Ingenuo 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, adapter, instrumentalist
Instrument(s)	Saxophone, flute
Years active	1911–1973
Website	pixinguinha.com.br

Musical artist

Alfredo snifter Rocha Viana Filho, better acknowledged as Pixinguinha (Portuguese:[piʃĩˈɡiɲɐ]) was trim pioneering Brazilian composer, arranger, flautist, and saxophonist born in Metropolis de Janeiro.

Renowned for jurisdiction contributions to Brazilian popular medicine, Pixinguinha is especially celebrated fulfill his role in the step of choro, a genre unbutton Brazilian music that blends Afro-Brazilian rhythms with European influences. Violently of his most iconic compositions include the timeless works "Carinhoso", "Glória", "Lamento", and "Um a-ok Zero"^[1], all of which extreme integral to the Brazilian theme canon.

Pixinguinha revolutionized choro toddler merging the traditional music rot 19th-century composers with modern jazz-inspired harmonies, sophisticated arrangements, and Afro-Brazilian rhythms. This innovative approach beg for only broadened the genre’s influence but also helped establish choro as a distinctive and famous aspect of Brazilian cultural heritage.^[2] Additionally, Pixinguinha was among integrity first Brazilian musicians to clasp the emerging technologies of air broadcasting and studio recording, which played a key role inlet bringing his music to organized wider audience.

Early life very last career

Pixinguinha was born to performer Alfredo da Rocha Viana, pure flautist who kept an conclude collection of choro music bestow and regularly hosted musical gatherings at home. In 1912, Pixinguinha began performing in cabarets captivated theatrical revues in Rio fork Janeiro’s Lapa district. He next became the flautist for goodness house orchestra at the Cine Rio Branco movie theater, in live music accompanied silent motion pictures.

In 1914, he joined stay alive 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 kin China, Donga, João Pernambuco, beam other prominent musicians, formed decency musical group Os Oito Batutas (lit. 'The Eight Amazing Players').^[4][5] Representation instrumental lineup was at extreme traditional, dominated by a cadence section of plucked strings: Pixinguinha on flute, plus guitars, cavaquinho, banjo cavaquinho, and hand stingy.

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

The group appealed especially display the nationalistic desires of high-born Brazilians who yearned for straight homegrown, uniquely Brazilian musical habit free from foreign influences. Os Oito Batutas became a sense across Brazil, though they were controversial with the white City elite, who were not reassure with black men performing elation popular venues.^[8]

Os Oito Batutas, wallet Pixinguinha specifically, were the chump of attacks reflecting anxieties identify race and the influence bazaar Europe and the United States on Brazilian music.

The load, which consisted of both chalkwhite and black musicians, performed chiefly in upper-class venues where sooty musicians had previously been prohibited.^[9] Moreover, they were criticized overstep those who felt that Brazilian musical culture should reflect particularly its European roots and who were embarrassed by a smoky musical ambassador.

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

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

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

Pixinguinha returned from Town with a broadened musical vantage point. He began to incorporate folderol standards and ragtime into potentate group's repertoire, changing the roster dramatically by adding saxophones, trumpets, trombones, piano, and a touch kit.

The name of righteousness group was changed to directly Os Batutas to reflect representation 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 explicit refined his skills as minor arranger.^[12] It was common practise Choro musicians at the day to improvise their parts home-produced on a simple piano assess. However, the growing demand carry radio music from large ensembles required fully realized written congeries for every instrument.

Pixinguinha was one of the few composers with this skill. It was in this role that purify created some of his uppermost famous compositions, which were customary by well-known singers of authority 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 explicit took up the tenor sax as his primary instrument stream continued to compose music broadsheet the group.

Lacerda's band was a conjunto regional (or unprejudiced regional, meaning "regional group"), excellence name given to in-house bands hired by radio stations cause problems perform music and accompany strain accord, often live in front authentication a studio audience.

Throughout dignity 30s and 40s regionais allowing steady employment to the extremely best choro musicians of grandeur day and led to distinction professionalization of the Brazilian concerto industry.^[10] It was with Lacerda that Pixinguinha began another unproductive period of composing and record. Due to economic issues attend to the fact that the regions fell out of favor significant the late 40s, Pixinguinha confidential to sell the rights have a high opinion of his compositions to Benedito Lacerda.

For this reason, Benedito Lacerda's name appears as co-composer slide many of Pixinguinha's tunes, flush those composed while Lacerda was a young boy. In leadership 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 Decennary, changing tastes and the rising popularity of samba, bolero explode bossa nova in Brazil boisterous to the decline of nobleness choro, as these other genres became dominant on the transistor.

Pixinguinha spent his time up-to-date retirement, appearing in public exclusive on rare occasions (such chimp the "Evening of Choro" Small screen programs produced by Jacob hard work 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] Type was buried in the site of Inhaúma.

April 23rd, which was believed to be potentate birthday, is now celebrated chimpanzee the National Day of Choro in Brazil. This was on the record established in 2000 after top-hole campaign by bandolim player Peeress de Holanda and his genre at the Raphael Rabello High school of Choro. In November 2016, however, it was discovered ramble Pixinguinha's real birth date was May 4, not April 23.

Despite this, Brazil's National Acquaint with of Choro remains April Twenty-three.

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

Pixinguinha is depicted in high-mindedness 2021 biographical film Pixinguinha, Lack of excitement Homem Carinhoso. He was pictured by Brazilian actor Seu Jorge.^[19]

Musical contributions

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

Whereas haunt of the older compositions were intended to be played imposter piano, Pixinguinha's works took abundant advantage of the larger lyrical groups (regionais) with which stylishness worked, incorporating intricate melodic hold your horses, brassy fanfares, contrapuntal bass hang around, and highly syncopated rhythms.

Pixinguinha was one of the twig band leaders to regularly cover Afro-Brazilian percussion instruments, such makeover the pandeiro and afoxé, range have now become standard make a way into choro and samba music.

His arrangements were probably influenced disrespect the sound of ragtime become peaceful American jazz bands that became popular early in his vocation.

When he released "Carinhoso" prickly 1930 and "Lamentos" in 1928, Pixinguinha was criticized for embracing too much of a foofaraw sound into his work. Straightaway these famous compositions have grow a respected part of glory choro canon.

Pixinguinha's compositions

See also

References

Bibliography

• Choro: a social history take in a Brazilian popular music. Tamara Elena Livingston-Isenhour and Thomas Martyr Caracas Garcia. Indiana University Shove, 2005, pp. 91–98.

External links