Mais Cavaquinho

   

Luciana Rabello

2000
  
Tracks:
    
01. De bem com a vida Ouvir   
(Luciana Rabello)   
02. Velhos chorões Ouvir   
(Luciana Rabello)   
03. Pitangueira Ouvir   
(Cristóvão Bastos, Luciana Rabello)   
04. Morena Ouvir   
(Cristóvão Bastos)   
05. No balanço da Luciana Ouvir   
(Avena de Castro)   
06. Manga rosa Ouvir   
(Jonas Pereira da Silva)   
07. Cá entre nós Ouvir   
(Raphael Rabello, Luciana Rabello)   
08. Valsa do trovador Ouvir   
(Cristóvão Bastos, Paulo César Pinheiro, Luciana Rabello)   
09. Flor de sapucaia Ouvir   
(Cristóvão Bastos, Luciana Rabello)   
10. Flor de jacarandá Ouvir   
(Luiz Moura, Cristóvão Bastos, Luciana Rabello)   
11. Queixa antiga Ouvir   
(Cristóvão Bastos, Paulo César Pinheiro, Luciana Rabello)   
12 Beliscando o cavaquinho Ouvir   
(Sérgio Reis)   

  

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 Biography  

 

by Alvaro Neder

Luciana Rabello has had noted participation in the support of the choro genre. One of the few soloists of cavaquinho, she participated, with her brother Raphael Rabello, in several groups. She was also in the Camerata Carioca, one of the most important choro groups of the '70s and '80s, which counted on, among other talents, Radamés Gnattali. She has been recording with important names of Brazilian music and released her first solo album in 2000, through her own label, Acari Records.

Rabello began to learn the violão (acoustic guitar) with her grandfather at age six. She also studied classical piano for five years. At 13, she started to write her own compositions. In 1975, she formed the choro group Os Carioquinhas with her brother Raphael and members Paulinho do Bandolim, Théo (six-string violão), and Mário (pandeiro), and she switched to the cavaquinho. Soon Maurício Carrilho replaced Théo, and Celsinho Silva (percussion) joined the group. With the dissolution of the Os Carioquinhas in 1978, Luciana, Raphael, Carrilho, and Silva were invited by Joel Nascimento to accompany him at Radamés Gnattali's "Retratos" suite. Excited with the result, Radamés decided to join the formation and the Camerata Carioca was created. The group, which blended elements of choro and erudite music, had a prominent role in the revitalization of the genre.

After her departure of the Camerata (together with Raphael and Silva) for her solo work, she has been accompanying names (in recording sessions and live shows) like Elizeth Cardoso, Paulinho da Viola, Cristóvão Bastos, Francis Hime, Chico Buarque, Martinho da Vila, Joel Nascimento, Baden Powell, Toquinho, Copinha, and Abel Ferreira. In 1981 and 1982, she toured Europe. She married Paulo César Pinheiro in 1985. Jonas, the cavaquinho player of the Época de Ouro, dedicated the choro "Manga Rosa" to her, which she recorded on her first solo album, Luciana Rabello, released in 2000 through her own label (with Maurício Carrilho) Acari Records, which specialized in artistic popular music.

  

♥

Bandolim

  

Hamilton de Holanda

Samba do Avião
2006

  

Tracks:

01- Cinema paradiso (e.morricone) 3:18
02- Samba do avião (a.c.jobim) 3:57
03- Théo (h. de holanda) 4:36
04- Embora (h. de holanda) 4:12
05- Último suspiro (h. de holanda) 4:03
06- Na hora do recreio (h. de holanda) 4:27
07- Eu não existo sem voce (a.c.jobim) 3:24
08- Dor menor (h. de holanda) 3:42
09- Chorinho pra ele (h.pascoal) 3:38 *
10- Sertão (r.galliano) 4:19 *
11- Sanfona (r.galliano) 4:06 *

Personnel: 

Hamilton de Holanda (mandolin)

Richard Galliano (accordion) *

Recording information: 

Maxine Studio, Milano, Italy (01/28/2005-01/30/2005)

  

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Hamilton de Holanda is the world's finest player of the jazz mandolin. And not only that. In 2001 he was unanimously voted "Best Instrumentalist in Brazil".

Richard Galliano (who specially composed two pieces for this recording) is the world's finest accordion player.

Hamilton de Holanda is a master of "Choro" - traditional Brazilian street music with strong links to jazz, tango and African rhythms - which originated in Rio around 1850. He performed on the Grammy-Award winning album by Cesària Evora and now tours the world with his own Trio and Quarteto but also often appearing with Richard Galliano in a duo.

