 5" (1938)

Introducdo e/ao Desafio

Heitor Villa-Lobos
(1887-1959)
Arr. Primrose/Santos
Edmundo Villani COrtes
(b. 1930)

Three Dance
Escorregando (Tango Brasileiro)
Brejeiro (Tango)
Apanhei-te, Cavaquinho (Choro

Ernesto Nazareth
(1863-1934)
Arr. Santos/Lindahl

*********** ****
Out of respect for the performers and those audience members around you, please
turn all beepers, cell phones and watches to their silent mode. Thank you.

Kaplan: The composer was born in Argentina, but adopted a Brazilian citizenship when he
moved to the Northeastern region in the beginning of the 1960s. Influenced by that rich and
popular musical environment, Kaplan uses rhythm as the main feature in all three pieces. In
the Humoresca, rhythm portrays a playful character as it is found in the country bands; in
the Noturno, a cantabile melody played by the soloist, is underlined by a rhythmic pattern
reminiscent of the aboio song used to call the cattle in the woods; and at last in the
Tarantella the rhythm alludes to the Italian dance form, performed in a quick 6/8 meter.
Gagliardi: The Cantiga Brasileira uses one of the most genuine Brazilian popular forms,
the so called modinha. It is a form of art song, characterized by melodic simplicity and
naïve character. In contrast to the melodic simple line, the composer makes use of a
romantic style evident in the piano flourished figurations.
Mahle: The work demands great technical and virtuosic display from the soloist. Although
composed in 1983, it wasn't premiered until 1990. The concerto follows the traditional
formal scheme of fast-slow-fast movements. The first movement, Moderato, is a vigorous
march, which emphasizes the regional melodic feature of fourth intervals. The Adagio
introduces a nostalgic melody, performed first by the piano in a long introduction. The
cantabile character, chordal texture, and varied rhythm found throughout the movement,
conveys a quasi recitative style within it. The last movement, Vivo, is remarkably exposed
by the use of folk dance tunes, syncopations, and modality, more specifically the
mixolydian mode. The soloist performs with great witty and humor, using the features of
glissandos and high tessitura.
Lacerda: In this lyrical and mystical work, Lacerda explores musical features of the
nationalist style, combining them with a modem and highly chromatic harmony. The
simple and melancholic line played by the trombone is supported by a lush and sonorous
pianistic idiom, such as the generous use of pedal, arpeggiation, and open-space texture.
Villa-Lobos: This work was originally written for soprano and orchestra of cellos. The
trombone takes the woman's voice and sings out, imitating the humming technique found
in the outer sections of the original piece. This tender melody is accompanied by a
counterpoint of pizzicato articulation, imitative of strumming guitars. In contrast to this
section, the middle section is performed with a grandeur character and lush sonorities,
alluding to the wild, tropical, and dense nature found in the forests of Brazil.
Villani-Cortes: The Introduction is a "warm-up" display, played by both instruments,
which will finally blend in the delivery of the second part of the work, the Desafio. Desafio
is a popular musical form found in the Northeastern region of Brazil, which involves a
play-game between performers. They use their instrumental ability, trying to overplay one
another, distinguishing themselves by virtuosity and vitality.
Ernesto Nazareth: The Tango Brasileiro and the Choro are Brazil's native musical forms.
Nazareth is credited as the "inventor" of the former style, which was influenced by many
other dance styles, such as the Habanera and the Polka. The choro, Apanhei-te,
Cavaquinho, is a "show-off" piece, even more in the recital today, in which the mellow and
full tone of the trombone will "imitate" the tiny and high-pitched timbre of the cavaquinho.
This instrument, a small shaped guitar, originates in Portugal and Brazil.

Brazilian pianist Rubia Santos has lectured and performed as recitalist, collaborative
pianist, and soloist in the Americas, Europe, and Asia. The Frankfurter Algemeine Zeitung
stated: "The audience was not only astonished by Ms. Santos's provocative pianism, but
also by her enthusiastic temperament...." Ms. Santos is particularly devoted to research,
perform, and recording music by twentieth-century and contemporary Brazilian compose
She is a recipient of many prizes and awards in the field of collaborative piano and has
partaken in several research projects dealing with Brazilian art music. In the US, Ms
Santos's collaborative work is featured in two compact-disc recordings: A Brazilian
Collection, with trumpeter Luis Engelke, and Moyugba Orisha with violist Juan-Miguel
Hernandez, who is the 2006 Sphinx Competition gold award winner. In 2006, Ms. Santos
was featured as the artist in residence for the Kalamazoo Symphony Orchestra-Gilmore
Foundation in school partnership presenting "Brazil –Piano style." Currently, Ms. Santos is
assistant professor of piano and collaborative arts at the University of Wyoming.
Previously to this appointment, she was in the faculty at Central Michigan University. Ms.
Santos holds an artist diploma in piano performance from the Musickhochschule in
Cologne, Germany, and a master's and doctoral of musical arts degrees in collaborative
piano from Arizona State University (2004). She is an active member of the, Mediterranean
Studies Association, College Music Society and Music Teachers National Association.
Robert Lindahl has served as trombone professor at Central Michigan University since
1992. He is an artist/educational consultant for C.G. Conn Musical Instruments and has
served as a guest artist and clinician throughout the United States. He performs regularly in
many different venues and has played with the Midland Symphony Orchestra, Traverse
City Symphony, Saginaw Bay Orchestra, Bijou Orchestra of Bay City, Lansing Symphony
Big Band, The Usual Suspects Jazz Band, CMU Faculty Jazz, and has appeared regularly
as lead trombonist with the Jimmy Dorsey Orchestra. Lindahl can be heard on the recently
released White Pine Label recording "Caught in the Act", with the Central Michigan
University Jazz Faculty. Robert's main area of research is in the area of trombone
pedagogy for grade 7-12 students. In 1999 Lindahl received the CMU "Excellence in
Teaching" award. He is also an advocate of student organizations and in addition to
serving as faculty adviser for the CMU Delta Omicron Professional Music Fraternity, is on
the Board of Directors as National Music Adviser. Dr. Lindahl earned a B.S. in Music
Education from Clarion University of Pennsylvania (1980), a M.M. in Trombone
Performance from Youngstown State University (1984), and a D.M.A. in Trombone
Performance from Arizona State University. He has also served as Director of Bands at
Eastern New Mexico University and Titusville (PA) High School. His principal teachers
have been Dean Farnham, Vern Kagarice, Mike Crist, and Gail Eugene Wilson.

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