Choro

Choro is a genre of Brazilian music that emerged in the 19th century. It is considered one of the oldest forms of Brazilian popular music and has influenced many other genres, including samba and bossa nova. The word “choro” means “cry” or “lament” in Portuguese, and the music is characterized by its poignant melodies and syncopated rhythms. Choro originated in Rio de Janeiro in the late 1800s, at a time when Brazil was experiencing a period of social and cultural change. The country had recently abolished slavery, and a new middle class was emerging. This class was eager to embrace cultural forms that were distinctively Brazilian and that could promote a sense of national identity and pride. One of the key figures in the development of choro was the flutist Joaquim Antônio da Silva Callado Jr. (1848-1880). He was a classically trained musician who had studied in France, but he was also interested in the emerging Brazilian musical styles of the time. Callado is credited with introducing the choro ensemble, which typically consists of a cavaquinho (a small guitar-like instrument), a seven-string guitar, a flute, and sometimes a clarinet or other instruments. Another important figure in the development of choro was Ernesto Nazareth (1863-1934), a pianist and composer. Nazareth’s compositions, which blend elements of European classical music with Brazilian rhythms and harmonies, are among the most famous examples of choro music. His most famous piece, “Odeon,” has been covered by numerous musicians and is a classic example of the choro style. Choro music became popular in Rio de Janeiro in the early 20th century, and many musicians and composers were drawn to the genre. Among the most famous choro musicians of the time were Pixinguinha (1897-1973), Jacob do Bandolim (1918-1969), and Waldir Azevedo (1923-1980). Pixinguinha was a virtuoso flutist and composer who wrote some of the most famous choro pieces, including “Carinhoso” and “Um a Zero.” Jacob do Bandolim was a master of the mandolin and wrote many choro classics, including “Doce de Coco” and “Receita de Samba.” Waldir Azevedo was a composer and virtuoso of the cavaquinho who wrote “Brasileirinho,” one of the most famous choro pieces of all time. Choro music continued to be popular in Brazil throughout the 20th century, but its popularity declined somewhat in the 1950s and 1960s as other styles, such as samba and bossa nova, gained popularity. However, in the 1970s there was a revival of interest in choro, and many new musicians and composers emerged who were inspired by the genre. Among these were Yamandu Costa, Hamilton de Holanda, and Zequinha de Abreu.

Jacob do Bandolim: Considered to be one of the most influential composers and performers in choro, Jacob do Bandolim was a virtuoso on the mandolin. He wrote over 100 pieces and was known for his intricate and dazzling solos. Pixinguinha: A renowned musician, composer, and bandleader, Pixinguinha is widely regarded as the godfather of choro. He was a master of the flute, saxophone, and clarinet and his music was known for its inventive harmonies and syncopated rhythms. Ernesto Nazareth: A composer and pianist, Ernesto Nazareth was one of the most important figures in the development of Brazilian popular music. His music combined traditional choro elements with European classical music, and his piano works are still performed and revered today. Waldir Azevedo: Nicknamed “O Mago do Bandolim” (The Wizard of the Mandolin), Waldir Azevedo was a virtuoso performer and composer who helped popularize choro in Brazil. His most famous composition, “Brasileirinho,” is a beloved choro classic. Abel Ferreira: A clarinetist and composer, Abel Ferreira was known for his prowess on the instrument and his virtuosic improvisations. He played with some of the biggest names in Brazilian music and was instrumental in bringing choro to a wider audience. Sivuca: A master of the accordion, Sivuca was a hugely influential figure in Brazilian music. His unique style blended choro with jazz, forró, and other genres, and he was known for his delicate touch and soulful interpretations. João Pernambuco: An important early figure in the development of choro, João Pernambuco was a guitarist and composer who helped shape the style in the early 20th century. He wrote many classic choro pieces, including “Sons de Carrilhões.” Paulinho da Viola: Though primarily known as a samba musician, Paulinho da Viola has also made important contributions to choro. His music is known for its elegance, sophistication, and intricate arrangements. Yamandu Costa: A virtuoso on the seven-string guitar, Yamandu Costa is one of the most exciting and innovative musicians in choro today. His music blends traditional choro elements with influences from jazz, flamenco, and other genres. Henrique Cazes: A multi-instrumentalist and composer, Henrique Cazes is a leading figure in contemporary choro. He has played and arranged music for some of the biggest names in Brazilian music and is known for his virtuosic yet subtle approach to the mandolin and other instruments.