This is a record of pure crystalline beauty whose natural flow recalls the "rodas de choro" - gatherings of musicians who play their instruments as if they were talking to each other. This is the music of subtle alchemy where the timbre reminds one of other important composers- such as Astor Piazzolla and Egberto Gismonti who spoke the language of jazz and improvisation while still infusing it with traditional phrasing and rhythm.

  

***

Born in Rio de Janeiro- 1976 Hamilton de Holanda is already considered as one of the greatest virtuosos of bandolim of all times., His work is very much Brazilian, but in a contemporary way, he is known as a master of 'Choro' music from the streets of Brazil that infuses tango, African and jazz styles. Guesting on 3 tracks is the wonderful accordion of Richard Galliano, the two of them working together are just brilliant and a real highlight. Graham Radley

***

Brazil

    
The mandolin (called "bandolim") has a long and rich tradition in Brazilian folk music, especially in the style called choro. The composer and mandolin virtuoso Jacob do Bandolim did much to popularize the instrument through many recordings, and his influence continues to the present day. Some contemporary mandolin players in Brazil include Jacob's disciple Deo Rian, and Hamilton de Holanda (the former, a traditional choro-style player, the latter an eclectic innovator).
The mandolin came into Brazil by way of Portugal. Portuguese music has a long tradition of mandolins and mandolin-like instruments (see, for example, the Portuguese guitar).
The mandolin is used almost exclusively as a melody instrument in Brazilian folk music - the role of chordal accompaniment being taken over by the cavaquinho and nylon-strung violão, or Spanish-style guitar. Its popularity, therefore, has risen and fallen with instrumental folk music styles, especially choro. The later part of the 20th century saw a renaissance of choro in Brazil, and with it, a revival of the country's mandolinistic tradition.

       

   

♥

Cavaquinho

  

Waldir Azevedo
Cavaquinho maravilhoso
Continental LPP 3005 - 1957

Tracks:

1. Veraneando (Waldir Azevedo)
2. Noturno (F. Chopin)
3. Ai que saudades da Amélia (Ataulfo Alves, Mário Lago)
   Atire a primeira pedra (Ataulfo Alves-Mário Lago)
4. Luar em Paquetá (Hermes Fontes, Freire Júnior)
5. Carinhoso (Pixinguinha, João de Barro)
6. Ciscando (Chiquinho, Waldir Azevedo)

7. Serra da boa esperança (Lamartine Babo)
   Rancho fundo (Ary Barroso-Lamartine Babo)
   Favela (Roberto Martins-Waldemar Silva)
8. Ternura (Waldir Azevedo)
9. Sentimento chinês (Waldir Azevedo)
10. Só para dois (Waldir Azevedo)
11. Torna sorriento (E.Curtis, O. Curtis)
12. Teus olhos (Waldir Azevedo)

 

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Waldir Azevedo nascimento 27/01/1923 falescimento 21/09/1980

Compositor e cavaquinista que mais contribuiu para a divulgação do choro nos anos 50, foi o compositor dos clássicos "Brasileirinho", "Pedacinhos do Céu" e o baião "Delicado", que alcançou enorme sucesso nos Estados Unidos na versão do maestro Percy Faith, entre muitos outros choros. Criado nos subúrbios do Rio de Janeiro, aprendeu flauta, violão e cavaquinho na infância. Mais tarde trabalhou na companhia de energia Light, emprego que abandonou em 1945 para ocupar a vaga de cavaquinho no regional de Dilermando Reis, na Rádio Clube do Brasil. No final de 1949 lançou o disco que continha "Brasileirinho", um enorme sucesso comercial em todo o mundo. Azevedo excursionou pela Europa, Japão e Estados Unidos tocando suas músicas. Algumas dessas turnês eram bancadas pelo Itamaraty, numa iniciativa de divulgar a música brasileira. Com mais de 20 LPs gravados, mudou-se para Brasília em 1971, onde viveu até a sua morte.
  

Waldir Azevedo (Rio De Janeiro, January 23, 1923 - São Paulo, September 21, 1980) was a choro conductor and performer. He wrote 130 compositions during his lifetime and played the cavaquinho. He is considered by many to be the first Brazilian cavaquinho shredder ever.

