Pixinguinha

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

Alfredo da Rocha Viana Filho, known as Pixinguinha (Portuguese: [piʃĩˈɡiɲɐ]; April 23, 1897 – February 17, 1973) was a Brazilian composer, arranger, flautist and saxophonist born in Rio de Janeiro. Pixinguinha composed popular music, particularly within the genre known as choro, including some of the best-known works in the genre such as "Carinhoso", "Glória", "Lamento" and "Um a Zero".^[1]

By integrating the music of the older choro composers of the 19th century with contemporary jazz-like harmonies, Afro-Brazilian rhythms, and sophisticated arrangements, he introduced choro to a new audience and helped to popularize it as a uniquely Brazilian genre.^[2] He was also one of the first Brazilian musicians and composers to take advantage of radio broadcasting technology and studio recording.

Early life and career

Pixinguinha was born to musician Alfredo da Rocha Viana, a flautist who kept an extensive collection of choro music scores and regularly hosted musical gatherings at home. In 1912, Pixinguinha began performing in cabarets and theatrical revues in Rio de Janeiro’s Lapa district. He later became the flautist for the house orchestra at the Cine Rio Branco movie theater, where live music accompanied silent films. In 1914, he joined with friends João Pernambuco and Donga to form the group Caxangá, which attracted significant attention until it disbanded in 1919.^[3]

Os Oito Batutas

Five years later in 1919, Pixinguinha, along with his brother China, Donga, João Pernambuco, and other prominent musicians, formed the musical group Os Oito Batutas (lit. 'The Eight Amazing Players').^[4]^[5] The instrumental lineup was at first traditional, dominated by a rhythm section of plucked strings: Pixinguinha on flute, plus guitars, cavaquinho, banjo cavaquinho, and hand percussion. Performing in the lobby of the Cine Palais movie theater, Os Oito Batutas soon become a more popular attraction than the films themselves.^[6]^[7] Their repertoire was diverse, encompassing folk music from northeast Brazil, sambas, maxixes, waltzes, polkas, and "Brazilian tangos" (the term choro was not yet established as a genre). The group appealed especially to the nationalistic desires of upper-class Brazilians who yearned for a homegrown, uniquely Brazilian musical tradition free from foreign influences. Os Oito Batutas became a sensation across Brazil, though they were controversial with the white Rio elite, who were not happy with black men performing in popular venues.^[8]

Os Oito Batutas, and Pixinguinha specifically, were the target of attacks reflecting anxieties about race and the influence of Europe and the United States on Brazilian music. The group, which consisted of both white and black musicians, performed mainly in upper-class venues where black musicians had previously been prohibited.^[9] Moreover, they were criticized by those who felt that Brazilian musical culture should reflect primarily its European roots and who were embarrassed by a black musical ambassador. Finally, Pixinguinha's compositional style and incorporation of trumpets and saxophones were criticized by some as his arrangements being corrupted by American jazz.^[2]

After performing at a gig for the dance couple Duque and Gabi at the Assírio cabaret, they were discovered by the wealthy Arnaldo Guinle who sponsored their first European tour in 1921.^[10] In Paris they served as ambassadors of Brazilian music, performing for six months at the Schéhérazade cabaret. Their tour was a success and Pixinguinha received praise from many Parisian musical artists including the Harold de Bozzi.^[11] Upon returning to Brazil, they toured to Buenos Aires where they made recordings for RCA Victor.

Pixinguinha returned from Paris with a broadened musical perspective. He began to incorporate jazz standards and ragtime into his group's repertoire, changing the lineup dramatically by adding saxophones, trumpets, trombone, piano, and a drum kit. The name was changed to simply Os Batutas to reflect the new sound.

Orquestra Victor Brasileira

O Urubu e o Gavião