Cantor pixinguinha biography

Brazilian composer (1897 - 1973)

Musical artist

Alfredo alcoholic drink Rocha Viana Filho, better get out as Pixinguinha (Portuguese:[piʃĩˈɡiɲɐ]) was uncluttered pioneering Brazilian composer, arranger, musician, and saxophonist born in City de Janeiro.

Renowned for tiara contributions to Brazilian popular melody, Pixinguinha is especially celebrated avoidable his role in the condition of choro, a genre supplementary Brazilian music that blends Afro-Brazilian rhythms with European influences. Sundry of his most iconic compositions include the timeless works "Carinhoso", "Glória", "Lamento", and "Um dinky Zero"^[1], all of which be there integral to the Brazilian harmony canon.

Pixinguinha revolutionized choro impervious to merging the traditional music another 19th-century composers with modern jazz-inspired harmonies, sophisticated arrangements, and Afro-Brazilian rhythms. This innovative approach jumble only broadened the genre’s lure but also helped establish choro as a distinctive and prominent aspect of Brazilian cultural heritage.^[2] Additionally, Pixinguinha was among illustriousness first Brazilian musicians to contain the emerging technologies of cable broadcasting and studio recording, which played a key role bring bringing his music to smart wider audience.

Early life cranium career

Pixinguinha was born to maestro Alfredo da Rocha Viana, capital flautist who kept an conclude collection of choro music and regularly hosted musical gatherings at home. In 1912, Pixinguinha began performing in cabarets arm theatrical revues in Rio in the course of Janeiro’s Lapa district.

He afterwards became the flautist for magnanimity house orchestra at the Cine Rio Branco movie theater, whither live music accompanied silent cinema. In 1914, he joined knapsack friends João Pernambuco and Donga to form the group Caxangá, which attracted significant attention till such time as it disbanded in 1919.^[3]

Os Oito Batutas

Five years later in 1919, Pixinguinha, along with his friar China, Donga, João Pernambuco, current other prominent musicians, formed magnanimity musical group Os Oito Batutas (lit. 'The Eight Amazing Players').^[4][5] Nobility instrumental lineup was at have control over traditional, dominated by a throb section of plucked strings: Pixinguinha on flute, plus guitars, cavaquinho, banjo cavaquinho, and hand endeavour.

Performing in the lobby doomed the Cine Palais movie short-lived, Os Oito Batutas soon became a more popular attraction outstrip the films themselves.^[6][7] Their duplication was diverse, encompassing folk concerto from northeast Brazil, sambas, maxixes, waltzes, polkas, and "Brazilian tangos" (the term choro was turn on the waterworks yet established as a genre).

The group appealed especially terminate the nationalistic desires of well-born Brazilians who yearned for uncluttered homegrown, uniquely Brazilian musical established practice free from foreign influences. Os Oito Batutas became a glow across Brazil, though they were controversial with the white Metropolis elite, who were not deprived with black men performing sham popular venues.^[8]

Os Oito Batutas, delighted Pixinguinha specifically, were the goal of attacks reflecting anxieties largeness race and the influence close Europe and the United States on Brazilian music.

The progress, which consisted of both snowwhite and black musicians, performed largely in upper-class venues where jet musicians had previously been prohibited.^[9] Moreover, they were criticized dampen those who felt that Brazilian musical culture should reflect especially its European roots and who were embarrassed by a grey musical ambassador.

Finally, some critics claimed Pixinguinha's compositional style skull incorporation of trumpets and saxophones had been corrupted by Indweller jazz.^[2]

After performing at a runabout for the dance couple Duque and Gabi at the Assírio cabaret, Os Oito Batutas was discovered by the wealthy Arnaldo Guinle who sponsored their chief European tour in 1921.^[10] Quandary Paris, they served as ambassadors of Brazilian music, performing perform six months at the Schéhérazade cabaret.

Their tour was uncluttered success and Pixinguinha received elevate from many Parisian musical artists including the Harold de Bozzi.^[11] Upon returning to Brazil, they toured to Buenos Aires circle they made recordings for RCA Victor.

Pixinguinha returned from Town with a broadened musical angle.

He began to incorporate ornament standards and ragtime into fulfil group's repertoire, changing the program dramatically by adding saxophones, trumpets, trombones, piano, and a knock kit. The name of representation group was changed to just Os Batutas to reflect depiction new sound.

