Maestro Maurício Galindo - The baton that takes music further

By Joana Patacas, on April 5, 2024*

Education, sharing and legacy are the notes that make up the symphony of Maestro Maurício Galindo 's life , a striking presence on the musical scene, whose baton guides not only orchestras but also minds and hearts in the discovery of classical music.

Rooted both in Brazil and, now, in Portugal, he has had a remarkable career, guided by a tireless commitment to making classical music accessible and understandable.

For Galindo, the essence of music extends far beyond notes and scores, as it is also found in the stories of those who interpret and experience it. It reveals a depth that transcends its execution, opening the way for the sharing of experiences. In this sense, music assumes the role of a universal language, which must be accessible to everyone:

“ The mission we have as musicians is to share this treasure not only with our generation, but also with future ones. After all, the true essence of music lies in its ability to unite people, to cross generations, and to enrich everyone's lives. This is the legacy we should aspire to leave. ” - Maestro Maurício Galindo, 2024.

His training was marked by masters such as the French composer Michel Philippot, founder of the Instituto de Artes do Planalto at Unesp; violinist and teacher Alberto Jaffé, pioneer in collective string teaching; and pianist and professor Sigrido Levental, from the Brooklin Paulista Conservatory.

Currently living in Vila do Conde, Maestro Galindo divides his time between Portugal and Brazil, now preparing to enter the Portuguese music scene. With a wealth of accumulated experience, he is determined to promote music in Portuguese lands and promote a profound cultural exchange between the two countries:

“ What really distinguishes me is my ability to create a bridge between the Brazilian and Portuguese repertoire, enriching musical experiences through commented concerts. Furthermore, I want to contribute to music education by offering lectures, workshops and internships at conservatories. ” - Maestro Maurício Galindo, 2024.

In this interview with Maestro Maurício Galindo , we invite you to discover the unique journey of a contemporary classical music virtuoso, whose career distinguishes him both as an artist and as a person.

When did music start to be part of your life?

Too early. I actually don't even remember. My mother says that, since I was a baby, I would only sleep if she put a record on the “turntable”. When I came to my senses, I was already listening to music. In my childhood, when we arrived at public school we were immediately lined up. Every day we sang. This was, in fact, a legacy of the orpheonic singing project that Villa-Lobos introduced in Brazil in 1932. Even though in Brazil this project was officially completed in 1971, I still benefited from it, as I started primary school in 1966, at the age of six. That was fascinating to me. I loved coming to school and singing. We sang three, four songs from Brazilian folklore, which has a lot of Portuguese folklore.

And when did you start changing instruments?

When I was around 11 years old, in 5th grade, I had a music teacher who encouraged us to sing. She didn't waste time just explaining theory, like what a treble clef or a sixteenth note was. We just sang. At the end of the year, she organized a performance with a mega choir, bringing together children from several schools. I loved that. And one day she observed me and said: “Come here, you’re not just going to sing, you’re going to play a percussion instrument too.” And he handed me a rattle. I felt that she trusted me. That for me was a glory. I think that's when I started thinking about taking music a little more seriously.

Did your parents encourage you?

My parents were my biggest reference. My mother studied at a Catholic school as a boarder and what she liked most was singing in the choir. She told me about this often. My father had been a radio singer until he got married. From my mother came the taste for classical music and, from my father, for Brazilian popular music. My interest in music grew. There was a time in Brazil when we bought issues on the lives of composers at the newsstands, and they came with an album. I, who was already used to listening to my mother's records, started saving money to buy these issues, which already showed a very particular taste for music. But I think it was the day the teacher gave me that rattle that I started thinking seriously about studying music. The funny thing is that, although my father and mother had a previous musical life, they didn't take the initiative to put me in a conservatory. I think maybe they didn't want me to become a musician... My father always said I was going to be a doctor, and I thought I was going to pursue a profession in the field of exact sciences, which I still really like today.

However, he ended up winning a place as a violist in the São Paulo State Youth Symphony Orchestra. How did your musical training begin?

