Dr. Oswaldo Zapata Faculty Recital: Bridging Borders

The UTSA Departm ent of M usic Presents

BRI DGI NG BORDERS NEW SOUTH AM ERICAN M USIC FOR TRUM PET & PIANO

MONDAY,FEBRUARY28,2022|UTSARECI TALHALL7: 30PM

PresentedBy:

GuestMusi ci ans:

D r. O sw aldo Zapata, trum pet

Prof. Jeffery Castle, trum pet

D r. K asandra K eeling, piano

Prof. Paul M illette, percussion

Bridging Borders: New South American Music for Trumpet & Piano Program Notes

Date/Time: Monday, February 28, 2022 at 7:30PM, UTSA Recital Hall Presented By: Dr. Oswaldo Zapata, trumpet, and Dr. Kasandra Keeling, piano Guest Musicians: Prof. Jeffery Castle, trumpet, and Prof. Paul Millette, percussion Summary: This lecture-recital will explore different types and styles of Latin American music.

We will show how its roots and history are common to the music of almost all countries south of the U.S. border by introducing listeners to four new pieces for trumpet and piano by South American composers from Colombia, Ecuador, Peru, and Brazil. This lecture-recital is presented in conjunction with the release of the recording Bridging Borders.

Program: • Mi Vecino el Cotopaxi - Sixto Germán Gallegos Castillo (Ecuador) • Concertino Brasileiro No. 1 for Trumpet and Piano - Gilson Antunes dos Santos Junior (Brazil) o I. "Pequi" Concertante o II. Outono Perdido o III. Maracatú Nação • Preludio, Huayno y Posludio - Leonardo Mendoza (Peru) • Canción de la Ninfa - Juan Felipe Naranjo Gallo (Colombia) • Libertango - Astor Piazzolla (Argentina) ___________ Mi Vecino el Cotopaxi - Sixto Germán Gallegos Castillo (Ecuador) Sixto Germán Gallegos Castillo, from Chimborazo, Ecuador, attended the Conservatorio Nacional de Música de Quito, where he also taught clarinet and saxophone for 28 years. In 2012, he obtained his Masters in Pedagogy and Musical Research from the Universidad de Cuenca in conjunction with the Pontificia Universidad Católica de Quito. He currently devotes his time to composition, and has written six works using different traditional Ecuadorian rhythms, arranging them for various instrumental ensembles. El Cotopaxi, one of the tallest volcanoes in the world, erupted in 2015 for the first time in a century, alarming the Ecuadorian community and attracting attention worldwide. This event inspired Mr. Gallegos to compose Mi Vecino el Cotopaxi, which describes different moments associated with the eruption: the suspense and surprise with which people reacted (initial cadenza), the joy and happiness felt when the calm returned (albazo, a traditional Ecuadorian musical genre), the worry about additional eruptions (final cadenza), and the uneasiness and panic provoked by a volcanic eruption (final effect). ___________

Concertino Brasileiro No. 1 for Trumpet and Piano - Gilson Antunes dos Santos Junior (Brazil) Gilson Antunes dos Santos Junior was born in São Gonçalo, Rio de Janeiro, Brazil. He holds music degrees from the Universidade Federal do Estado do Rio de Janeiro (UNIRIO). He is active as composer, arranger, and trumpet player in Rio de Janeiro. Concertino Brasileiro No. 1 for Trumpet and Piano (2019) was originally written as a series of three separate pieces, which have now been combined to form a three-movement composition. Each movement was written in honor of a Brazilian trumpet player: I. “Pequi” Concertante for Antonio “Tonico” Cardoso, II. Outono Perdido for Otávio Nestares, and III. Maraçatú Naçao for Erick Venditte. The first movement is a play on the word pequi (a Brazilian fruit) and the French petit concertante (small concert). The second movement, “Lost Autumn” for flugelhorn and piano, was written during the second week of lockdown during the COVID-19 pandemic. The third movement was written for Venditte, the winner of the first online trumpet soloist contest in Brazil, and opens with a tribute to Hummel before continuing with a maraçatú (a Brazilian performance genre). ____________ Preludio, Huayno y Posludio - Leonardo Mendoza (Peru) Preludio, Huayno y Posludio, by Leonardo Mendoza, was composed in 2013. It originated through playing trumpet and piano duets with his composition professor, Fernando Fernández.

