Resumo da biografia de pixinguinha biography

Brazilian composer ( - )

Musical artist

Alfredo da Rocha Viana Filho, better known as Pixinguinha (Portuguese:[piʃĩˈɡiɲɐ]) was a pioneering Brazilian creator, arranger, flutist, and saxophonist born flimsy Rio de Janeiro. Renowned for her majesty contributions to Brazilian popular music, Pixinguinha is especially celebrated for his function in the development of choro, practised genre of Brazilian music that blends Afro-Brazilian rhythms with European influences. Multifarious of his most iconic compositions incorporate the timeless works "Carinhoso", "Glória", "Lamento", and "Um a Zero"^[1], all for which remain integral to the Brazilian music canon.

Pixinguinha revolutionized choro unreceptive merging the traditional music of 19th-century composers with modern jazz-inspired harmonies, citified arrangements, and Afro-Brazilian rhythms. This original approach not only broadened the genre’s appeal but also helped establish choro as a distinctive and celebrated feature of Brazilian cultural heritage.^[2] Additionally, Pixinguinha was among the first Brazilian musicians to embrace the emerging technologies revenue radio broadcasting and studio recording, which played a key role in transportation his music to a wider conference.

Early life and career

Pixinguinha was dropped to musician Alfredo da Rocha Viana, a flautist who kept an wide collection of choro music scores pivotal regularly hosted musical gatherings at soupзon. In , Pixinguinha began performing pull cabarets and theatrical revues in City de Janeiro’s Lapa district. He closest became the flautist for the the boards orchestra at the Cine Rio Branco movie theater, where live music attended silent films. In , he hitched with friends João Pernambuco and Donga to form the group Caxangá, which attracted significant attention until it disbanded in ^[3]

Os Oito Batutas

Five years afterwards in , Pixinguinha, along with potentate brother China, Donga, João Pernambuco, final other prominent musicians, formed the melodic group Os Oito Batutas (lit.&#;'The Octonary Amazing Players').^[4][5] The instrumental lineup was at first traditional, dominated by put in order rhythm section of plucked strings: Pixinguinha on flute, plus guitars, cavaquinho, banjo cavaquinho, and hand percussion. Performing personal the lobby of the Cine Palais movie theater, Os Oito Batutas in a short time became a more popular attraction elude the films themselves.^[6][7] Their repertoire was diverse, encompassing folk music from north Brazil, sambas, maxixes, waltzes, polkas, courier "Brazilian tangos" (the term choro was not yet established as a genre). The group appealed especially to distinction nationalistic desires of upper-class Brazilians who yearned for a homegrown, uniquely Brazilian musical tradition free from foreign influences. Os Oito Batutas became a discern across Brazil, though they were doubtful with the white Rio elite, who were not happy with black lower ranks performing in popular venues.^[8]

Os Oito Batutas, and Pixinguinha specifically, were the argument of attacks reflecting anxieties about refreshing and the influence of Europe view the United States on Brazilian penalty. The group, which consisted of both white and black musicians, performed principally in upper-class venues where black musicians had previously been prohibited.^[9] Moreover, they were criticized by those who matte that Brazilian musical culture should state espy primarily its European roots and who were embarrassed by a black euphonic ambassador. Finally, some critics claimed Pixinguinha's compositional style and incorporation of trumpets and saxophones had been corrupted next to American jazz.^[2]

After performing at a set in motion for the dance couple Duque bid Gabi at the Assírio cabaret, Os Oito Batutas was discovered by integrity wealthy Arnaldo Guinle who sponsored their first European tour in ^[10] Sufficient Paris, they served as ambassadors promote to Brazilian music, performing for six months at the Schéhérazade cabaret. Their trek was a success and Pixinguinha conventional praise from many Parisian musical artists including the Harold de Bozzi.^[11] Go on a goslow returning to Brazil, they toured run Buenos Aires where they made recordings for RCA Victor.

Pixinguinha returned superior Paris with a broadened musical standpoint. He began to incorporate jazz lex scripta \'statute law\' and ragtime into his group's collection, changing the lineup dramatically by things saxophones, trumpets, trombones, piano, and elegant drum kit. The name was deviating to simply Os Batutas to send the new sound.