Yes. It was a great achievement, but also a great challenge, as I had to overcome a musical education that, although it started early, was never designed to make me a professional musician. When deciding on music, I had to study a lot to fill my gaps, as well as overcome my anxiety and insecurity. All this passed when I won a place as a violist in the Youth Symphony Orchestra. From then on, everything went well. But before that, there was a phase in which I became interested in popular music and studied jazz. I started taking guitar lessons, but in the context of jazz music, not classical music. Until one day, when I was already playing reasonably well, a colleague told me that in São Paulo they were starting a project similar to “El Sistema”, from Venezuela [a musical teaching model, designed and created in Venezuela by José Antonio Abreu] . And I went to check it out. I wanted to experience what it was like to learn an orchestral instrument and play in an orchestra, although it was a bit late for that, as I was already around 15 years old. However, the guitar and jazz classes were very serious classes and I had a very firm and dedicated teacher who taught me many things – solfeggio, reading chords, harmony – and helped to fill some gaps in my musical training. I was very lucky. So, as I already knew a little about music, at 18 I entered the Bachelor of Music Course at UNESP, which opened many doors for me. I started to interact with very high-level people. We even had three French teachers who came to found the school’s music department. I was a student of composer Michel Philippot and French musicologist Roger Cotte. They were incredible teachers. It was a huge leap in quality.

So, that's how it all started.

Yes. Even while I was studying my bachelor's degree in music, I took viola lessons with Professor Alberto Jaffé, who I always like to remember, as he followed a very efficient teaching system and now little is said about him. At that time, I started playing as a violist in the Orquestra Jovem da Cidade de São Paulo, made up of students, but playing classical professional repertoire. I continued my studies with Professor Jaffé at the Center for Musical Studies at SESC in São Paulo. When he went to live in the United States, I, as an outstanding student, started teaching him. For 14 years I taught string instruments with bows in groups and looked after the orchestras formed by young people. It was my first contact with conducting work.

That was my next question. How did you become an orchestra conductor?

During our bachelor's degree we had conducting classes. In other words, it was not an instrument course, but rather a specialization in composition and conducting. I really liked the idea of being a composer, of knowing how to write, of making orchestrations and arrangements, but I never thought about being an orchestra conductor. But professionally I had to take care of string groups, I had to write arrangements and rehearse with them, that's how I started, with very simple pieces. In 1990, he was the only Brazilian selected for the “1st Inter-American Meeting for Young Orchestra Directors”, in Caracas, Venezuela, sponsored by “El Sistema”. It was an incredible experience, because effectively, every morning, we conducted a professional orchestra. It was all filmed on video and during the afternoon we met with the teacher and watched videos of ourselves conducting and… he “destroyed” our work! It was a very serious program and I was very lucky. I learned a lot from the Argentine professor Guilhermo Scarabino, a great orchestra director. It was like having a two-year course compressed into a single month, with daily practical conducting experience. As soon as I returned to Brazil I was invited to take over the direction of the São Paulo State Youth Symphony Orchestra. It was my first professional job as a conductor and I stayed there until 2011. Everywhere I go, I stay for a long time!

Over the years he was conductor of several orchestras. He also had a long stay at the Orquestra Brasil Jazz Sinfônica as conductor and artistic director. How was this experience?

The São Paulo State Youth Symphony Orchestra and the Brasil Jazz Sinfônica Orchestra rehearsed in the same place. The Jazz Sinfônica rehearsed in the afternoon, and the Youth Orchestra in the evening. I used to arrive early to watch some of the Jazz Sinfônica rehearsals. Many of the musicians were colleagues, as I was also a professional musician at the time, playing viola in the São Paulo State Symphony Orchestra (Osesp). One day, the Orquestra Jazz Sinfônica needed a guest conductor for a more classical repertoire, and I was invited. It was an interesting experience, but at first I faced some challenges due to indiscipline. I really value rigor. In this I was influenced by the conductor Eleazar de Carvalho, with whom I had the honor of working as a violist. He was a man of rigorous methods, very disciplined, trained under the tutelage of Serguei Koussevitzky in Boston. So, at first, I ended up fighting with the orchestra because they were quite undisciplined, something common among musicians who came from both the classical and jazz worlds. I remember that in the middle of a rehearsal, I actually closed the score, got angry with everyone and left. But then the musicians recognized the importance of my work, met as an assembly and decided to invite me to be the assistant director of the orchestra. I ended up accepting the position, became the chief conductor [until 2024] and was the artistic director for 12 years [2005-2017]. Eventually, I got tired of all the responsibility that fell on me and decided to move to Portugal, looking for a slowdown in my professional life.

What motivated you to move to Portugal and how did that decision affect your career?

My wife and I came to spend holidays here in 2005. I already knew Portugal, but for her, it was the first time, and she fell madly in love. The following year, we returned, and so it went every year. In the meantime, I conducted many concerts across Europe, in Latvia, Italy, Turkey... Whenever I had these commitments, I found a way to spend five days in Lisbon, and my wife came along. Until one day, she expressed the desire to truly live in Portugal, experience everyday life, what it's like to go to the bakery, the supermarket... That was in 2017, at a time when I already felt quite worn out with the artistic direction. . My cardiologist, concerned about my well-being, suggested that I leave São Paulo, highlighting how stressful the city was. I got home that day and shared the doctor's advice with my wife. Immediately, she said: "Then let's go to Portugal." And here we are.

