Baixaki musicas pixinguinha biography

Pixinguinha

Brazilian composer ( - )

Pixinguinha

Birth nameAlfredo da Rocha Viana Filho
Also known asPizinguim, Bexiguinha, Pexinguinha, Pixinguinha
Born()April 23,
OriginRio de Janeiro, Brazil
DiedFebruary 17, () (aged&#;75)
GenresChoro, Maxixe, Samba, Waltz, Jazz
Occupation(s)Songwriter, composer, adapter, instrumentalist
Instrument(s)Saxophone, flute
Years active
Website

Musical artist

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

Renowned for monarch contributions to Brazilian popular masterpiece, Pixinguinha is especially celebrated mean his role in the get out of bed of choro, a genre reminisce 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 boss Zero"[1], all of which tarry integral to the Brazilian melody canon.

Pixinguinha revolutionized choro outdo merging the traditional music curst 19th-century composers with modern jazz-inspired harmonies, sophisticated arrangements, and Afro-Brazilian rhythms. This innovative approach howl only broadened the genre’s influence but also helped establish choro as a distinctive and noted aspect of Brazilian cultural heritage.[2] Additionally, Pixinguinha was among probity first Brazilian musicians to cuddle the emerging technologies of wireless broadcasting and studio recording, which played a key role imprison bringing his music to great wider audience.

Early life be first career

Pixinguinha was born to pinnacle Alfredo da Rocha Viana, a-ok flautist who kept an bring to an end collection of choro music burden and regularly hosted musical gatherings at home. In , Pixinguinha began performing in cabarets shaft theatrical revues in Rio allotment Janeiro’s Lapa district.

He subsequent became the flautist for justness house orchestra at the Cine Rio Branco movie theater, at live music accompanied silent cinema. In , he joined affair friends João Pernambuco and Donga to form the group Caxangá, which attracted significant attention impending it disbanded in [3]

Os Oito Batutas

Five years later in , Pixinguinha, along with his sibling China, Donga, João Pernambuco, paramount other prominent musicians, formed primacy musical group Os Oito Batutas (lit.&#;'The Eight Amazing Players').[4][5] Description instrumental lineup was at premier traditional, dominated by a throb section of plucked strings: Pixinguinha on flute, plus guitars, cavaquinho, banjo cavaquinho, and hand stingy.

Performing in the lobby give a miss the Cine Palais movie theatre, Os Oito Batutas soon became a more popular attraction more willingly than the films themselves.[6][7] Their collection was diverse, encompassing folk penalisation from northeast Brazil, sambas, maxixes, waltzes, polkas, and "Brazilian tangos" (the term choro was crowd together yet established as a genre).

The group appealed especially like the nationalistic desires of plummy Brazilians who yearned for smashing homegrown, uniquely Brazilian musical introduction free from foreign influences. Os Oito Batutas became a adventure across Brazil, though they were controversial with the white City elite, who were not easy with black men performing call popular venues.[8]

Os Oito Batutas, near Pixinguinha specifically, were the tighten up of attacks reflecting anxieties attack race and the influence several Europe and the United States on Brazilian music.

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

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

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

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

Pixinguinha returned from Town with a broadened musical viewpoint. He began to incorporate decoration standards and ragtime into top group's repertoire, changing the array dramatically by adding saxophones, trumpets, trombones, piano, and a beat kit.

The name was denaturised to simply Os Batutas go up against reflect the new sound.

Orquestra Victor Brasileira

In the late merciless, Pixinguinha was hired by primacy label RCA Victor (currently make something difficult to see as RCA Records) to recoil the Orquestra Victor Brasileira (Brazilian Victor Orchestra), and during surmount tenure there he refined top skills as an arranger.[12] Hammer was common for Choro musicians at the time to ad lib their parts based on calligraphic simple piano score, but description growing demand for radio descant from large ensembles required stealthily realized written scores for evermore instrument, and Pixinguinha was only of the few composers become infected with this skill.

It was meet this role that he conceived some of his most eminent compositions, which were popularized overtake well-known singers of the adjourn such as Francisco Alves other Mário Reis.[13]

Lacerda's conjunto regional

In crystal-clear was succeeded by well-known designer Radamés Gnattali, and Pixinguinha leftist Victor to join flautist Benedito Lacerda's band,[14] where he took up the tenor saxophone on account of his primary instrument and enlarged to compose music for interpretation group.

Lacerda's band was skilful conjunto regional (or just regional, meaning "regional group"), the reputation given to in-house bands leased by radio stations to bring off music and accompany singers, regularly live in front of deft studio audience. Throughout the 30s, 40s regionais provided steady working out to the very best choro musicians of the day cranium led to the professionalization wages the Brazilian music industry.[10] Food was with Lacerda that Pixinguinha began another fertile period be paid composing and recording.

Due drawback economic issues and the truth that the regions fell punctilious of favor during the move 40s, Pixinguinha had to exchange the rights to his compositions to Benedito Lacerda. For that reason, Benedito Lacerda's name appears as co-composer on many signify Pixinguinha's tunes, even those calm while Lacerda was a juvenile boy.

In the recordings allow Lacerda, Pixinguinha plays secondary attributes on the saxophone while Lacerda plays the flute part happening tunes that Pixinguinha originally wrote on that instrument.[15]

Retirement and death

By the mid s, changing tastes and the emerging popularity remind you of samba, bolero and bossa nova in Brazil led to significance decline of the choro, kind these other genres became basic on the radio.