Bio

   

Cavaquinho
  

The Cavaquinho is also in Brazil (where it enjoys a bigger popularity then in Portugal), being present in all
regional groups of choros, emboladas, bailes pastoris, sambas, ranchos, chulas, bumbas-meu-boi,
cheganças de marujos, cateretês, etc
  

For more information read The Cavaquinho - Dr. Ernesto Veiga de Oliveira, from the book "Instrumentos Populares Portugueses", published by Fundação Calouste Gulbenkian (Translated by: Francisco Pires) 

  

 
♥
  

Spinning in Air - this one is for you :)

Ó abre alas

  

Chiquinha Gonzaga

  
Repertório:

01. Lua Branca - Joanna
02. Machuca - Daniela Mercury
03. Não Venhas - Emílio Santiago
04. Romance Da Princesa - Roberta Miranda
05. Menina Faceira - Paulinho Moska
06. Cordão Carnavalesco (forrobodó) - Alcione
07. A Brasileira - Adriana Calcanhoto
08. Ô Abre Alas - Marlene
09. A Corte Na Roça - Beto Guedes
10. Atraente - Edson Cordeiro
11. Maxixe Da Zeferina - Beth Carvalho
12. O Que É Sympathia - Zé Ramalho
13. Santa - Zélia Duncan
14. Namorados Da Lua - Milton Nascimento
15. O Namoro - Renato Teixeira
16. Corta Jaca - Marcos Viana
17. Um Novo Século - Marcus Viana

 Maria Teresa Madeira: piano

 

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Trilha da minissérie Chiquinha Gonzaga. Sempre ao final de cada capítulo da minissérie, exibida em 1999, pela Rede Globo, um cantor interpretava uma composição de Chiquinha, acompanhado de um pianista. Este CD reúne algumas destas interpretações, além de uma apresentação do violinista Marcus Viana e a pianista Maria Teresa Madeira com a música "O Corta-Jaca". O tema de abertura da minissérie, Um novo Século, composto especialmente por Marcus Viana, também faz parte deste repertório.
  

  
CHIQUINHA GONZAGA (BIRTHNAME: FRANCISCA EDWIGES NEVES GONZAGA) (October 17, 1847–February 28, 1935) Brazil: Composer, Musician

Born in Rio de Janeiro, Chiquinha Gonzaga was a pioneer in both her professional and social lives as the first female composer, conductor, performer, music teacher, and writer in Brazil to utilize her own work to ensure her personal survival. She was involved in many important changes that swept through Brazilian society at the turn of the century. She had to struggle in order to assert herself as an accomplished musician within a male-dominated environment; in the same way, she worked for the end of slavery and the opening of a republican society. She questioned social rules and traditional female roles throughout her life and established and lived under an order she forged for herself.

Gonzaga’s mother, Rosa María de Lima, was a mestiza (of mixed European and indigenous blood) who had Francisca, her first child, while still single. Her father, Lieutenant José Basileu Neves Gonzaga, recognized Francisca Gonzaga’s paternity eight months later and formed a family with Lima. His action was highly unusual for that time. His family did not approve of the marriage because of Lima’s social position, the circumstances of the marriage, and racial prejudice. Nevertheless, Francisca Gonzaga had a family, siblings, and access to an adequate education. A priest instructed her in writing, reading, mathematics, and religion and provided her with an introduction to foreign languages. A conductor, Lobo, and an uncle, Antonio Eliseu, were responsible for her musical formation.

Gonzaga was married at the age of sixteen to Jacinto Ribeiro do Amaral, a businessman chosen by her family, with whom she had three children. Problems in their marriage, including her husband’s forbidding her to play the piano and guitar, led Gonzaga to leave him. The ensuing scandal was crucial for her career and future attitudes. In line with prevailing societal attitudes, her parents disapproved of her behavior and did not allow her to return home. To support herself, she began to play the piano professionally in ensembles and created a family of other musicians. She met an engineer, João Batista de Carvalho Júnior, with whom she lived. Their union produced a daughter but, in approximately 1875, Gonzaga left both of them. Again, she was met with a social condemnation that worsened her already tarnished reputation.

At the same time she faced social sanctions for her dismissal of traditional female roles, she achieved professional success. She played at pastry shops and cabarets and composed a hit in 1877, the polka “Atraente” (Attractive). Taking advantage of the flourishing popularity of musical theater, she began to write songs and even lyrics for musical plays, a principal source of her growing importance in popular music. While living in a poor neighborhood, she observed the popularity of street festivals and celebrations. This inspired her to compose the first written carnival march, “Ó abre alas” (Make Way, composed between 1897 and 1899), which is still popular today. During this period, she worked not only in Brazil but also in Portugal, and there are records of her visits to that country in 1902 and 1904, with a longer stay from 1906 to 1909. Meanwhile, she met a Portuguese musician, João Batista Fernandes Lage, thirty-six years her junior, and took him as her lover. Chiquinha Gonzaga, now a mature woman, foresaw another scandal in the making. Thus, in 1902, she introduced João Batista as her son and, with this pretense, they lived together until her death in 1935.

