The Music Of João Pernambuco

João Teixeira Guimarães (1883-1947), better known as João Pernambuco, is one of the founders of the Brasilian guitar choro style, and his compositions for solo violão are deservedly considered belonging to the core of classic choro, popular with guitarists, loved and admired by audiences in Brazil and elsewhere. Villa Lobos once said according Pernambuco's compositions that even J.S. Bach would not have been embarrassed to sign his name to them, a great recognition of João Pernambuco's genius, expressing true admiration by a renowned and worldfamous composer in his own right. Eventually, had it not been for Villa Lobos' admiration and enthusiastic assistance in helping to transcribe several of João Pernambuco's compositions in music, his work as a composer would not have been known outside his contemporary community of choro musicians and saved for posterity.

João Pernambuco was born in Jatobá, Pernambuco, in 1883, as a member of a large family (- he had 19 siblings). After his mother passed away in 1904, he moved to Rio de Janeiro to seek his fortune. Though he was illiterate, Pernambuco had vast experience in popular culture, which reflected very strongly on his artistic side. His musical knowledge soon led him to meet some of the best musicians in his era. He was a contemporary of Catulo da Paixão Cearense, Pixinguinha and others. It was Pernambuco's idea to form the Grupo Caxangá in 1912. The group had a series of Carnaval hits in the years 1914 through 1919. When Pixinguinha created his Os Oito Batutas ensemble, he invited almost all of the members of Grupo do Caxangá, and that led to ending Pernambuco's group. He was a member of Os Oito Batutas up to 1921, but left before Pixinguinha was offered a tour engagement of Paris in 1922 with his group. From then on Pernambuco worked on his own as a guitar teacher at one of Rio's famous instrument stores, the Cavaquinho de Ouro, a meeting point for choro musicians and other artists, who benefitted from his pedagogical teaching and willingness to share his work and experience. This led to his meeting with the great Paraguayan guitarist and composer, Augustin Barrios, and later Pernambuco was introduced in the upper class of Cariocan society to perform his compositions and show off his abilities as a self taught master of the violão. He had success with his performance, although the guitar/violão at that time was considered a low class utility for entertainment of simple workers only. Pernambuco had learned the instrument from listening to and watching street musicians in his native region, and simple low-class life was a part of his career as well - he earned his living as a blacksmith making shoes for horses when not teaching, composing and performing! He also had experience with the new media of the time, radio and recording. Together with fellow guitarist Zezinho (- later known as Zé Carioca) he recorded a dozen of his own compositions for Columbia in 1929-30. These 78 rpms are hard to find nowadays, but you have an opportunity to listen to some of them in the program by Fábio Zanon from Rádio Cultura, SP, devoted to João Pernambuco, to be reached clicking here

My first encounter with the compositions of João Pernambuco was through listening to the execelent recordings by Turibio Santos of some of his most famous choros released in 1977 on the shown LP above (ERATO 9155). I still recommend these recordings as some of the best available performance of classic guitar choro by Pernambuco and other. The LP has been re-issued on a cd I'm told, but I have not been able to locate it, yet. However, the LP contains authoritative renditions of Pernambuco's choros 'Dengoso', 'Graúna', 'Interrogando', 'Pó de Mico' and 'Sons de Carrilhões' and is well worth searching for, if you haven't access to the cd re-issue.

In 1983 the choro ensemble No em pingo d'agua recorded some of Pernambuco's compositions in collaboration with pianist Antonio Adolfo to cellebrate the centennial of the composers birth. Earlier I have commented on these recordings, which are recommended and available in streaming audio from Canal Funarte, click here

In 1992 Caio Cezar recorded the shown cd, Caio Cezar interpreta João Pernambuco, vol. 1 (CARRILHÕES 107.177) (- released 1996), containing 11 solo renditions of Pernambuco's work, more info available from Discos do Brasil including sound clips, click here

In 1997 Leandro Carvalho, who learned erudite guitar technique from Turibio Santos, released his first cd devoted to João Pernambuco's music, João Pernambuco - O Poeta do Violão, more info on contents and sound clips at Discos do Brasil, click here

In 2000 Leandro Carvalho released his second cd with works by Pernambuco arranged for solo guitar as well as various ensembles . Click on picture below to learn details from information at Discos do Brasil

If you search for more info on João Pernambuco at the internet, I recommend a visit at a website in Italian/Portuguese devoted to his legacy, click here

YouTube has several videos uploaded with performances of music by João Pernambuco, I insert one of them below to end this small contribution on the legacy of one of the greatest composers in the guitar choro genre.

