Pixinguinha


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Pixinguinha


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Pixinguinha


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PIXINGUINHA

One of national unanimity's considered as one of the geniuses of Brazilian popular music, the instrumentalist composer and arranger Pixinguinha (Alfredo da Rocha Viana; Junior) ms born on April 23, 1898, in Piedade, in north Rio de Janeiro, and died on February 17, 1973 in the same city Grandchild of African woman, Pixinguinha started as; child with "Lata de leite" to compose his "choros" and to play as professional flautist. In 1922, he went to Paris where during five or six months he presented a show together with the Oito Batutas, a group he had formed to cheer up the waiting room of a Rio de Janeiro cinema, which become the first regional Brazilian group to be contracted to go on tour abroad. In the French capital where the group ms a great success, Pixinguinha was given a saxophone, instrument to which he dedicate himself from 1946 on.

Before that, during the World War I, Pixinguinha was introduced to his first recording at the "Casas Edson', "Phoenix' and "Faulhaber' with a group that included three of his brother Lester he would organize other important musical group like the so-called—on the Parlaphon records "Orquestra Tipica; Pixinguinha - Donga" (1928); the "Diabos do Céu" (1929/30) a "Guarda Velha" (1932), and the "Orquestra Colúmbia do Pixinguinha". He gave his collaboration to cinema as well composing the songs for the films "Sol sobre a lama" e "Um dia qualquer".

Virtuoso of the flute, master of saxophone improvisations and pioneer in orchestration, in Brazil, Pixinguinha was always leading the musical evolution at his times. He played a decisive role in the process of integrating percussion instruments c African origin with those of European origin, which was essential for the genesis of the today Brazilian Popular Music. Pixinguinha composed approximately two thousand songs, some hits c permanent place in the repertoire of Brazilian popular singer Such is the case of "Carinhoso", "Rosa", "Ingênuo" "Lamento", "Urubu" and "Um a zero".

 

ARTUR POERNER President of the Foundation "Museum of Image e Sound" Rio de Janeiro

 

PIXINGUINHA

Uma das unanimidades nacionais, considerado um dos gênios da música popular brasileira, o instrumentista, compositor e arranjador Pixinguinha (Alfredo da Rocha Vianna Junior) nasceu em 23 de abril de 1898 no bairro de Piedade Zona Norte do Rio de Janeiro, e morreu em 17 de fevereiro de 1973, na mesma cidade.

Neto de africana, Pixinguinha começou ainda menino com Lata de leite a compor os seus choros e a tocar como flautista profissional. Em 1922, apresentou-se, durante cinco ou seis meses, em Paris, com os Oito Batutas, conjunto que formara para animar a sala de espera de um cinema carioca e que foi o primeiro regional brasileiro contratado para excursionar ao exterior. Na capital francesa, donde o conjunto retornou consagrado, Pixinguinha ganhou de presente um saxofone, instrumento ao qual passou a se dedicar em 1946.

Antes disso, durante a I Guerra Mundial, Pixinguinha estreara na gravação, nas Casas Edson, Phoenix e Faulhaber, com um conjunto de que participavam três dos seus irmãos. Ele organizaria outros grupos musicais importantes, como um conjunto chamado, nos discos da Parlaphon, de Orquestra Tipica Pixinguinha-Donga (1928); os Diabos do Céu (1929/30), a Guarda Velha (1932) e a Orquestra Columbia de Pixinguinha. Colaborou também para o cinema nacional compondo as trilhas sonoras dos filmes Sol sobre a /ama é Um dia qualquer.

Virtuose da flauta, mestre do improviso no saxofone e pioneiro em orquestração no Brasil, Pixinguinha esteve sempre à frente da evolução musical de seu tempo. Desempenhou inclusive, papel decisivo no processo de integração dos instrumentos de percussão de origem africana aos de procedência européia, fundamental para a gênese do que é hoje a MPB. Pixinguinha compôs quase duas mil músicas, algumas de presença permanente no repertório dos seresteiros e chorões brasileiros, como Carinhoso, Rosa, Ingenuo, Lamento Urubu e Um a zero.

 

ARTUR POERNER Presidente da Fundação Museu da Imagem e do Som do Rio de Janeiro

 

CENTENÁRIO DO NASCIMENTO DE PIXINGUINHA

Nascido no subúrbio carioca, em uma familia numerosa que desde cedo o incentivou à música, aos 13 anos Pixinguinha já deleitava quem se reunia em rodas pare ouvi-lo. Em alguns dos seus choros a riqueza melódica deixava curiosos os músicos que se dispunham a interpretá-los. Pixinguinha foi o músico de compassos transcendentes e inesqueciveis, chamado professor e mestre.

Pixinguinha, melodioso flautista, descendente de familia humilde, é, sem dúvida, a presença viva da raça negra na culture brasileira e de sue influência particularmente na música, que com ele alcançou um nivél de sofisticação que revolucionou e redimensionou a música popular brasileira, criando uma melod ia m u ito representative pa re o Pa is, o choro, traduzindo de forma exemplar os sentimentos de um povo.

Compositor, arranjador e músico, ele se reuniu com personalidades da música como Sérgio Cabral, seu biógrafo, que o cataloga como um dos gênios da música brasileira. Vin~cius de Moraes falou que a melhor pessoa que Deus colocou no mundo da música foi Pixinguinha. Pixinguinha inovou os arranjos musicals brasileiros, que eram impregnados de influências estrangeiras, popular e erudite. Sua estética direcionou a música brasileira pare outras exper iências.