But are you still traveling for work?

Yes. I suggested continuing to conduct Jazz Sinfônica concerts as conductor emeritus. The current artistic director is a great friend, and we organize an annual calendar that allows me to go to Brazil five to seven times a year. Travel doesn't bother me; I even like flying. This change was necessary to slow down, but it also allowed me to remain connected to the orchestra without having to solve all the problems inherent to artistic direction. Now I focus more on the repertoire and rehearsals. In a way, I got used to this life.

Do you already have professional projects in Portugal?

Not yet, but I miss getting involved with the Portuguese music scene, doing something here. I'm not looking for a permanent job, as I still maintain my ties with Brazil, but I want to actively participate in the Portuguese music scene. Last month I had the opportunity to travel with a team of Portuguese teachers to Luanda, Angola. It was a fascinating experience. A friend of mine, who is a piano teacher at the Porto Conservatory, created a project and presented it to DG Artes, with the aim of sending a group of teachers to Luanda to carry out a week-long internship. She invited me to participate in this initiative. During my stay, I had the pleasure of meeting several local teachers and exploring some works and musical styles from Angola. I was truly excited by what I saw and learned. Furthermore, the trip provided an excellent opportunity to meet Portuguese teachers, with whom I established good friendships. It was a very enriching experience, both professionally and personally.

His work also has a very didactic aspect. Is your goal to demystify and promote classical music?

I really dedicated myself to teaching and promoting music. And I fell in love with it. My old teacher, Roberto Jaffé, always said something that stuck with me: “Music is a formidable treasure of humanity and should be shared with the whole world”. The greatest works of classical music were created with an audience of no more than 10 or 15 thousand people in mind. But the world has evolved. Today, with mass media, this incredible treasure that is music has to be shared with everyone. This lesson led me to teach music in a way that is accessible to everyone.

Was it, therefore, with this objective in mind that you created two radio programs?

Yes. In 2005, I presented to Rádio Cultura FM in São Paulo, which is very similar to Antena 2 here in Portugal, a project that consisted of answering questions from listeners. Rádio Cultura loved the idea and I continue to do it to this day. It’s called “Ask the Maestro”. It's a small, daily program that airs from Monday to Saturday. Listeners send questions via email or phone and I respond. They may know little about the musical world, but they are very curious. Satisfied with the program, Rádio Cultura ordered me another program called “Encontro com o Maestro”. It is weekly and lasts one hour. Then I choose the topic and then do a small analysis in a language that everyone can understand. This turned into two podcasts, which were also the origin of the classes I started teaching online, on my own, during the pandemic, and which I also continue to teach.

He is also musical director of the children's concert series “The Maestro's Apprentice”. Tell us about this project.

It's a pleasure to talk about this project, especially because they allow me to explore other facets of classical music. In São Paulo, I dedicate myself to children's musical education through a series of concerts designed specifically for children. This project started in a very unusual way. I had an actor friend and one day I suggested that we do a performance of Saint-Saëns' "Carnival of the Animals", with him playing the composer himself in 19th century costumes. The idea was for him to enter the scene claiming to be the author of the music, and from there, we would develop a theatrical dialogue, presenting each Carnival piece to young spectators. What started as an experiment turned into a success, thanks to the sponsorship of an association called TUCCA, formed by doctors who treat children with cancer. They, who are passionate about music, proposed that all income from the concerts be donated to Hospital Dias, with the production being financed by funds from the Ministry of Culture. With this, the project solidified and grew.

And the conductor also represents?

Yes of course. We have a complete production with a theater director and playwright, who creates stories involving classical music composers, such as Beethoven, for example. On stage, we have three actors — including myself, who has to memorize lines and interact with the cast — as well as circus artists and dancers. Our goal is to create an immersive experience for children, allowing them to see the orchestra in action and interact with different forms of artistic expression, from circus to ballet, enriched by scenic elements. Furthermore, there is a very strong didactic side to what we do. I make a point of talking to the audience, telling stories about the composers and the time in which they lived, and introducing music in a fun and educational way. We joke with the audience. There are moments when I ask everyone to stand up to experience the difference between the ternary rhythm and the binary rhythm. I ask them to clap and stamp their feet, thus creating an interactive and educational experience. We have performed 28 shows a year, for over 20 years, and I can proudly say that I was one of the creators of this project. It is an immense joy to perform these concerts for children. And the most impressive thing is that we have always had sponsorship, which shows the strength and importance of what we do. I've never seen anything like it anywhere else.

