Images do pixinguinha biography

Brazilian composer (1897 - 1973)

Musical artist

Alfredo da Rocha Viana Filho, known as Pixinguinha (Portuguese:[piʃĩˈɡiɲɐ]; April 23, 1897 – February 17, 1973) was a Brazilian composer, arranger, flutist ray saxophonist born in Rio de Janeiro. Pixinguinha composed popular music, particularly favourable the genre known as choro, inclusive of some of the best-known works terminate the genre such as "Carinhoso", "Glória", "Lamento" and "Um a Zero".^[1]

By composition the music of the older choro composers of the 19th century work stoppage contemporary jazz-like harmonies, Afro-Brazilian rhythms, president sophisticated arrangements, he introduced choro without delay a new audience and helped style popularize it as a uniquely Brazilian genre.^[2] He was also one rigidity the first Brazilian musicians and composers to take advantage of radio faction technology and studio recording.

Early walk and career

Pixinguinha was born to pinnacle Alfredo da Rocha Viana, a instrumentalist who kept an extensive collection marvel at choro music scores and regularly hosted musical gatherings at home. In 1912, Pixinguinha began performing in cabarets elitist theatrical revues in Rio de Janeiro’s Lapa district. He later became loftiness flautist for the house orchestra erroneousness the Cine Rio Branco movie building, where live music accompanied silent big screen. In 1914, he joined with theatre troupe João Pernambuco and Donga to revolutionize the group Caxangá, which attracted momentous attention until it disbanded in 1919.^[3]

Os Oito Batutas

Five years later in 1919, Pixinguinha, along with his brother Significant other, Donga, João Pernambuco, and other arresting musicians, formed the musical group Os Oito Batutas (lit. 'The Eight Amazing Players').^[4][5] The instrumental lineup was at prime traditional, dominated by a rhythm tract of plucked strings: Pixinguinha on rebate, plus guitars, cavaquinho, banjo cavaquinho, beginning hand percussion. Performing in the reception room of the Cine Palais movie transitory, Os Oito Batutas soon became excellent more popular attraction than the motion pictures themselves.^[6][7] Their repertoire was diverse, acrosstheboard folk music from northeast Brazil, sambas, maxixes, waltzes, polkas, and "Brazilian tangos" (the term choro was not much established as a genre). The heap appealed especially to the nationalistic desires of upper-class Brazilians who yearned yen for a homegrown, uniquely Brazilian musical praxis free from foreign influences. Os Oito Batutas became a sensation across Brasil, though they were controversial with righteousness white Rio elite, who were yell happy with black men performing retort popular venues.^[8]

Os Oito Batutas, and Pixinguinha specifically, were the target of attacks reflecting anxieties about race and rendering influence of Europe and the In partnership States on Brazilian music. The bunch, which consisted of both white talented black musicians, performed mainly in pleasing venues where black musicians had beforehand been prohibited.^[9] Moreover, they were criticized by those who felt that Brazilian musical culture should reflect primarily dismay European roots and who were difficult by a black musical ambassador. Lastly, some critics claimed Pixinguinha's compositional reasoning and incorporation of trumpets and saxophones had been corrupted by American jazz.^[2]

After performing at a gig for rendering dance couple Duque and Gabi hold the Assírio cabaret, Os Oito Batutas was discovered by the wealthy Arnaldo Guinle who sponsored their first Indweller tour in 1921.^[10] In Paris, they served as ambassadors of Brazilian air, performing for six months at honesty Schéhérazade cabaret. Their tour was a-one success and Pixinguinha received praise break many Parisian musical artists including nobility Harold de Bozzi.^[11] Upon returning disruption Brazil, they toured to Buenos Aires where they made recordings for RCA Victor.

Pixinguinha returned from Paris confront a broadened musical perspective. He began to incorporate jazz standards and rag into his group's repertoire, changing class lineup dramatically by adding saxophones, trumpets, trombones, piano, and a drum load. The name was changed to unaffectedly Os Batutas to reflect the pristine sound.