Sua popularidade tem como marco o ano de 1919, quando formou o grupo Os Oito Batutas, que tocava no cine Palais. Naquele tempo, grupos musicals tocavam na sale de espera dos cinemas, o que significava oportunidade de ascensão social, pods ali só tocavam os melhores da época. A ousadia dos repertórios em ritmos brasileiros, como batuques e cateretês, foi recebida com alquma reserve pela crítica especializada, mas com muita satisfação por parse do público. Os Batutas acabariam fazendo temporada de sucesso em Paris e Buenos Aires.

Cada atividade que Pixinguinha formulou deu identidade ao que depots seria chamado Música Popular Brasileira, algo que daria surgimento a músicos como Ary Barroso, Jacó do Bandolim, Chico Buarque Radamés Gnatalli e Tom Jobim. As composições de Pixingúinha foram, geralmente alegres e travessas com um espaço pare o romantismo dó qual a canção CARINHOSO foi seu melhor exemplo.

Pixinguinha é o ponto culminante dessa elevação da música, na medida em que reabriu caminhos pare que o povo tivesse acesso a novas informações e técnicas.

Pixinguinha deixou de existir fisicamente na tarde do die 17 de fevereiro de 1973, na sacristia da igreja N. Sra. da Paz, em Ipanema, no Rio de Janeiro, enquanto aguardava um batizado, nos braços de seu filho único. A banda de Ipanema que estava na praça pare homenagear Pixinguinha calou seus tambores e se dispersou dentro da multidão pare acompanhar o trajeto fúnebre de um músico que virou lenda, alma e esperança.

Pixinguinha, menino alegre dos olhos puxados, modesto, louco por carnaval, músico iluminado, conquistou a simpatia por todo o Pais, que o leva dia-a-dia em seu coração por meio das lembranças de sues melodies.

MINISTÉRIO DA CULTURA FUNDAÇAO CULTURAL PALMARES

THE CENTENARY OF PIXINGUINHA'S BIRTH

Born in the outskirts of Rio de Janeiro, from a big family, which stimulated him towards music since his early years Pixinguinha would delight those who gathered to listen to him at the age of 13. The melodic richness of some of his songs has impressed their performers. Pixinguinha was a transcendent and unforgettable musician, usually called teacher and master.

Pixinguinha, a melodic flutist coming from a very modest family, is a lively example of the black influence in Brazilian culture, particularly in music. His sophisticated work led Brazilian music into a revolution and a redimension within the so-called Brazilian Popular Music creating the country's most representative melodic branch. "Choro", which expresses uniquely the nation's feelings.

He was a composer, musician and arranger who used to gather with personalities of the musical scene, such as Sérgio Cabral, his biographer, who considered him one of the geniuses of Brazilian music. Vinícius de Moraes once said that Pixinguinha was the best person God had placed in this world. He made changes in Brazilian musical arrangements, which were pervaded by foreign influence, both popular and classical. His aesthetics led Brazilian music towards unknown territories.

He came out in the musical scene in 1919, when be formed a band called "Os Oito Batutas", which used to perform at the "Palais" movie-theater. At that time, bands used to play at movie-theater halls, which was regarded as a rather good chance, since only the best musicians played in those places. The boldness in the Brazilian rhythms, such as "batuques" and Ucateretês", was not quite well received by specialized critics, although the audience would enjoy it. Os Oito Batutas" went on successful tours to Paris and Buenos Aires.

Each of Pixinguinha's work would give identity to what would later be called Brazilian Popular Music

encompassing the musical work of Ary Barroso Jacó do Bandolim, Chico Buarque, Radamés Gnatalli and Tom Jobim. Pixinguinha's songs were usually happy and frolic, with some room for romance, such as in "Carinhoso", a major example.

Pixinguinha is the guide of this musical tendency, since he presented new paths information and techniques. He could be compared to other great musicians, but none would reach his level in terms of importance and talent.

Pixinguinha died in his son's arms, on February 17, 1973, in the sacristy of the "Igreja de Nossa Senhora da Paz" (Our Lady of Peace Church), in Ipanema, Rio de Janeiro, while waiting for a baptism ceremony. The "Banda de Ipanema" (Ipanema Band), which was at a nearby square to pay tribute to Pixinguinha, silenced its drums and dispersed in the crowd to mourn this musician who has become a legend.

Pixinguinha was a joyous, slit-eyed modest crazy for "Carnaval", enlightened musician who earned the sympathy of a whole nation and became part of its soul heart and hope, through the memory of his songs.

MINISTRY OF CULTURE PALMARES CULTURE FOUNDATION

 

 

 


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 Copyright 2012 notice: Please note that most material on this site is copyrighted, if pieces and bits of this site is found in other locations without proper authorization there are happy lawyers that would be glad to contact you. If you would like to use some pictures, contents of this site, please contact author first
For problems or questions and advertising regarding this Web site contact email vivabrazil.
Last updated: 12/22/11.


Home | Brazilian Regions | This is Brazil | What is new | Search Help | Contact Information

 Copyright 2012 notice: Please note that most material on this site is copyrighted, if pieces and bits of this site is found in other locations without proper authorization there are happy lawyers that would be glad to contact you. If you would like to use some pictures, contents of this site, please contact author first
For problems or questions and advertising regarding this Web site contact email vivabrazil.
Last updated: 12/22/11.


Home | Brazilian Regions | This is Brazil | What is new | Search Help | Contact Information

 Copyright 2012 notice: Please note that most material on this site is copyrighted, if pieces and bits of this site is found in other locations without proper authorization there are happy lawyers that would be glad to contact you. If you would like to use some pictures, contents of this site, please contact author first
For problems or questions and advertising regarding this Web site contact email vivabrazil.
Last updated: 12/26/11.