Would you like to bring any of your projects to Portugal?

Undoubtedly. However, I recognize the need for adaptations. For example, our playwright's work in São Paulo, which incorporates jokes and local cultural references, would need to be adjusted for the Portuguese context. Culture and humor are sensitive aspects that vary a lot, and it is essential that any project we bring is relevant and understandable to the public here. If I had the opportunity, I would be extremely happy to perform commented concerts in Portugal. There is, of course, the issue of my Brazilian accent, but I believe that would not be an impediment. Nothing is more rewarding for me than performing a concert where I feel there was true communication with the audience, even if it means choosing a simpler repertoire. I performed commented concerts during the 20 years with the Orquestra Sinfônica Jovem do Estado de São Paulo, which I consider fundamental for a complete musical experience. Of course there are times and places. This cannot be done in concerts with an established format that does not allow comments. In Brazil, the practice of performing annotated concerts is highly valued, and I don't know exactly how this approach would be received in Portugal. But I would really like to bring my passion for music and musical education to the Portuguese public.

Have you ever conducted in Portugal?

Yes, I had the privilege of directing a performance in Coimbra, with fado singers from Fado de Coimbra. The story began a few years ago, after a concert in São Paulo. That night, representatives from the Portuguese consulate came to my dressing room with a very special invitation: they wanted a concert to celebrate Portugal Day to be included in their program the following year. The proposal was to incorporate Coimbra fado into the event in São Paulo. Without hesitation, I accepted the proposal, even without imagining that one day I would live in Portugal. During the planning, I proposed inviting Maria João Granja for the first part of the concert and, for the second, a guitarist from Coimbra, Ricardo Dias, who is simply fantastic. The concert was a success. They wanted to repeat the concert in Coimbra, with the Orquestra Clássica do Centro, but then only the fado part. We also took this concert to Caracas, Venezuela. This was the only time I had the opportunity to drive in Portugal, but it was a remarkable experience and an honor for me. It turned out to be an incredible way to promote Portuguese music around the world. And, of course, what I really want is to have more opportunities to conduct concerts, especially now that I'm living in Portugal.

Do you plan to continue living in Portugal?

Yes, definitely. Initially, my wife and I came to Portugal with the idea of staying for just two years. We chose to go to Vila do Conde, near Porto. At first, we weren't sure what our life would be like here, if we would really adapt and be accepted. But the reality exceeded all our expectations. Since we arrived, we have been incredibly well received by the Portuguese. The welcome was so warm and sincere that we quickly made many friends here, most of them Portuguese. This moved us deeply and made us feel at home. Over time, what was supposed to be a temporary stay turned into a desire to stay. Portugal welcomed us with open arms, and this is where we want to continue our lives. The richness of the experiences we had, the friendship and connection we created with the people here are invaluable. Therefore, our decision is to stay and continue building our life in Portugal.

What are your plans for the future?

What really sets me apart is my ability to create a bridge between the Brazilian and Portuguese repertoire, enriching musical experiences through commented concerts. Furthermore, I want to contribute to music education, offering lectures, workshops and internships at conservatories, for example. I am currently developing material to present to all Portuguese conservatories, including a special lecture on Chiquinha Gonzaga. She is an emblematic figure of Brazilian music, a woman who, born in 1840, defied the machismo prevalent in the 19th century to build a notable career, not only in popular music, but also as the first woman to direct an orchestra in Brazil, and possibly one of the first in the world. Her story is simply fascinating. It is this type of knowledge and experience that I want to share here in Portugal.

If you had to give advice to a young person just starting their career in music, what would you say?

I would share with him the same advice that my teacher gave me, something that has always stuck with me and that I consider invaluable. He said that music is a formidable treasure, a precious asset that must be shared. I would not only reiterate these words, but also emphasize the mission we have as musicians: to share this treasure not only with our generation, but also with future ones. After all, the true essence of music lies in its ability to unite people, to cross generations, and to enrich everyone's lives. This is the legacy we should aspire to leave.

Profile photography of Maestro Maurício Galindo by Dani Gurgel

* Joana Patacas - Communication and Content Consultancy

Want to know more? See one of his memorable orchestral performances below:

See his project “The Conductor’s Apprentice”:

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Podcast «Ask the Maestro» “Meeting with the Maestro ” Program