Enjoy a performance by an accomplished guitarist playing Pernambuco's 'Dengoso'

Jo

Canhoto da Paraíba (1926-2008)

A couple of days ago I learned the sad news that Canhoto da Paraíba (Francisco Soares de Araújo) passed away on the 24th of April following a heart attack. The choro music scene throughout the world has lost a legendary artist, who ranked alongside the greatest exponents of this Brazilian music style from the generation of Pixinguinha, Radamés Gnattali and Jacob do Bandolim.

Francisco Soares de Araújo was born 1926 in a family of musicians in Princesa Isabel, Pernambuco state (- North East of Brazil), and started very young to practise guitarplaying in a peculiar and not very common way. Becuse there was only one instrument in the house to share with his siblings, the lefthanded boy had to find a way to play the instrument without changing the position of the strings, but still played the inverted way! He developed a unique technique that allowed him to do so, and he was soon admired and famous in his neighborhood for being a unique and virtuosic master of the violão.

Canhoto began his career at Radio Tabajara of Joao Pessoa, in 1953, later he would move to Recife, PA, where his local fame would be extended, and in 1959 he was invited to Rio de Janeiro to take part in the famous roda de choros at the home of Jacob do Bandolim. He had success following the meeting with the cream of choro, he was admired for his abilities both as a musician and composer by the likes of Pixinguinha, Radamés Gnattali and Jacob do Bandolim. During his career Canhoto composed more than 80 pieces belonging to the core of choro and MPB, and he recorded three solo albums, "Único amor” (1968), “O violão brasileiro tocado pelo avesso” (1977) and Pisando em brasa” (1993), further he recorded with the Zimbo Trio in an album, “Instrumental no CCBB – Canhoto da Paraíba e Zimbo Trio” (1993).

In 1998 Canhoto had a cerebral ischemia that left the left side of his body paralyzed, preventing him from playing. He was taken care of by his family in Recife during his last years, and in 2004 he was granted a lifelong salary by the state in honor of his artistic career and importance as a culturel ambassordor of the Pernambucan music tradition. At his death last month the state govenour even decreed an official morning for three days in honor of this great artist.

In remembrance of Canhoto da Paraíba I insert a couple of videos, which show examples of his genius both as a musician and composer.

The first video is from a TV program, a portrait of Canhoto da Paraíba, where you can watch him playing in his unique style

The second video is from a roda da choro earlier this year featuring Mauricio Carrilho & Glauber Seixas playing "Tua Imagem", one of the famous compositions by Canhoto

To end this, I found an uploaded video with stills and music extracts from the cd by Canhoto da Paraíba, “O violão brasileiro tocado pelo avesso” (1977)

Jo

Choro das 3 on Radio UOL

Some time ago I promissed to review the first cd released by the choro group Choro das 3 when I had my copy in house, however, my ordered copy never showed up. My disappointment with the retailer's lack of service at this point, however, was put aside when I visited the new updated official webside of Choro das 3

Besides having a new design the websides also leaves the visitor with the opportunity of listening to the cd by this excellent young choro ensemble at full length from Radio UOL on the internet. Follow the link in the multimedia menu at the website to hear the cd.

It's a thrill to be listening to these joyous renditions of classic choro by Choro das 3, and I hope the listener of the streaming audio from Radio UOL will buy the cd, if possible, to support a talented ensemble that derserves support by all true lovers of choro.

Jo

Choro Day - Dia do Nacional do Choro

In September 2000, president Fernando Henrique Carsoso signed an official document to announce 23 April the National Day of Choro in Brazil in honor of Alfredo da Rocha Vianna Filho, Pixinguinha, who was born 23 April 1897. Every year since then choro has been celebrated officially on the 23th of April through countless events in Brazil and around the world where Brasilian culture is a part of the local community. Let's follow this tradition and celebrate the day by playing some choro music. - I insert three video performances below to relive the spirit of Pixinguinha and his musical legacy to the world.

At a private roda de chora Conjunto Som Brasileiro performs "Naquele Tempo"

From at concert in Rio de Janeiro here is a performance of Pixinguinha's "Cochichando" featuring David Ganc & Márío Sève on tenor and alto saxophone

Finally, from another live concert, Alessandro Penezzi (g) & Sérgio Napoleão Belluco (fl) with members of Conjunto Som Brasileiro perform "Um a Zero"

Jo

Young Talent - Nicolas Silva

During the 1950s and early 1960s choro was out of vogue in Brazil, this kind of music was considered old people's music not worth giving exposure in radio and TV or being promoted by the big record companies. Only a handful of well known choro artists - like Pixinguinha, Jacob do Bandolim, Waldir Azevedo, Abel Ferrari to name a few - still had work, but were often forced to share their talents in musical contexts outside choro to survive. However, things luckily changed during the revival of choro during the mid-1970s, and today choro seems to be as strong as ever, both in the public opinion and among musicians devoting their talents to this great music tradition of Brazil. New talents are surfaced every now and then, last night I was lucky to spot one of them on YouTube, the 10 years old Nicolas Silva - an accomplished young master of the violão. The only technical problem Nicolas seems to meet is the full size of the instrument he is using in performance, anyway, he has his time ahead and the whole world on a string, I hope. - Enjoy Nicolas Silva in three video performances of well known choro tunes.