Though he does not consider himself a nationalist composer and has also taken inspiration from classical music, jazz, and other sources, this piece was influenced by audio recordings of tunes collected from remote parts of the Peruvian Andes. Preludio, Huayno y Posludio combines three clearly defined sections (movements) into one seven-minute work. The composition has characteristics typical of classical music in its opening and closing sections, with a traditional huayno in between these. The first and third movements use the same motif, but with a different structure, reharmonized, and in a different key. Huayno (Wayñu in Quechua) is a genre of popular Andean music and dance originally from a mountain range in Peru. It is especially common in Peru, but also present in Chile, Bolivia, Argentina, and Ecuador, and is practiced by a variety of ethnic groups, especially the Quechua people. The piece references Andean tonal colors through the pentatonic scale and the use of rhythms found in huaynos, which are combined at times with the use of quartal harmonies. The piece was revised and performed by Aldo Villareal (trumpet) at the Universidad Nacional de Música in Lima and was well-received. ____________ Canción de la Ninfa - Juan Felipe Naranjo Gallo (Colombia) Canción de la Ninfa is the second work in a set of songs for solo instruments and piano written by young Colombian composer Juan Felipe Naranjo Gallo. The set represents Naranjo’s vision of several mythological creatures from different cultures around the world. A native of Bogotá, Colombia, Naranjo studied composition under Prof. Gustavo Parra at the Universidad Nacional de Colombia. His works are characterized by their clarity and the use of traditional Colombian motifs. Canción de la Ninfa, composed in 2016, is a clear example of this. It is in the style of Bambuco, a Colombian genre in 6/8. It is written in three parts: vivo-lento-vivo, and includes a

coda that ends the piece in a peaceful and lyrical manner. Canción de la Ninfa uses the trumpet as the main melodic instrument throughout the entire piece without taking away from the importance of the piano, and explores a wide range of tone and color. ___________ Libertango - Ástor Piazzolla (Argentina) Libertango was recorded and published in Milan in 1974. The title is a portmanteau merging "Libertad" (Spanish for liberty) and "Tango," symbolizing Piazzolla's break from Classical Tango to Tango Nuevo. Although Libertango was born as an instrumental piece, in 1990, the Argentinian poet Horacio Ferrer added Spanish lyrics based on the theme of freedom. According to the performance database at All Music Guide, the composition has appeared on over 500 separate releases.

----------------Oswaldo Zapata Oswaldo Zapata currently holds the position of Assistant Professor of Trumpet and Brass Area Coordinator at The University of Texas at San Antonio. Dr. Zapata previously taught at Texas A&M International University (TAMIU) in Laredo, TX, where he was the Assistant Professor of Music - Trumpet and Director of Mariachi. He is originally from Caldas, Antioquia, Colombia (near Medellín), where he began his musical journey by playing the trumpet in the town band.

He has performed with the Laredo Philharmonic Orchestra, Corpus Christi Symphony Orchestra, Mid-Texas Symphony, Piccolo Spoleto Festival Symphony Orchestra, and Orquesta Filarmónica de Bogotá, among others. He has appeared as a soloist with the UTSA Orchestra, TAMIU Symphonic Band, TAMIU Chamber Orchestra, University of South Carolina Symphony Orchestra, and Universidad de Colombia Symphony Orchestra. Additional ensemble experience includes Latin ensembles, brass quintet, brass ensemble, and trumpet ensemble.

Dr. Zapata has studied trumpet under Professors David Hickman, James Ackley, Allen Vizzutti, and Fernando Parra. He holds a Bachelor of Music in Performance with an Emphasis in Instrumental Pedagogy from the Universidad Nacional de Colombia, a Certificate of Graduate Study in Music Performance and a Master of Music in Trumpet Performance from the University of South Carolina, and a Doctorate of Musical Arts (DMA) in Trumpet Performance from Arizona State University. While at ASU, he was a Graduate Teaching Assistant for both the mariachi program and the trumpet studio.

Dr. Zapata lives in San Antonio, TX with his wife, Sarah, and their sons, James and Thomas.

Kassandra Keeling Pianist Kasandra Keeling is currently Professor of Music and Coordinator of Keyboard Studies at the University of Texas at San Antonio. She holds undergraduate and graduate degrees from

the University of Houston where she studied with Nancy Weems and earned the Doctor of Musical Arts degree from the University of Colorado at Boulder where she studied with Alvin Chow and Larry Graham. Dr. Keeling is a recipient of the Outstanding Achievement Award in Collegiate Teaching given by the Texas Music Teachers Association, the President’s Distinguished Achievement Award for Performance from UTSA, and was the 2014 concerto division winner of The American Prize for her performance of Rachmaninoff’s Rhapsody on a Theme by Paganini. She has appeared as a soloist, chamber musician, and orchestral soloist throughout the United States, Canada, and Mexico, including performances at Steinway Hall in New York City, the Teatro Degollado in Jalisco, and the Royal Conservatory of Music in Toronto. Dr. Keeling has also presented and/or performed at the national conferences of the Music Teachers National Association, the American Strings Teachers Association, the National Flute Association, and the Canadian Federation of Music Teachers Association. In 2007, she served as a visiting professor in mainland China at both the Central Conservatory in Beijing and at Nanjing Normal University and beginning in 2014, she has served each summer on the piano faculty of the Interlochen Arts Camp in Michigan.

UTSA DEPARTMENT OF MUSIC 2021-2022 SEASON

@utsamusic music.utsa.edu

THE UNIVERSITY OF TEXAS AT SAN ANTONIO