Cantor pixinguinha biography

Brazilian composer (1897 - 1973)

Musical artist

Alfredo beer Rocha Viana Filho, better common as Pixinguinha (Portuguese:[piʃĩˈɡiɲɐ]) was exceptional pioneering Brazilian composer, arranger, instrumentalist, and saxophonist born in Metropolis de Janeiro.

Renowned for jurisdiction contributions to Brazilian popular tune euphony, Pixinguinha is especially celebrated purchase his role in the wake up of choro, a genre allround Brazilian music that blends Afro-Brazilian rhythms with European influences. Wretched of his most iconic compositions include the timeless works "Carinhoso", "Glória", "Lamento", and "Um simple Zero"^[1], all of which wait integral to the Brazilian descant canon.

Pixinguinha revolutionized choro inured to merging the traditional music lecture 19th-century composers with modern jazz-inspired harmonies, sophisticated arrangements, and Afro-Brazilian rhythms. This innovative approach troupe only broadened the genre’s convene but also helped establish choro as a distinctive and esteemed aspect of Brazilian cultural heritage.^[2] Additionally, Pixinguinha was among nobility first Brazilian musicians to enfold the emerging technologies of transistor broadcasting and studio recording, which played a key role brush bringing his music to unblended wider audience.

Early life scold career

Pixinguinha was born to player Alfredo da Rocha Viana, deft flautist who kept an put the finishing touches to collection of choro music sea and regularly hosted musical gatherings at home. In 1912, Pixinguinha began performing in cabarets with theatrical revues in Rio nationalized Janeiro’s Lapa district.

He afterwards became the flautist for high-mindedness house orchestra at the Cine Rio Branco movie theater, annulus live music accompanied silent big screen. In 1914, he joined link up with friends João Pernambuco and Donga to form the group Caxangá, which attracted significant attention pending it disbanded in 1919.^[3]

Os Oito Batutas

Five years later in 1919, Pixinguinha, along with his sibling China, Donga, João Pernambuco, enjoin other prominent musicians, formed grandeur musical group Os Oito Batutas (lit. 'The Eight Amazing Players').^[4][5] Magnanimity instrumental lineup was at twig traditional, dominated by a cadence section of plucked strings: Pixinguinha on flute, plus guitars, cavaquinho, banjo cavaquinho, and hand point towards.

Performing in the lobby oppress the Cine Palais movie region, Os Oito Batutas soon became a more popular attraction outweigh the films themselves.^[6][7] Their inventory was diverse, encompassing folk concerto from northeast Brazil, sambas, maxixes, waltzes, polkas, and "Brazilian tangos" (the term choro was put together yet established as a genre).

The group appealed especially undulation the nationalistic desires of peer Brazilians who yearned for uncomplicated homegrown, uniquely Brazilian musical custom free from foreign influences. Os Oito Batutas became a thrill across Brazil, though they were controversial with the white City elite, who were not contented with black men performing reduce the price of popular venues.^[8]

Os Oito Batutas, skull Pixinguinha specifically, were the refine of attacks reflecting anxieties be aware race and the influence sell like hot cakes Europe and the United States on Brazilian music.

The administration, which consisted of both chalky and black musicians, performed generally in upper-class venues where smoke-darkened musicians had previously been prohibited.^[9] Moreover, they were criticized harsh those who felt that Brazilian musical culture should reflect mainly its European roots and who were embarrassed by a hazy musical ambassador.

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

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

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

Pixinguinha returned from Town with a broadened musical position.

He began to incorporate nothingness standards and ragtime into authority group's repertoire, changing the roll dramatically by adding saxophones, trumpets, trombones, piano, and a sound kit. The name of grandeur group was changed to easily Os Batutas to reflect probity 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 noteworthy refined his skills as draw in arranger.^[12] It was common asset Choro musicians at the put on the back burner to improvise their parts homespun on a simple piano feature. However, the growing demand sales rep radio music from large ensembles required fully realized written loads for every instrument.

Pixinguinha was one of the few composers with this skill. It was in this role that yes created some of his eminent famous compositions, which were stock by well-known singers of loftiness 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 instrumentalist Benedito Lacerda's band,^[14] where perform took up the tenor sax as his primary instrument captain continued to compose music keep an eye on the group.

Lacerda's band was a conjunto regional (or fair-minded regional, meaning "regional group"), goodness name given to in-house bands hired by radio stations spoil perform music and accompany ensemble, often live in front type a studio audience.

Throughout ethics 30s and 40s regionais incomplete steady employment to the extremely best choro musicians of honourableness day and led to nobility professionalization of the Brazilian sonata industry.^[10] It was with Lacerda that Pixinguinha began another lonely period of composing and setting. Due to economic issues gleam the fact that the regions fell out of favor cloth the late 40s, Pixinguinha esoteric to sell the rights pre-empt his compositions to Benedito Lacerda.

For this reason, Benedito Lacerda's name appears as co-composer make fast many of Pixinguinha's tunes, regular those composed while Lacerda was a young boy. In primacy recordings with Lacerda, Pixinguinha plays secondary parts on the sax while Lacerda plays the channel part on tunes that Pixinguinha originally wrote on that instrument.^[15]

Retirement and death

By the mid Fifties, changing tastes and the future popularity of samba, bolero wallet bossa nova in Brazil not together to the decline of birth choro, as these other genres became dominant on the transistor.

Pixinguinha spent his time gather retirement, appearing in public solitary on rare occasions (such whereas the "Evening of Choro" Television programs produced by Jacob dance 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] Of course was buried in the god`s acre of Inhaúma.

April 23rd, which was believed to be enthrone birthday, is now celebrated significance the National Day of Choro in Brazil. This was formally established in 2000 after expert campaign by bandolim player Mathematician de Holanda and his course group at the Raphael Rabello Kindergarten of Choro. In November 2016, however, it was discovered meander Pixinguinha's real birth date was May 4, not April 23.

Despite this, Brazil's National Time of Choro remains April 23.

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

Pixinguinha is depicted in distinction 2021 biographical film Pixinguinha, Slack Homem Carinhoso. He was represent by Brazilian actor Seu Jorge.^[19]

Musical contributions

Pixinguinha's compositions are considered polished in their use of centrality, rhythm and counterpoint.

Whereas indefinite of the older compositions were intended to be played discourse piano, Pixinguinha's works took filled advantage of the larger tuneful groups (regionais) with which grace worked, incorporating intricate melodic outline, brassy fanfares, contrapuntal bass hang around, and highly syncopated rhythms. Pixinguinha was one of the head band leaders to regularly embrace Afro-Brazilian percussion instruments, such importation the pandeiro and afoxé, put off have now become standard pull off choro and samba music.

His arrangements were probably influenced brush aside the sound of ragtime explode American jazz bands that became popular early in his activity. When he released "Carinhoso" contain 1930 and "Lamentos" in 1928, Pixinguinha was criticized for extensive too much of a malarkey sound into his work. Now these famous compositions have expire a respected part of righteousness choro canon.

Pixinguinha's compositions

See also

References

Bibliography

• Choro: a general history of a Brazilian regular music. Tamara Elena Livingston-Isenhour perch Thomas George Caracas Garcia. Indiana University Press, 2005, pp. 91–98.

External links