From a concert performance Nicolas Silva plays "Brejeiro" by E. Nazareth

From the same live concert Nicolas Silva performs "Tico tico no fubá" by Z.de Abreu

The last performance by Nicolas Silva inserted here is a rendition of Pixinguinha's "Carinoso" - remember to celebrate choro day on April 23th!

Jo

Choro Guitar Books

Some time ago I promissed to search the field of published choro music for guitar/violão, the following items mentioned below, however, are just a small selection of what has been issued recently and is still available for purchase from the publishers.

If the guitar choro playing is new to you, the shown book by Carlos Almada may be a good way to get started. As the title states, it contains 13 exercises of choro pieces arranged for solo guitar/violão. From the publisher's notes: "It has 13 studies (in the 13 more commonly used keys for the choro guitar) written in a reduced form and in the principal stylistic choro variants: besides real choros, there are polkas, maxixes, Brazilian tangos and xotis. The more used and characteristic rhythmical figurations are present in each of the studies as the principal. Also aiming at the simplification of execution, all studies were composed with only two voices (melody and bass) and with no chords (although harmonies are quite evident due to the choro melodic particularities). A CD with all 13 studies is included." Click on picture to learn more about the contents.

To expand your knowledge of the roots of the Brasilian guitar styles besides choro the shown anthology by Henrique Medeiros & Carlos Almade may be of interest. From the publisher's notes: "The main goal of this anthology for solo guitar is to put several styles together--the lundu, the polca, the maxixe, the valsinha, the quadrilha, the choro, the xótis, and the samba--to display the Brazilian musical scenery (especially from the city of Rio de Janeiro) of the last half of the 19th century and first years of the 20th century. The five composers chosen for inclusion are among the most important of that period: Francesco Manuel de Silva, Chiquinha Gonzaga, Joaquim Callado, Patápio Silva, and Anacleto de Medeiros. All twelve of the selections appear here in notation and tablature." More info, click on picture.

Duda Anizio and Nelson Caiado, two highly accomplished classical guitarists, have recorded a cd exclusively featuring compositions by Sérgio da Pinna, professor of the violão and father of Marco da Pinna. According to available info, "Sérgio de Pinna continues a tradition of brazilian classical guitar school descending directly from João Pernambuco and Dilermando Reis. His compositions are a combination of melodic simplicity and harmonic surprises." The music has been transcribed and is available in a seperate book, learn more by clicking the picture above.

Guitarists interested in playing the challenging arrangements of pieces recorded by the renown master of the violão, Raphael Rabello, may find inspiration in the shown book by Fernando Presta. The book has 11 arrangements included of the tunes "André de sapato novo", "Anos dourados", "O bem e o mal", "Conversa de botequim", "Dindi", "Luiza", "Modinha", "Samba do avião", "Samba de verão", "Samurai" & "Todo sentimento" - arrangements written in music and tablature for solo guitar/violão. Click picture to learn more.

You cannot dig into the Brasilian tradition of the solo violão without having knowledge of the compositions by Garoto. Paulo Bellinati's transcriptions of the guitar works by Garoto in two volumes are indispensable, if you'll try to master Garoto's compositions. The books are still available and so is the cd recorded by Paulo Bellinati of Garoto's guitar works.

These few items mentioned above are just an appetizer for guitarists interested in getting started with a challenging study of the Brasilian choro guitar.

Jo

Marco de Pinna - Ginga de um Bandolim

Master of the bandolim and tenor-guitar, Marco de Pinna was one of the founders of the group "Nó em Pingo D'água" in 1977. He recorded his first LP in 1985 which featured guest appearances by Radamés Gnattali and Orlando Silveira.

Since 1997, Marco has been teaching in the Brazilian music course "California Brazil Summer Camp", in San Francisco (USA). In 1999 he participated in the CD "Velha Guarda da Mangueira", indicated for the Grammy 2000 Premium, and in the soundtrack to director Zelito Viana's film "Villa Lobos: A Life of Passion".

Marco de Pinna has performed with numerous stars of MPB and since 2000 he has been a member of the group Feitio de Oração that specializes in a repertoire of samba and choro, performing both in Brazil and abroad. Learn more about Feitio de Oração from their official website, to be reached clicking here

More about Marco de Pinna at MusicExpress, including free downloads of music in mp3, click here

Several videos featuring Marco da Pinna are uploaded at You Tube, click here

I insert a performance of 'Ginga de um Bandolim' below

Jo