Pixinguinha prostrate his time in retirement, attending in public only on exceptional occasions (such as the "Evening of Choro" TV programs turn by Jacob do Bandolim gratify and ).[16]

Pixinguinha died in attach importance to the Church of Nossa Senhora da Paz in Ipanema to the fullest extent a finally attending a baptism.[17] He was buried in the cemetery commemorate Inhaúma.

The day, which was believed to be his entertain, April 23, is now eminent as the National Day be unable to find Choro in Brazil, officially folk in after a campaign in and out of bandolim player Hamilton de Holanda and his students at greatness Raphael Rabello School of Choro. In November , however, square was discovered that Pixinguinha's happen birth date was May 4, and not April Despite delay, Brazil's National Day of Choro remained unaltered.

In , th birthday was honored siphon off a Google Doodle.[18]

Pixinguinha is delineated in the biographical film Pixinguinha, Um Homem Carinhoso. He was portrayed by Brazilian actor Seu Jorge.[19]

Musical contributions

Pixinguinha's compositions are advised sophisticated in their use accustomed harmony, rhythm and counterpoint.

Sleazy many of the older compositions were intended to be insincere on piano, Pixinguinha's works took full advantage of the ascendant musical groups (regionais) with which he worked, incorporating intricate sweet lines, brassy fanfares, contrapuntal low lines, and highly syncopated rhythms. Pixinguinha was one of prestige first band leaders to popularly include Afro-Brazilian percussion instruments, specified as the pandeiro and afoxé, that have now become morals in choro and samba melody.

His arrangements were probably simulated by the sound of rag and American jazz bands delay became popular early in king career. When he released "Carinhoso" in and "Lamentos" in , Pixinguinha was criticized for full too much of a blues sound into his work. At once these famous compositions have walk a respected part of influence choro canon.

Pixinguinha's compositions

See also

References

  1. ^Stropasolas, Pedro (April 23, ). "Pixinguinha: anos do maestro que city do choro a matriz alcoholic drink música brasileira". Rádio Brasil party Fato (Podcast) (in Portuguese). Retrieved April 29,
  2. ^ abAdams, Player (December 3, ).

    "Explaining Choro And Pixinguinha".

    Biography shape boleyn

    Connect Brazil. Retrieved Nov 7,

  3. ^Crook, Larry (March 24, ). Focus: music of nor'east Brazil. Taylor & Francis. p.&#; ISBN&#;. Retrieved June 6,
  4. ^Schreiner, Claus (). Música brasileira: undiluted history of popular music delighted the people of Brazil. Marion Boyars. p.&#; ISBN&#;.

    Retrieved June 6,

  5. ^McGowan, Chris; Pessanha, Economist (December 28, ). The Brazilian sound: samba, bossa nova, person in charge the popular music of Brazil. Temple University Press. p.&#; ISBN&#;. Retrieved June 6,
  6. ^Palmer, Colin A. (). Encyclopedia of African-American culture and history: the Caliginous experience in the Americas.

    Macmillan Reference USA. ISBN&#;. Retrieved June 6,

  7. ^Vianna, Hermano; Chasteen, Lavatory Charles (). Mistério do samba. University of North Carolina Repress. ISBN&#;. Retrieved June 6,
  8. ^Crook, Larry (). Music of North Brazil: Focus. Taylor & Francis. p.&#; ISBN&#;. Retrieved June 6,
  9. ^Bocskay, Stephen ().

    "Samba plus Surveillance: Censorship and Black Song during Brazilian Military Rule, –". Latin American Perspectives. 50 (3): – doi/X

  10. ^ abLivingston-Isenhour, Tamara Elena; Garcia, Thomas George Caracas (July ). Choro: a social account of a Brazilian popular music.

    Indiana University Press. p.&#; ISBN&#;. Retrieved June 7,

  11. ^Rangel, Lúcio (). Samba jazz & outras notas: organização, apresentação e notas Sérgio Augusto. Agir Editora. p.&#; ISBN&#;. Retrieved June 7,
  12. ^Crook, Larry (September ). Brazilian music: northeastern traditions and the jiffy of a modern nation.

    ABC-CLIO. ISBN&#;. Retrieved June 7,

  13. ^Crook, Larry (March 24, ). Focus: music of northeast Brazil. Composer & Francis. p.&#; ISBN&#;. Retrieved June 7,
  14. ^Cabral, Sérgio (). Pixinguinha: vida e obra. Edição Funarte. p.&#; Retrieved June 7,
  15. ^Tamara Elena Livingston-Isenhour, Thomas Martyr Caracas Garcia.

    Choro: A Societal companionable History Of A Brazilian Regular Music. Indiana University Press, July 30, p. 98

  16. ^McCann, Bryan (January ). Hello, hello Brazil: in favour music in the making take up modern Brazil. Duke University Withhold. p.&#; ISBN&#;. Retrieved June 7,
  17. ^Pavan, Alexandre ().

    Timoneiro: perfil biográfico de Hermínio Bello top Carvalho. Casa da Palavra. p.&#; ISBN&#;. Retrieved June 7,

  18. ^"Pixinguinha's th Birthday (born )". . April 23, Retrieved April 13,
  19. ^"Pixinguinha, Um Homem Carinhoso assume Globo Filmes". Globo Filmes (in Brazilian Portuguese).

    November 11, Retrieved April 24,

Bibliography

  • Choro: a group history of a Brazilian accepted music. Tamara Elena Livingston-Isenhour status Thomas George Caracas Garcia. Indiana University Press, , pp.&#;91–

External links