The series "Classics of the Brazilian Choro You are the Soloist!" enables you to discover the Choro style through the incomparable experience of performing the compositions yourself, accompanied by a Choro Ensemble. This volume features the work of PIXINGUINHA. Each volume of the series features a famous composer of this amazing music style, including his/her main compositions in a digitally-mastered audio CD and a high-quality printed music book with the corresponding C, Bb and Eb scores, as well as interviews, biography, and relevance of the author to the history of Choro. Using the CD, listen to the complete stereo tracks (with soloists) for your reference. Tune your instrument (flute, sax, clarinet or mandolin) using the tuning notes. Now have fun being the soloist, using the accompaniment tracks featuring a leading Choro Ensemble from Brazil. Now you can play along with your own "Choro Ensemble," which will always be there for you, whether at home, on the road or at the beach. Have fun and good training!
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Musicians, musicologists and lovers of our music may disagree on one thing or another. After all, as Nélson Rodrigues fat and foolish neighbor would say, each to his own taste. But if there is a name above all individual preferences, it is certainly Pixinguinha. Music critic and historian Ari Vasconcelos brilliantly summarized the importance of this fantastic instrumentalist, composer, orchestrator, and maestro: If you have 15 volumes available to speak about all types of Brazilian music, you can be sure it won t be enough. But if have room for only one word, then it s not all doom and gloom; write quickly: Pixinguinha. A quick look over his life and work would be enough to confirm that he is responsible for astonishing achievements, such as releasing his début record at 13, bringing about a radical change in the interpretation of choro. At that time (1911) the recording of an album was still taking its first steps in Brazil, and instrumentalists, even some of the most experienced choro players, seemed intimidated by the novelty, and would be very self-conscious about playing, scared of making mistakes. Pixinguinha started with great self-confidence and improvised in the flute feeling the same peacefulness he felt when playing in the choro jam sessions with his father and siblings, also musicians, and the many instrumentalists that formed the musical elite of the early 20th century. Pixinguinha was only not efficient in relation to certain aspects of practical life. In 1968, for instance, the Brazilian popular music, the journalists, his friends and the government itself of the then State of Guanabara got together for a series of events that celebrated his 70th birthday, on April 23. Aware that the proof of birth most used at the end of the 19th century was the Christening Certificate, the musician and researcher Jacob Bittencourt, the great Jacob do Bandolim, went to the church of Santana, in downtown Rio, to get a copy of Pixinguinha s Christening Certificate, and found out that he was not turning 70, but 71, since he had not been born in 1898 as he had always reported, but in 1897. The oversight had been officially formalized in 1933, when Pixinguinha went to the Notary Public to have his first Birth Certificate issued. But he not only misreported the year. He registered himself with the same name of his father, Alfredo da Rocha Viana, forgot to add Filho, (Junior), and misinformed his mother full name: Raimunda Rocha Viana instead of Raimunda Maria da Conceição. What we know for sure is that he had many siblings: Eugênio, Mário, Oldemar, and Alice, from Raimunda s first marriage, and Otávio, Henrique, Léo, Cristodolina, Hemengarda, Jandira, Hermínia, and Edith, from her marriage to Alfredo da Rocha Viana. He was the youngest of them all. The flute and choro jam sessions did not prevent him from having a childhood just like the other kids: he would play marbles and fly kites in the first districts he lived, Piedade and Catumbi. His father, a flutist, not only gave him the first flute, but also guided him to his first teachers of music, among whom was the great musician and composer Irineu de Almeida, a.k.a. Irineu Batina (Cassock). His first instrument was the cavaquinho, but soon he moved on to the flute. His first composition, still as a young boy, was Lata de leite, a choro in three parts as it was practically mandatory at the time. It was also in 1911 that he joined the orchestra of the carnival group Filhas da Jardineira, in which he met Donga and João da Baiana, who became his friends for the rest of his life. His father was also concerned about the curriculum studies of the boy, who, before going to a regular school, had some private teachers. But what the boy really wanted was music. So much so that, enrolled as he was in Colégio São Bento, which was famous for its stric
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