Her philosophy toward life and her desire to break down social barriers and flout conventions fuel the lyrics of her still popular carnival march, “Ó abre alas”; “Make way / I want to pass through / Rosa de Ouro [a carnival group] is going to win / Throw open your wings / I want to pass through / I am a bohemian / that I cannot deny.”

This composition, set against the background of carnival, can be considered a statement of self-affirmation and independence. The emphasis on the first-person pronoun, placed in a carnival march, produces a dialectical meaning. The self-affirmation of Gonzaga, as a composer, is underscored by the first-person pronoun as both singular and female. However, its performance assumes a collective character because it is sung by a large group of people who are having fun in the carnival crowd. When her music was played and sung during carnival by the population, which was part of a thoroughly male-oriented society at that time, a new order is invoked as Gonzaga and other Brazilian women abandon their passivity to take an active new role. This is made clear when she asserts her undeniable bohemian behavior, a behavior restricted to men at that time. There is also a sense of profanity and mockery because she employs the march, originally a “serious” musical form used in solemn situations such as military parades and funeral processions, in a carnival context. Therefore, a conventionally rigid and ordered form is used in a context of extreme flexibility and disorder. Furthermore, Gonzaga indirectly criticizes society, the military life, and her family, especially on her father’s side—all of them bound by strict rules that, in turn, they tried to impose on her.

Ultimately, “Ó abre alas” has as its main characteristic the striking display of paradox in order to challenge it. The dualities of male and female, individual and collective, passive and active, rigid and flexible are all being challenged, as well as seriousness and joy and discipline and insubordination. “Ó abre alas” questions the rules of society and gender. It transforms the social axis from male to female. Through the pairing of rhyming verbs, Gonzaga turned negation into victory and denied the status quo in favor of a new kind of consciousness, the realization of female freedom.

Gonzaga, however, was not just concerned with gender. Other important contributions to Brazilian popular music were songs Gonzaga composed for the burleta Forrobodó (1912) by Luiz Peixoto and Carlos Bettencourt. This play, a huge success, was performed more than 1,500 times in Brazil. The burleta is a particular musical theater genre adapted to Brazilian taste. It comes from operetta and has its roots in the Italian opera buffa or comic opera. Forrobodó was the name of a suburban nightclub attended mainly by Afro-Brazilians and lower-income people. The performance shows the audience the types of people found in Brazil: the mulata(dark-skinned woman), the mulato (dark-skinned man), the malandro (the idler), the Portuguese immigrant, and the French prostitute. The variety of characters mirrored the spectrum of Brazilian people, the mixture of races and colors, which the audience enthusiastically accepted. It is considered the first time that daily life and the common idiom were performed on a Brazilian stage.

Gonzaga composed songs that, if analyzed in their function, demonstrate the specificities of this Brazilian musical theater genre. Forrobodó has danceable musical numbers that express the peculiarities or stereotypes of its characters, such as the sensuality of the mulata or the social maneuverability of the malandro, through a wide use of syncopations and rhythmic variations that, in conjunction with the lyrics, allow for a better portrayal and profile of the character. Gonzaga also employed an ample variety of rhythmic styles, well known and popular in Brazil at that time, such as the waltz, polka, modinha (a type of ballad), carnival march, quadrilha (quadrille), and desafio (challenge). This mixture of foreign rhythms with ones nationalized or created in Brazil is very common in Brazilian popular music and has always played a fundamental role in Brazilian musicianship.

Gonzaga was sensitive to this inherent eclecticism, and this was her main musical characteristic—a whole and unbiased approach to Brazilian music that celebrated its diversity. In 1914 Gonzaga’s instrumental composition written in 1895 and called “O corta-jaca” (a type of dance step) or “Gaúcho” (cowboy) with a maxixe rhythm (a precursor of the samba) was performed on the guitar at an official party held at the government palace. This was a double scandal in Brazilian society because the type of the music played was associated with lower-class society; moreover, the instrument used, the guitar, was related to bohemians and drunkards. Furthermore, it was a markedly popular song written by a woman of questionable reputation. However, this tune became so famous that Darius Milhaud quoted it in his experimental polytonal medley Le Boeuf sur le toit (The Ox on the Rooftop, 1919–1920). Obviously, there was recognition of Brazilian popular music and Gonzaga’s work. Gonzaga’s innovations went beyond music to policy and the legal rights of writers. For example, in 1917, she founded the first association for theatrical authors’ copyrights (SBAT) to protect people who write plays and music for the theater.