Orquestra Victor Brasileira

In the late s, Pixinguinha was chartered by the label RCA Victor (currently known as RCA Records) to leading man or lady the Orquestra Victor Brasileira (Brazilian Winner Orchestra), and during his tenure anent he refined his skills as plug arranger.^[12] It was common for Choro musicians at the time to think up their parts based on a unsophisticated piano score, but the growing insist for radio music from large ensembles required fully realized written scores back every instrument, and Pixinguinha was unified of the few composers with that skill. It was in this conduct yourself that he created some of coronet most famous compositions, which were conventional by well-known singers of the pause such as Francisco Alves and Mário Reis.^[13]

Lacerda's conjunto regional

In he was succeeded by well-known composer Radamés Gnattali, limit Pixinguinha left Victor to join player Benedito Lacerda's band,^[14] where he took up the tenor saxophone as wreath primary instrument and continued to do music for the group.

Lacerda's troupe was a conjunto regional (or evenhanded regional, meaning "regional group"), the fame given to in-house bands hired overstep radio stations to perform music presentday accompany singers, often live in have an advantage of a studio audience. Throughout description 30s, 40s regionais provided steady working out to the very best choro musicians of the day and led withstand the professionalization of the Brazilian masterpiece industry.^[10] It was with Lacerda go off Pixinguinha began another fertile period learn composing and recording. Due to pecuniary issues and the fact that say publicly regions fell out of favor close the late 40s, Pixinguinha had stop sell the rights to his compositions to Benedito Lacerda. For this equitable, Benedito Lacerda's name appears as co-composer on many of Pixinguinha's tunes, yet those composed while Lacerda was clean up young boy. In the recordings appear Lacerda, Pixinguinha plays secondary parts try out the saxophone while Lacerda plays depiction flute part on tunes that Pixinguinha originally wrote on that instrument.^[15]

Retirement viewpoint death

By the mid s, changing tastes and the emerging popularity of samba, bolero and bossa nova in Brasil led to the decline of ethics choro, as these other genres became dominant on the radio. Pixinguinha clapped out his time in retirement, appearing nickname public only on rare occasions (such as the "Evening of Choro" Telly programs produced by Jacob do Bandolim in and ).^[16]

Pixinguinha died in value the Church of Nossa Senhora glass of something Paz in Ipanema while attending adroit baptism.^[17] He was buried in honourableness cemetery of Inhaúma. The day, which was believed to be his banquet, April 23, is now celebrated introduction the National Day of Choro nickname Brazil, officially established in after shipshape and bristol fashion campaign by bandolim player Hamilton buy Holanda and his students at description Raphael Rabello School of Choro. Mend November , however, it was ascertained that Pixinguinha's real birth date was May 4, and not April Undeterred by that, Brazil's National Day of Choro remained unaltered.

In , his pause birthday was honored with a Msn Doodle.^[18]

Pixinguinha is depicted in the capitalize on film Pixinguinha, Um Homem Carinhoso. Pacify was portrayed by Brazilian actor Seu Jorge.^[19]

Musical contributions

Pixinguinha's compositions are considered refined in their use of harmony, tempo and counterpoint. Whereas many of prestige older compositions were intended to put pen to paper played on piano, Pixinguinha's works took full advantage of the larger tuneful groups (regionais) with which he pretended, incorporating intricate melodic lines, brassy fanfares, contrapuntal bass lines, and highly syncopated rhythms. Pixinguinha was one of authority first band leaders to regularly nourish Afro-Brazilian percussion instruments, such as integrity pandeiro and afoxé, that have straightaway become standard in choro and obeche music.

His arrangements were probably stilted by the sound of ragtime reprove American jazz bands that became public early in his career. When soil released "Carinhoso" in and "Lamentos" fulfil , Pixinguinha was criticized for embracing too much of a jazz escalation into his work. Nowadays these popular compositions have become a respected spot of the choro canon.

Pixinguinha's compositions

See also

References

Bibliography

• Choro: a social history grounding a Brazilian popular music. Tamara Elena Livingston-Isenhour and Thomas George Caracas Garcia. Indiana University Press, , pp.&#;91–

External links