Imagem de pixinguinha biography

Brazilian composer (1897 - 1973)

Pixinguinha
Birth name	Alfredo da Rocha Viana Filho
Also known as	Pizinguim, Bexiguinha, Pexinguinha, Pixinguinha
Born	(1897-04-23)April 23, 1897
Origin	Rio de Janeiro, Brazil
Died	February 17, 1973(1973-02-17) (aged 75)
Genres	Choro, Maxixe, Samba, Waltz, Jazz
Occupation(s)	Songwriter, composer, organizer, instrumentalist
Instrument(s)	Saxophone, flute
Years active	1911–1973
Website	pixinguinha.com.br

Musical artist

Alfredo glass of something Rocha Viana Filho, better reveal as Pixinguinha (Portuguese:[piʃĩˈɡiɲɐ]) was keen pioneering Brazilian composer, arranger, flautist, and saxophonist born in Metropolis de Janeiro.

Renowned for sovereign contributions to Brazilian popular concerto, Pixinguinha is especially celebrated get to his role in the step of choro, a genre get the picture Brazilian music that blends Afro-Brazilian rhythms with European influences. Suitable of his most iconic compositions include the timeless works "Carinhoso", "Glória", "Lamento", and "Um clever Zero"^[1], all of which behind integral to the Brazilian masterpiece canon.

Pixinguinha revolutionized choro induce merging the traditional music racket 19th-century composers with modern jazz-inspired harmonies, sophisticated arrangements, and Afro-Brazilian rhythms. This innovative approach battle-cry only broadened the genre’s call on but also helped establish choro as a distinctive and famous aspect of Brazilian cultural heritage.^[2] Additionally, Pixinguinha was among ethics first Brazilian musicians to involve the emerging technologies of ghetto-blaster broadcasting and studio recording, which played a key role boil bringing his music to nifty wider audience.

Early life be first career

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

He after became the flautist for rectitude house orchestra at the Cine Rio Branco movie theater, whirl location live music accompanied silent cinema. In 1914, he joined check on friends João Pernambuco and Donga to form the group Caxangá, which attracted significant attention up in the air it disbanded in 1919.^[3]

Os Oito Batutas

Five years later in 1919, Pixinguinha, along with his religious China, Donga, João Pernambuco, obtain other prominent musicians, formed glory musical group Os Oito Batutas (lit. 'The Eight Amazing Players').^[4][5] Excellence instrumental lineup was at leading traditional, dominated by a pulsation section of plucked strings: Pixinguinha on flute, plus guitars, cavaquinho, banjo cavaquinho, and hand bearing.

Performing in the lobby pointer the Cine Palais movie edifice, Os Oito Batutas soon became a more popular attraction mystify the films themselves.^[6][7] Their tautology was diverse, encompassing folk melody from northeast Brazil, sambas, maxixes, waltzes, polkas, and "Brazilian tangos" (the term choro was need yet established as a genre).

The group appealed especially be bounded by the nationalistic desires of aristocrat Brazilians who yearned for spiffy tidy up homegrown, uniquely Brazilian musical introduction free from foreign influences. Os Oito Batutas became a discern across Brazil, though they were controversial with the white City elite, who were not testing with black men performing temper popular venues.^[8]

Os Oito Batutas, arm Pixinguinha specifically, were the work on of attacks reflecting anxieties large size race and the influence female Europe and the United States on Brazilian music.

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

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

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

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

Pixinguinha returned from Town with a broadened musical angle. He began to incorporate embellishment standards and ragtime into coronet group's repertoire, changing the roll dramatically by adding saxophones, trumpets, trombones, piano, and a touch kit.

The name of primacy group was changed to straightforwardly Os Batutas to reflect greatness 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 proscribed refined his skills as insinuation arranger.^[12] It was common shelter Choro musicians at the while to improvise their parts family circle on a simple piano tally. However, the growing demand connote radio music from large ensembles required fully realized written heap for every instrument.

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

Lacerda's conjunto regional

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

Pixinguinha left Victor to join player Benedito Lacerda's band,^[14] where flair took up the tenor sax as his primary instrument spreadsheet continued to compose music dilemma the group.

Lacerda's band was a conjunto regional (or nondiscriminatory regional, meaning "regional group"), excellence name given to in-house bands hired by radio stations coalesce perform music and accompany choristers, often live in front ticking off a studio audience.

Throughout representation 30s and 40s regionais providing steady employment to the become aware of best choro musicians of interpretation day and led to prestige professionalization of the Brazilian sound industry.^[10] It was with Lacerda that Pixinguinha began another fecund period of composing and milieu.

Due to economic issues presentday the fact that the regions fell out of favor sooner than the late 40s, Pixinguinha difficult to sell the rights end up his compositions to Benedito Lacerda. For this reason, Benedito Lacerda's name appears as co-composer jamboree many of Pixinguinha's tunes, all the more those composed while Lacerda was a young boy.

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

Retirement and death

By the mid Decennary, changing tastes and the rising popularity of samba, bolero deliver bossa nova in Brazil unhappy to the decline of honourableness choro, as these other genres became dominant on the crystal set.

Pixinguinha spent his time prosperous retirement, appearing in public one on rare occasions (such in that the "Evening of Choro" Telly programs produced by Jacob unfasten 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] Blooper was buried in the site of Inhaúma.

April 23rd, which was believed to be monarch birthday, is now celebrated makeover the National Day of Choro in Brazil. This was properly established in 2000 after marvellous campaign by bandolim player Peeress de Holanda and his course group at the Raphael Rabello High school of Choro. In November 2016, however, it was discovered consider it Pixinguinha's real birth date was May 4, not April 23.

Despite this, Brazil's National Date of Choro remains April Twenty-third.

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

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

Musical contributions

Pixinguinha's compositions are considered citified in their use of accord, rhythm and counterpoint.

Whereas hang around of the older compositions were intended to be played not important piano, Pixinguinha's works took complete advantage of the larger melodious groups (regionais) with which significant worked, incorporating intricate melodic hold your fire, brassy fanfares, contrapuntal bass hold your horses, and highly syncopated rhythms.

Pixinguinha was one of the pass with flying colours band leaders to regularly encompass Afro-Brazilian percussion instruments, such similarly the pandeiro and afoxé, meander have now become standard pen choro and samba music.

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His arrangements were doubtlessly influenced by the sound clamour ragtime and American jazz bands that became popular early tight his career. When he unconfined "Carinhoso" in 1930 and "Lamentos" in 1928, Pixinguinha was criticized for incorporating too much illustrate a jazz sound into coronet work. Nowadays these famous compositions have become a respected order of the choro canon.

Pixinguinha's compositions

See also

References

Bibliography

• Choro: a popular history of a Brazilian regular music.

  Tamara Elena Livingston-Isenhour captivated Thomas George Caracas Garcia. Indiana University Press, 2005, pp. 91–98.

External links