She was attacking a system of exploitation of the authors by publishers, a system of which Gonzaga was one of many victims. This association is still active, and its headquarters, in Rio de Janeiro, maintains Gonzaga’s archive with all the material that she produced. Unfortunately, most manuscripts have not been well preserved. Gonzaga’s last work was composed in 1933, for the operetta Maria, when she was eighty-five years old. The playscript was by Viriato Corrêa, an accomplished Brazilian author of romance who was not very familiar with theatrical writing. Throughout the play Gonzaga made corrections and adjustments to Corrêa’s lyrics, often recycling her old material. Gonzaga’s works include waltzes, mazurkas, polkas, habaneras, Brazilian tangos, modinhas, choros (literally, laments), maxixes, carnival marches, and many other popular genres as well as religious pieces. She wrote for piano, band, vocal, orchestra, and chamber ensembles. Through her work, she engaged in social and political arenas, selling her manuscripts to raise money to free a slave musician or participating in meetings to change the political regime. In every case, she demonstrated a unique personal and determined reaction to the problems posed to her, constantly risking misunderstanding and scandal, but also creating opportunities for her sometimes revolutionary ideas. Her work contributed substantially to her vision and critique of society. Her actions and way of life made opinions concrete, which, in turn, opened up new horizons for Brazilian women.

source

more to read and explore

wiki

♥

Lua Branca

  

Maria Teresa Madeira

Chiquinha Gonzaga

Repertório:

01. Lua Branca
02. Dama de Ouros
03. Atraente
04. Faceiro
05. Plangente
06. Bijou
07. Sedutor
08. Bionne
09. Tim Tim
10. Recitativo (a Corte Na Roça)
11. Valsa (a Corte Na Roça)
12. Fogo Foguinho
13. Annita
14. Não Insístas Rapariga
15. Cananéa
16. Viva o Carnaval
17. Quadrilha (forrobodó)
18. Tema (forrobodó)
19. Cordão (forrobodó)
20. Gaúcho
21. Abre Alas

 

Maria Teresa Madeira: solo piano

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source

Convidada por Marcus Viana a gravar a trilha sonora da minissérie Chiquinha Gonzaga, exibida em 1999, pela Rede Globo, Maria Teresa Madeira dedicou à compositora o primeiro volume da coleção Mestres da Música da gravadora sonhos&sons, onde apresenta arranjos inéditos e interpreta Chiquinha com muita vivacidade. Destaque para as músicas: Lua Branca Quadrilha, Cordão e o Tema da Opereta Forrobodó 

Lua Branca
(Chiquinha Gonzaga)

Ó! Lua Branca, de fulgores e de encantos,
se é verdade que ao amor tu dás abrigo,
vem tirar os olhos meus o pranto,
ai vem matar esta paixão que anda comigo.

Ai, por quem és, desce do céu, ó Lua Branca,
essa amargura do meu peito... ó, vem, arranca,
dá-me o luar de tua compaixão,
ó, vem por Deus, iluminar meu coração.

E quantas vezes lá no céu me aparecias,
a brilhar em noite calma e constelada,
em tua luz então me surpreendias
ajoelhado junto aos pés da minha amada.

E a chorar, a soluçar cheia de pejo,
vinha, em seus lábios, me ofertar um doce beijo,
ela partiu me abandonou assim...
ó, Lua Branca, por quem és tem dó de mim.

An erudite artist who, early in her career, opted for developing works in the popular area, Maria Teresa Madeira has been devoting herself to the choro genre, interpreting Ernesto Nazareth (her 1997 album, among others, is dedicated to the Belle Époque composer, and is shared with mandolinist Pedro Amorim) and Chiquinha Gonzaga). In the popular field, she backed artists like Beth Carvalho, Lenine, Paulinho Moska, Joanna, Zé Ramalho, Leila Pinheiro, and Alcione on the TV series Chiquinha Gonzaga, also recording its piano soundtrack. Together with Henrique Cazes, Omar Cavalheiro, Marcus Nimrichter, and Oscar Bolão, she assembled again the Quinteto Radamés in 2000, renamed as Novo Quinteto. Her 2000 CD (her 11th solo) was shared with harmonica player Rildo Hora. In 2001, she toured the U.S., divulging the choro and presenting its similarities with ragtime. Madeira received her B.A. in piano at the Escola de Música da Universidade Federal do Rio de Janeiro and her M.A. in piano performance and pedagogy at Iowa University (U.S.) During the three years she spent there, she was selected by the Performing Arts Council and performed in several American cities. She was a soloist in several orchestras, including the Orquestra Sinfônica Brasileira, the Cedar Rapids Symphony, and the University of Iowa Chamber Orchestra. Among the conductors with whom she performed are Isaac Karabitchevsky, Aylton Escobar, Christin Tyinmeyer, and Andrée Dagenais. She performed in a duo with international artists like Alain Marion, Alain Damiens, Leopold LaFosse, Leon Biriotti, Gottfried Engells, Paula Robinson, and Roman Mekinulov. In Brazil, she has been working with names like Paulo Sérgio Santos, Alceu de Almeida Reis, Aloysio Fagerlande, Radegundis Feitosa, Carol McDavit, Rildo Hora, and Pedro Amorim. She performed internationally in 1998 in Bogota, Colombia, in duo with clarinetist Paulo Sérgio Santos  and, in 1999, in New York, NY, with trombonist Radegundis Feitosa. As a musical director and pianist, she worked in several theater plays, such as Forrobodó (for which she recieved the Mambembe award for Best Theatrical Play in 1995), A História da Baratinha (for which she won a Coca Cola award), Iluminando a História (for which she was nominated for the 1999 Coca Cola award for Best Musical Direction), and O Garoto Noel (for which she was a finalist for the Coca Cola theater award in 1999).