1. Pixinguinha - "Carinhoso" 2. Jacob do Bandolim - "Vibrações" 3. Altamiro Carrilho - "Brasileirinho" 4. Waldir Azevedo - "Delicado" 5. Ernesto Nazareth - "Odeon" 6. Paulinho da Viola - "Sinal Fechado" 7. Raphael Rabello - "Dois Irmãos" 8. Yamandu Costa - "Lida" 9. Zé da Velha & Silvério Pontes - "Zé da Velha & Silvério Pontes" 10. Trio Madeira Brasil - "Vibrações" 11. Guinga - "Rasgando Seda" 12. Henrique Cazes - "Brasil Musical - Choro" 13. Joel Nascimento - "Dois Irmãos" 14. Regional Noites Cariocas - "Noites Cariocas" 15. Rogério Caetano & Hamilton de Holanda - "Dois Irmãos" 16. Déo Rian & Quarteto Maogani - "Música de Compositores Cariocas" 17. Conjunto Época de Ouro - "Choro: Sempre Choro" 18. Tira Poeira - "Só Pixinguinha" 19. Trio Madeira Brasil - "Aventureiro" 20. Celsinho Silva - "Primeiro Samba" 21. Aquarela Carioca - "O choro de Pixinguinha" 22. Luiz Americano - "Noites Cariocas" 23. Joel Nascimento - "Ventura" 24. Duo Assad - "Sérgio & Odair Assad - Latin American Music for Two Guitars" 25. Paulo Moura - "Pixinguinha - Paulo Moura"

One of the most notable books written about Choro is "Choro: A Social History of a Brazilian Popular Music" by Tamara Elena Livingston-Isenhour and Thomas George Caracas Garcia. In the book, they explore the cultural significance of Choro and how it has been shaped by Brazil's rich history. The authors describe the genre as a unique blend of African, European, and Indigenous influences, citing its roots in the Afro-Brazilian communities of Rio de Janeiro. In his book "The Guitar in Brazil: Samba, Bossa Nova, and Beyond," author Joe Carter explains that while Choro was once an exclusive genre played only by a select few musicians, it has since grown to become a more accessible and widely enjoyed style of music. Carter writes, "Today, the tradition of Choro lives on and is played by musicians both young and old, from all walks of life." Bebel Gilberto, a Brazilian singer-songwriter and daughter of bossa nova legend Joao Gilberto, describes Choro as "an array of emotions in one song." She further explains that the genre is "full of passion, full of life, but also celebrates friendship, moments of happiness, and sometimes deep emotions." Guitarist and composer Yamandu Costa is also a notable figure in the world of Choro. In an interview with NPR, Costa discusses the importance of improvisation in the genre, stating that "it's not just about the notes, it's about the heart that goes with the notes." In her book "Choro Conversations: Pursuing Life, Love, and Brazil's Musical Identity," author Tammy L. Kernodle explores the social and political context in which Choro emerged and evolved. Kernodle writes, "The music itself is about joy, passion, and all that is life-affirming.” Another noteworthy quote comes from Brazilian composer and conductor Heitor Villa-Lobos, who said, "Choro is the soul of Brazilian music." Villa-Lobos was known for incorporating Choro and other traditional Brazilian styles into his compositions, bringing greater attention to these genres outside of Brazil.

Socially, Choro was a result of the melting pot of cultures that existed in Brazil at the time. Brazil had a diverse population composed of indigenous people, enslaved Africans, and Europeans from Portugal, Spain, Italy, and Germany. The encounters and interactions between these groups led to a fusion of musical traditions that shaped the Choro style. Choro's growth was also facilitated by the emergence of a new urban middle class in Rio de Janeiro, Brazil's capital city. This group of people had disposable income and leisure time to attend concerts, dance in clubs, and participate in cultural events. The demand for entertainment and cultural expressions in Rio de Janeiro provided the perfect conditions for the new genre to thrive. Culturally, Choro was influenced by the European classical music tradition, African rhythms, and Brazilian popular music. Musicians who played Choro were often trained in classical music and had experience in performing in orchestras. However, they were also exposed to the African rhythms and melodies that accompanied the dances of the enslaved people. The influence of Brazilian Popular Music (MPB) was also critical in the development of Choro. MPB emerged in the 1960s and brought a new wave of music that emphasized the fusion of traditional Brazilian sounds with more contemporary elements. The new wave drew inspiration from Choro, which had become a symbol of Brazilian musical identity. Technologically, Choro's development was aided by the introduction of new musical instruments, such as the mandolin and the cavaquinho, which are essential to the Choro sound. These instruments were smaller and easier to carry than the larger classical instruments a played by regional orchestras, which made them more accessible for musicians to use for small ensemble performances. Notable record labels, journalists, and other figures also played a significant role in the growth of Choro. In the early 20th century, Odeon Records created a series of recordings of Choro, which helped spread the genre throughout Brazil. Other labels and music publishers began to promote the style, and soon Choro became a popular form of entertainment. Popular journalists such as Paulo Tapajós were also crucial in the emergence of Choro. Tapajós amplified the music and the culture around it, providing a platform for the music's most exceptional artists to gain recognition for their work. Musicians such as Pixinguinha, one of the most significant figures in Choro's history, were also instrumental in the development of the genre. In addition to being an accomplished performer and composer, Pixinguinha was a mentor to numerous musicians, including Jacob do Bandolim, who went on to become one of the most prominent Choro musicians.