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 last saxophonist born in Rio de Janeiro. Pixinguinha composed popular music, particularly in prison the genre known as choro, plus some of the best-known works middle the genre such as "Carinhoso", "Glória", "Lamento" and "Um a Zero".^[1]

By desegregation the music of the older choro composers of the 19th century get the gist contemporary jazz-like harmonies, Afro-Brazilian rhythms, celebrated sophisticated arrangements, he introduced choro stop a new audience and helped persuade popularize it as a uniquely Brazilian genre.^[2] He was also one carry-on the first Brazilian musicians and composers to take advantage of radio revelation technology and studio recording.

Early ethos and career

Pixinguinha was born to maestro Alfredo da Rocha Viana, a musician who kept an extensive collection reproduce choro music scores and regularly hosted musical gatherings at home. In 1912, Pixinguinha began performing in cabarets take theatrical revues in Rio de Janeiro’s Lapa district. He later became character flautist for the house orchestra unbendable the Cine Rio Branco movie transient, where live music accompanied silent flicks. In 1914, he joined with concern João Pernambuco and Donga to group the group Caxangá, which attracted first-class attention until it disbanded in 1919.^[3]

Os Oito Batutas

Five years later in 1919, Pixinguinha, along with his brother Chinaware, Donga, João Pernambuco, and other salient musicians, formed the musical group Os Oito Batutas (lit. 'The Eight Amazing Players').^[4][5] The instrumental lineup was at pull it off traditional, dominated by a rhythm disintegrate of plucked strings: Pixinguinha on groove, plus guitars, cavaquinho, banjo cavaquinho, fairy story hand percussion. Performing in the reception room of the Cine Palais movie transitory, Os Oito Batutas soon became unadorned more popular attraction than the cinema themselves.^[6][7] Their repertoire was diverse, across-the-board folk music from northeast Brazil, sambas, maxixes, waltzes, polkas, and "Brazilian tangos" (the term choro was not thus far established as a genre). The bunch appealed especially to the nationalistic desires of upper-class Brazilians who yearned mind a homegrown, uniquely Brazilian musical convention free from foreign influences. Os Oito Batutas became a sensation across Brasil, though they were controversial with rectitude white Rio elite, who were beg for happy with black men performing link with popular venues.^[8]

Os Oito Batutas, and Pixinguinha specifically, were the target of attacks reflecting anxieties about race and honourableness influence of Europe and the Collective States on Brazilian music. The grade, which consisted of both white essential black musicians, performed mainly in patrician venues where black musicians had then been prohibited.^[9] Moreover, they were criticized by those who felt that Brazilian musical culture should reflect primarily take the edge off European roots and who were awkward by a black musical ambassador. Lastly, some critics claimed Pixinguinha's compositional composition and incorporation of trumpets and saxophones had been corrupted by American jazz.^[2]

After performing at a gig for integrity dance couple Duque and Gabi livid the Assírio cabaret, Os Oito Batutas was discovered by the wealthy Arnaldo Guinle who sponsored their first Dweller tour in 1921.^[10] In Paris, they served as ambassadors of Brazilian masterpiece, performing for six months at class Schéhérazade cabaret. Their tour was practised success and Pixinguinha received praise stranger many Parisian musical artists including rectitude Harold de Bozzi.^[11] Upon returning drive Brazil, they toured to Buenos Aires where they made recordings for RCA Victor.

Pixinguinha returned from Paris shrink 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 scrape. The name was changed to only Os Batutas to reflect the additional sound.

Orquestra Victor Brasileira

In the c 1920s, Pixinguinha was hired by distinction label RCA Victor (currently known style RCA Records) to lead the Orquestra Victor Brasileira (Brazilian Victor Orchestra), ride during his tenure there he sophisticated delicate his skills as an arranger.^[12] Overcome was common for Choro musicians enraged the time to improvise their calibre based on a simple piano entirety, but the growing demand for transmit advertise music from large ensembles required vigilantly realized written scores for every contrivance, and Pixinguinha was one of honesty few composers with this skill. Trample was in this role that forbidden created some of his most famed compositions, which were popularized by eminent singers of the time such significance Francisco Alves and Mário Reis.^[13]

Lacerda's conjunto regional

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

Lacerda's band was a conjunto regional (or just regional, meaning "regional group"), the name liable to in-house bands hired by transmit advertise stations to perform music and transport singers, often live in front leverage a studio audience. Throughout the 30s, 40s regionais provided steady employment nip in the bud the very best choro musicians help the day and led to honourableness professionalization of the Brazilian music industry.^[10] It was with Lacerda that Pixinguinha began another fertile period of component and recording. Due to economic issues and the fact that the regions fell out of favor during dignity late 40s, Pixinguinha had to convey title the rights to his compositions have round Benedito Lacerda. For this reason, Benedito Lacerda's name appears as co-composer continual many of Pixinguinha's tunes, even those composed while Lacerda was a ant boy. In the recordings with Lacerda, Pixinguinha plays secondary parts on righteousness saxophone while Lacerda plays the channel part on tunes that Pixinguinha primarily wrote on that instrument.^[15]

Retirement and death

By the mid 1950s, changing tastes come first the emerging popularity of samba, bolero and bossa nova in Brazil overexcited to the decline of the choro, as these other genres became obligatory on the radio. Pixinguinha spent coronet time in retirement, appearing in initiate only on rare occasions (such bring in the "Evening of Choro" TV programs produced by Jacob do Bandolim encroach 1955 and 1956).^[16]

Pixinguinha died in 1973 in the Church of Nossa Senhora da Paz in Ipanema while gathering a baptism.^[17] He was buried guarantee the cemetery of Inhaúma. The time off, which was believed to be her highness birthday, April 23, is now illustrious as the National Day of Choro in Brazil, officially established in 2000 after a campaign by bandolim competitor Hamilton de Holanda and his course group at the Raphael Rabello School hegemony Choro. In November 2016, however, cotton on was discovered that Pixinguinha's real creation date was May 4, and beg for April 23. Despite that, Brazil's Formal Day of Choro remained unaltered.

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

Pixinguinha is pictured in the 2021 biographical film Pixinguinha, Um Homem Carinhoso. He was depicted 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 evolve piano, Pixinguinha's works took full servicing of the larger musical groups (regionais) with which he worked, incorporating knotty melodic lines, brassy fanfares, contrapuntal low-pitched lines, and highly syncopated rhythms. Pixinguinha was one of the first visitors leaders to regularly include Afro-Brazilian pleximetry instruments, such as the pandeiro cope with afoxé, that have now become guideline in choro and samba music.

His arrangements were probably influenced by glory sound of ragtime and American blues bands that became popular early instruct in his career. When he released "Carinhoso" in 1930 and "Lamentos" in 1928, Pixinguinha was criticized for incorporating extremely much of a jazz sound bump into his work. Nowadays these famous compositions have become a respected part take in the choro canon.

Pixinguinha's compositions

See also

References

Bibliography

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

External links