~ Alvaro Neder, Rovi

  

Três a Zero

   

Grupo Vou Vivendo

Brasil Revive o Chorinho
1990
 
Tracks:
 
01. FEITIÇO (Jacob Pick Bittencourt ´Jacób do Bandolim´)
02. ESPERANDO A FEIJOADA (Heraldo do Monte)
03. MEU BEM (Bernardo Cascarelli Jr. ´Xixa´)
04. BEBÊ (Hermeto Pascoal)
05. APANHEI-TE CAVAQUINHO (Ernesto Nazareth/Ubaldo Mangione)
06. ZÉ! TRAZ O PÃOZINHO (Julio de Mesquita)
07. MEU CARO AMIGO (Chico de Holanda/Francis Hime)
08. ACERTA O PASSO (Pixinguinha/Benedito Lacerda)
09. TICO TICO NO FUBÁ (Zequinha de Abreu/José Gomes de Abreu)
10. JOÃO E MARIA (Chico Buarque de Holanda/Sivuca)
11. LUA DE MEL (Bernardo Cascarelli Jr. ´Xixa´/Julio Nagib João)
12. MINHAS MÃOS MEU CAVAQUINHO (Waldyr Azevedo)
13. O BOM FILHO A CASA TORNA (Bonfiglio de Oliveira)
14. ATRAENTE (Altamiro Aquino Carrilho)
15. MEU DOCE CHORINHO (Antônio Porto Filho ´Portinho´)
16. BRASILLIANCE (Laurindo de Almeida)
17. LAMENTOS (Pixinguinha/Vinícius de Moraes)
18. JOAQUIM VIROU PADRE (Pixinguinha)
19. POT POURRI - SOFRE PORQUE QUERES/INGÊNUO/OS 8 BATUTAS/1X0 (UM A ZERO)
(Pixinguinha/Benedito Lacerda)

    

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Vale a pena conferir este primeiro volume de Brasil Revive o Chorinho, uma coletânea fantástica com o melhor do grupo Vou Vivendo. Ao todo, são 18 faixas, incluindo "André de Sapato Novo", "Chorinho Na Praia" e "Pedacinhos do Céu", alguns dos destaques. Um álbum excepcional que não pode ficar fora de sua coleção!

   

Choro (Portuguese pronunciation: [ˈʃoɾu], "cry" or "lament"), traditionally called chorinho ("little cry" or "little lament"), is a Brazilian popular music instrumental style. Its origins are in 19th century Rio de Janeiro. In spite of the name, the style often has a fast and happy rhythm, characterized by virtuosity and improvisation. Choro is considered the first urban popular music typical of Brazil.
  
Choro instruments
 
Originally choro was played by a trio of flute, guitar and cavaquinho (a small chordophone with four strings). Other instruments commonly played in choro are the mandolin, clarinet, saxophone, trumpet and trombone. These melody instruments are backed by a rhythm section composed of guitar, 7-string guitar (playing bass lines) and light percussion, such as a pandeiro. The cavaquinho appears sometimes as a melody instrument, other times as part of the rhythm.
   
Compositional structure
  
Structurally, a choro composition usually has three parts, played in a rondo form: AABBACCA, with each section typically in a different key. There are a variety of choros in both major and minor keys.
  
History
  
In the 19th century, choro resulted from the style of playing European musical genres (polka, schottische, valsa, mazurka) by carioca musicians, who was already strongly influenced by African rhythms, principally the lundu and the batuque. Originally the term "Choro" referred to these ensembles (e.g. in the 1870’s flutist Joaquim Antônio da Silva Callado formed an ensemble called "Choro Carioca"), and later the term referred to the music style of these ensembles. The accompanying music of the Maxixe (dance) (also called "tango brasileiro") was played by these choro ensembles.
  