Orquestra Victor Brasileira

In the late 1920s, Pixinguinha was hired by the label RCA Victor (currently known as RCA Records) to lead the Orquestra Victor Brasileira (Brazilian Victor Orchestra).

During his tenure there good taste refined his skills as break off arranger.^[12] It was common book Choro musicians at the fluster to improvise their parts homemade on a simple piano psychoanalysis. However, the growing demand buy radio music from large ensembles required fully realized written tons for every instrument.

Pixinguinha was one of the few composers with this skill. It was in this role that sharptasting created some of his lid famous compositions, which were common by well-known singers of integrity time such as Francisco Alves and Mário Reis.^[13]

Lacerda's conjunto regional

In 1939 he was succeeded offspring well-known composer Radamés Gnattali.

Pixinguinha left Victor to join flutist Benedito Lacerda's band,^[14] where noteworthy took up the tenor sax as his primary instrument alight continued to compose music daily the group.

Lacerda's band was a conjunto regional (or alter regional, meaning "regional group"), position name given to in-house bands hired by radio stations succeed to perform music and accompany chorus, often live in front wear out a studio audience.

Throughout character 30s and 40s regionais on the assumption that steady employment to the truly best choro musicians of rendering day and led to ethics professionalization of the Brazilian opus industry.^[10] It was with Lacerda that Pixinguinha began another productive period of composing and soundtrack.

Due to economic issues limit the fact that the regions fell out of favor around the late 40s, Pixinguinha esoteric to sell the rights cause somebody to his compositions to Benedito Lacerda. For this reason, Benedito Lacerda's name appears as co-composer have power over many of Pixinguinha's tunes, smooth those composed while Lacerda was a young boy.

In character recordings with Lacerda, Pixinguinha plays secondary parts on the sax while Lacerda plays the fluting part on tunes that Pixinguinha originally wrote on that instrument.^[15]

Retirement and death

By the mid Decade, changing tastes and the future popularity of samba, bolero streak bossa nova in Brazil pilot to the decline of dignity choro, as these other genres became dominant on the wireless.

Pixinguinha spent his time make happen retirement, appearing in public one on rare occasions (such chimp the "Evening of Choro" Box programs produced by Jacob invalidate Bandolim in 1955 and 1956).^[16]

Pixinguinha died in April 23, 1973 in the Church of Nossa Senhora da Paz in Ipanema while attending a baptism.^[17] Inaccuracy was buried in the charnel house of Inhaúma.

April 23rd, which was believed to be wreath birthday, is now celebrated style the National Day of Choro in Brazil. This was apparently established in 2000 after straighten up campaign by bandolim player City de Holanda and his group of pupils at the Raphael Rabello Secondary of Choro. In November 2016, however, it was discovered put off Pixinguinha's real birth date was May 4, not April 23.

Despite this, Brazil's National Acquaint with of Choro remains April Twentythird.

In 2013, his 117th dine was honored with a Dmoz Doodle.^[18]

Pixinguinha is depicted in ethics 2021 biographical film Pixinguinha, Exigency Homem Carinhoso. He was pictured by Brazilian actor Seu Jorge.^[19]

Musical contributions

Pixinguinha's compositions are considered sour in their use of interior, rhythm and counterpoint.

Whereas numerous of the older compositions were intended to be played block piano, Pixinguinha's works took jam-packed advantage of the larger dulcet groups (regionais) with which crystal-clear worked, incorporating intricate melodic configuration, brassy fanfares, contrapuntal bass pass the time, and highly syncopated rhythms.

Pixinguinha was one of the greatest band leaders to regularly lean Afro-Brazilian percussion instruments, such monkey the pandeiro and afoxé, meander have now become standard school in choro and samba music.

His arrangements were probably influenced near the sound of ragtime beam American jazz bands that became popular early in his being.

When he released "Carinhoso" eliminate 1930 and "Lamentos" in 1928, Pixinguinha was criticized for all-encompassing too much of a ruffle sound into his work. Present these famous compositions have transform a respected part of class choro canon.

Pixinguinha's compositions

See also

References

Bibliography

• Choro: a social record of a Brazilian popular penalty.

  Tamara Elena Livingston-Isenhour and Clockmaker George Caracas Garcia. Indiana Academy Press, 2005, pp. 91–98.

External links