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Publication Date

Fall 9-25-2012

Year of Release



The Saborio-Alves Duo recently performed this program for the celebration of the Brazilian Independence Da promoted by the Brazilian Embassy in Cos ta Rica. The program features the representative Brazilian music styles of the chôro, baião, valsa­ chôro, jongo, and frevo, and also a Costa Rican bolero..

Andrés Saborío currently teaches at the University of Costa Rica and at the Universidad Nacional. He won several prizes in international guitar competitions such as the first place in the ''V Festival y Concurso Internacional Guitarra de Cochabamba, Bolivia (2008)", the third place in the "I Concurso Internacional de Guitarra de Culiacan, Mexico (2008)" and the Second place in the "Seventh Annual Competition in the Performance of Music from Spain and Latin America, Indiana University (2004)". He has performed as a soloist and as a chamber musician in Costa Rica's main theaters as well as in the USA, Mexico, Holland Spain, Germany, Nicaragua, Panama,. Brazil, Bolivia and Cuba.

Júlio Ribeiro Alves is responsible for overseeing the guitar area at Marshall, teaching applied lessons, guitar literature, guitar pedagogy, guitar techniques., and coordinating the M.U. Guitar Ensemble. He also teaches music theory and aural skills. Active as a solo player and also as a member of the Vio1auta Duo, he performs a wide variety of repertoire from various ethnicities and historical periods. H·e has performed in several Brazilian cities, and also in the USA, Argentina, Uruguay, and Costa Rica.

Program Notes

An avid composer for the guitar, Dilermando Reis recorded over forty albums throughout his career. He established himself as a leading figure in the dissemination of traditional Brazilian styles such as the chôro “Magoado” (“Hurt”) featured in tonight’s program are from his first album recorded in 1941.

João Teixeira Guimarães is considered one of the founders of the guitar chôro style in Brazil. Originally from the northeastern city of Pernambuco (hence the name João Pernambuco “), he moved to Rio de Janeiro in 1904 where he gradually built a reputation as a guitar performer and teacher. “Sons de Carrilhões (“Sound of Bells”) and “Brasileirinho” (“Little Brazilian”) are among his most known chôros.

Another important name of the Brazinian chôros style was composer Aníbal Augusto Sardinha, better known as “Garoto” (“Kid”). The nickname was given because of his early appearances as professional musician at age 11, when he was known as the “Kid of the banjo” (and later, simply “Kid”). The waltz in the chôro style “Desvairada” (“Bewildered”) and the fast-paced “Vamos Acabar com o Baile” (“Let’s Mess up the Party) are both representative pieces of his output of almost 40 albums recorded in a span of 25 years, until his precocious death from a heart attack prior to a tour in Europe.

“Brasileirinho” by Waldir Azevedo is one of the most known standards of the chôro literature. The mood of this :Little Brazilian: largely contrasts from that of Pernambuco’s piece with the same name. The piece was originally composed for the cavaquinho (“Brazilian ukulele”), a four-string instrument in which Azevedo was a virtuoso player. The arrangement for two guitars was made by Brazilian guitarist Eustáquio Grilo.

The name Heitor Villa-Lobos has become a synonym of Brazilian Art Music. The composer’s contribution to the guitar comprises twelve studies, five preludes, a popular suite, a chôro, and a guitar concerto worldwide recognized as one of the main guitar works composed during the twentieth century. The selection in the program is an arrangement of the introduction of the prelude from his fourth “Bachianas Brasileiras”.

Versatility is a trademark in the career of Costa Rican Edín Solis. A well-accomplished composer and guitarist, he also won important prizes as a music producer, sound engineer, and arranger. He has visited and spread Costa Rican music over 30 countries in the Americas, Europe, and Asia. In “Bolero”, originally written for guitar duo, solis shows a refined musical taste writing melodies in traditional Latin-American style, evoking the old tradition of “Serenatas” (“Serenades”) sung under the moon.

Together with his brother Odair, Sérgo Assad integrates the “Duo Assad”, the most prominent guitar duo from Brazil. In “TrêCenas Brasileiras” (Three Brazilian Scenes”), Assad explores the frevo and baião without limiting himself to using only the traditional rhythmic figures of these styles (as in the case of Pinote, where the 5/8 meter brings to mind the image of a wild horse leaping and kicking). The lyrical character of “Victória Régia” (a type of Amazonian water lily) makes the central movement an efficient rest point before the conclusion of the piece by the vigourous “Recife dos Corais” (“Coral Reef”) a baião that fuses, in its rhythmic core, the sonority of mixolydian mode with bits of harmonic dissonance skillfully inserted in rhythmic dialogues between the two guitar parts.

Originally written for solo guitar, “Jongo” made composer Paulo Bellinati known in the European guitar scene at the end of last century after it won first prize in the composition contest at the “Carrefour Mondial de la Guitare” in Martinique. Belinatti remains an active composer, arranger, performer, and scholar (his research led to the revival of the popularity of the guitar works by “Garoto”). The two-guitar version that ends tonight’s program was written in 1989 and dedicated to the Duo Assad.


Johnson Memorial United Methodist Church, Huntington, WV




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Marshall University Music Department Presents The Saborio-Alves Duo