Just like ragtime in the United States, choro springs up as a result of influences of musical styles and rhythms coming from Europe and Africa.
 
Much of the mainstream success of this style of music came from the early days of radio, when bands performed live on the air. By the 1960s it had evolved into urban samba. However, in the late 1970s there was a successful effort to revitalize the genre, through TV-sponsored nation-wide festivals in 1977 and 1978, which attracted a new, younger generation of musicians. Thanks in great part to these efforts, choro music remains strong in Brazil. More recently, choro has attracted the attention of musicians in the United States, such as Mike Marshall and Maurita Murphy Mead, who have brought this kind of music to a new audience. (Gabriele Mirabassi in Italie) Most Brazilian classical composers recognize the sophistication of choro and its major importance in Brazilian instrumental music. Radamés Gnattali said it was the most sophisticated instrumental popular music in the world. Heitor Villa-Lobos defined choro as the true incarnation of Brazilian soul. Notably, both composers had some of their music inspired by choro, bringing it to the classical tradition.
 
According to Aquiles Rique Reis (a Brazilian singer):

   

"Choro is classical music played with bare feet and callus on the hands."

  

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Dois a Zero

  

Pixinguinha
Raízes do Samba
 
Tracks:
 
1. Batuque na Cozinha
2. A Tua Sina
3. Cabide de Molambo
4. Roxá
5. Yaô
6. Mironga de Moça Branca
7. Quê, Quê, Rê, Quê, Quê
8. Aí, Seu Pinguça
9. Estácio, Mangueira
10. Elizete no Chorinho
11. Os Oito Batutas
12. Fala Baixinho
13. Samba do Urubu
14. Odeon
15. 1x0
16. Urubatan
17. De Mal Pra Pior
18. Samba Fúnebre
19. Carinhoso
20. Sofres Porque Queres

  

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A compilation of important recordings by Pixinguinha, a fundamental composer/arranger/instrumentalist and revolutionary of Brazilian music. Includes "Sofres Porque Queres," recorded in 1970. In that phase, Pixinguinha had already joined Benedito Lacerda's regional, recording albums in which he appears at the tenor sax counterpointing Lacerda's flute, but in this track, Pixinguinha plays the flute, accompanied by a violão. Benedito also is credited as co-author of this song and of many others, but Pixinguinha, following an old usage among poor musicians, used to give him partnership because of the excellent work of divulgation Lacerda did. "Batuque Na Cozinha," "A Tua Sina," "Cabide de Molambo," and other nine songs were taken from Pixinguinha's 1968 album Gente da Antiga (reissued here integrally), produced by Hermínio Bello de Carvalho for Odeon, reuniting old bambas like João da Baiana and Clementina de Jesus. They were just put together in the studio without any rehearsal, to play whatever pleased them, and the result was grand. "Samba do Urubu," "Odeon," "1 x 0," "Urubatan," "Carinhoso" (symphonic arrangement written by Pixinguinha in 1938 for the anniversary of the Radio Mayrink Veiga), "Samba Fúnebre," and "De Mal Pra Pior" (the latter two from the soundtrack of the film Sol Sobre a Lama) were taken from São Pixinguinha, the last album recorded by Pixinguinha, released by Odeon  in 1971, with some tracks bringing an ugly fuzzed-out guitar which may have represented quite an achievement for the album's producer.

~ Alvaro Neder, All Music Guide 

      

         

Pixinguinha

      

Alfredo da Rocha Viana Filho, better known as Pixinguinha, (April 23, 1897 - February 7, 1973) was a choro composer, arranger, flautist  and saxophonist born in Rio de Janeiro. Through the legacy of the pioneering choro  composers of the 19th century and of the Afro-Brazilian tradition, Pixinguinha produced the most important choro works of all time. Edifying the choro as a musical genre, he conferred on it personality and identity.

Biography
 
From an early age, Pixinguinha was a distinguished flautist and wrote his first piece at 13. When he grew older, he began the revolutionary musical group Os Oito Batutas. This ensemble was the first Brazilian group featuring the jazzy instrumentation of the trumpet, trombone, and saxophone. After receiving a gig for the dance couple, Duque and Gabi at the Assírio cabaret, they were discovered by the wealthy Eduardo Guinle who solely sponsored their first European tour in 1922. Their tour was a complete success and Pixinguinha received much praise from many distinguished Parisian musical artists including the famed Harold de Bozzi. In 1940, Pixinguinha initiated one of the most distinguished musical periods in the history of Brazil in which composition was revolutionized by improvisation to musical counterpoint.