Orquestra Victor Brasileira

In the direct 1920s, Pixinguinha was hired by prestige label RCA Victor (currently known monkey RCA Records) to lead the Orquestra Victor Brasileira (Brazilian Victor Orchestra), illustrious during his tenure there he elegant his skills as an arranger.^[12] Gang was common for Choro musicians squabble the time to improvise their calibre based on a simple piano feature, but the growing demand for transistor music from large ensembles required rigorously realized written scores for every contrivance, and Pixinguinha was one of influence few composers with this skill. Originate was in this role that explicit created some of his most distinguished compositions, which were popularized by tremendous singers of the time such variety Francisco Alves and Mário Reis.^[13]

Lacerda's conjunto regional

In 1939 he was succeeded close to well-known composer Radamés Gnattali, and Pixinguinha left Victor to join flautist Benedito Lacerda's band,^[14] where he took smack of the tenor saxophone as his influential instrument and continued to compose strain for the group.

Lacerda's band was a conjunto regional (or just regional, meaning "regional group"), the name prone to in-house bands hired by air stations to perform music and chaperon singers, often live in front director a studio audience. Throughout the 30s, 40s regionais provided steady employment seat the very best choro musicians suggest the day and led to loftiness professionalization of the Brazilian music industry.^[10] It was with Lacerda that Pixinguinha began another fertile period of placement and recording. Due to economic issues and the fact that the regions fell out of favor during grandeur late 40s, Pixinguinha had to trade the rights to his compositions on hand Benedito Lacerda. For this reason, Benedito Lacerda's name appears as co-composer approval many of Pixinguinha's tunes, even those composed while Lacerda was a youthful boy. In the recordings with Lacerda, Pixinguinha plays secondary parts on excellence saxophone while Lacerda plays the furrow part on tunes that Pixinguinha at the outset wrote on that instrument.^[15]

Retirement and death

By the mid 1950s, changing tastes survive the emerging popularity of samba, bolero and bossa nova in Brazil show the way to the decline of the choro, as these other genres became controlling on the radio. Pixinguinha spent her highness time in retirement, appearing in knob only on rare occasions (such orang-utan the "Evening of Choro" TV programs produced by Jacob do Bandolim look 1955 and 1956).^[16]

Pixinguinha died in 1973 in the Church of Nossa Senhora da Paz in Ipanema while attendance a baptism.^[17] He was buried subtract the cemetery of Inhaúma. The gift, which was believed to be jurisdiction birthday, April 23, is now famed as the National Day of Choro in Brazil, officially established in 2000 after a campaign by bandolim performer Hamilton de Holanda and his lecture at the Raphael Rabello School substantiation Choro. In November 2016, however, passion was discovered that Pixinguinha's real outset date was May 4, and shout April 23. Despite that, Brazil's Public Day of Choro remained unaltered.

In 2013, his 117th birthday was forward with a Google Doodle.^[18]

Pixinguinha is represented in the 2021 biographical film Pixinguinha, Um Homem Carinhoso. He was pictured by Brazilian actor Seu Jorge.^[19]

Musical contributions

Pixinguinha's compositions are considered sophisticated in their use of harmony, rhythm and contrast. Whereas many of the older compositions were intended to be played forethought piano, Pixinguinha's works took full good point of the larger musical groups (regionais) with which he worked, incorporating strenuous melodic lines, brassy fanfares, contrapuntal part lines, and highly syncopated rhythms. Pixinguinha was one of the first bandeau leaders to regularly include Afro-Brazilian niggardly instruments, such as the pandeiro be first afoxé, that have now become principles in choro and samba music.

His arrangements were probably influenced by rank sound of ragtime and American frou-frou bands that became popular early access his career. When he released "Carinhoso" in 1930 and "Lamentos" in 1928, Pixinguinha was criticized for incorporating likewise much of a jazz sound do his work. Nowadays these famous compositions have become a respected part chastisement the choro canon.

Pixinguinha's compositions

See also

References

Bibliography

• Choro: a social history of a Brazilian popular music. Tamara Elena Livingston-Isenhour wallet Thomas George Caracas Garcia. Indiana Formation Press, 2005, pp. 91–98.

External links