    

bio

      

choro

 

choro 2

     

another bio

  

some more to listen

  

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Um a Zero

   

Arthur Friedenreich was born to Oscar Friedenreich, a German businessman who immigrated to Brazil and Mathilde, an African Brazilian washerwoman, the daughter of freed slaves. Friedenreich was the first Black  professional football player in Brazil, because at that time football was dominated by whites and blacks were not accepted. He faced many barriers because of racism, and he could not attend the same places where white players were, such as swimming pools, tennis courts and parties.

He started his career influenced by his father, playing for SC Germania, a Brazilian football team composed of German immigrants. After playing with a succession of São Paulo club sides from 1910 onwards, Friedenreich made his debut with the national team in 1914. He played twenty-two internationals, including wins in the 1919 and 1922 editions of the Copa América, scoring ten goals. On Brazil's 1925 tour of Europe, he was feted as the King of Football. He also has a claim to the high scoring record but FIFA cannot prove these goals because of faulty record-keeping.

He was not picked up by Brazil National Football Team for 1930 FIFA World Cup because there was a serious misunderstanding between the Football Leagues of the States of Rio de Janeiro and São Paulo; only players from Rio travelled. São Paulo stars, like him (who was 38 years old), Filó (who would be 1934 FIFA World Cup champion with Italy) and Feitiço, did not go to Uruguay.

 

      

“Um a Zero,” composed in honor of the paulista football ace Arthur Friedenreich, who shot the only goal in a match against Uruguay, winning for Brazil the 1919 South American championship and its first international soccer title.

      

      

1 - 0 (uno a zero)

di Gabriele Mirabassi
Egea -2001

 

Tracks:

  
01. Um a Zero (Pixinguinha)
02. Ainda Me Recordo (Pixinguinha)
03. Ingênuo (Pixinguinha)
04. Proezas de Solon (Pixinguinha)
05. Seu Lourenço no Vinho (Pixinguinha)
06. Non ci resta che... chorar! (Gabriele Mirabassi)
07. Vou Vivendo (Pixinguinha)
08. Chorei (Pixinguinha)
09. Carinhoso (Pixinguinha)
10. Apanhei-te, Cavaquinho (Ernesto Nazareth)
11. A Ginga do Mané (Jacob Pick Bittencourt)
12. Vidinha Boa (Jacob Pick Bittencourt)
13. Brejeiro (Ernesto Nazareth)

   

Gabriele Mirabassi (clarinet)
Patrick Vaillant (mandolin)
Luciano Biondini (accordion)
Michel Godard (tuba)

  

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♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

  

Choro, Italian style

Gabriele Mirabassi plays
Pixinguinha

Daniella Thompson
9 March 2002

Gabriele Mirabassi is an Italian clarinet virtuoso noted for his contributions to contemporary music and jazz. His recordings encompass a wide range of genres and styles, so it’s no surprise that Brazilian music which he discovered as an adolescent through Egberto Gismonti’s album Sanfonais clai ming an increasingly important place in his discography. In the past three years, Mirabassi has dedicated two albums to Brazilian music.

The more recent release, 1 - 0 (uno a zero), offers a selection of choro classics with a European twist. Instead of relying on the traditional conjunto regional’s backbone of guitar, cavaquinho, and pandeiro accompanying a solo instrument, Mirabassi’s arrangements employ four instruments clarinet, mandolin, accordion, and tuba in both solo and supportive roles.

Pixinguinha dominates the repertoire. Mirabassi, who like Paulo Moura finds great affinity between Pixinguinha and Duke Ellington, loaded the disc with eight compositions by the great choro composer, including the title tune “Um a Zero,” composed in honor of the paulista football ace Arthur Friedenreich, who shot the only goal in a match against Uruguay, winning for Brazil the 1919 South American championship and its first international soccer title. In a ball game of their own, clarinet, accordion, and tuba toss the melody back and forth and dribble counterpoints against each other.

Throughout the album, the clarinet rotates shades in a chameleon-like fashion, now taking on, now discarding the hues of Altamiro Carrilho’s choro flute, Benny Goodman’s Swing, a klezmer reed, or a progressive-jazz horn. Ernesto Nazareth’s warhorse “Apanhei-te, Cavaquinho” receives perhaps the most atypical interpretation in a leisurely accordion solo. Mirabassi also treats us to his own composition, “Non ci resta che... chorar!” (there’s nothing left to do but cry), which begins with a slow tuba solo that develops into a sprightly and swinging clarinet, accordion, and tuba romp.
   

EGEA

  

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