We are referring to the “Cry” (Choro), musical gender consecrated by our more famous " singers " and that we will render, on that occasion, a homage the all of them, counting a little of the history of the "Cry" (Choro) Musical Gender, of the musicians that consecrated it and the one that he represents, there is more than one century in the Brazilian musical culture.

Text of Ivan Matvichuc and Fátima Queiroz interpreted in the beginning of the commemorative event of homage to the "Choro", in the House of Angola of Forest Horto of São Vicente-SP.

HISTORY OF THE "CHORO"

Gender created starting from the mixture of elements of the European living room dances (as the waltz, the minuet and, especially, the polka) and of the Portuguese popular music, with influences of the African music. At the beginning, it was just a way more emotional, tearful, of interpreting a melody, whose apprentices were called whiners. (chorões). As gender, the "Choro" only took form in the first decade of the century 20, but his history begins in the middle of the century XIX, time in that the living room dances became imported of Europe. The abolition of the slaves' traffic, in 1850, provoked the appearance of an urban middle class (composed by small merchants and public employees, usually of black origin), public's segment that more he interested in that music gender.

In terms of musical structure, the cry have three parts (or two, later), that follow the form rondó (it always returns to the first part, after going by each one). The origin of the term Cry (Choro) was already explained in several ways. For the folklorist Luís da Câmara Cascudo, that name comes from xolo, a dance type that gathered the slaves of the farms; of xoro, the term would have arrived finally to the Cry (Choro). On the other hand, Ary Vasconcelos suggests that the term links to the musical corporation of the "choromeleiros", a lot of active musicians in the colonial period. José Ramos Tinhorão defends another point of view: he explains the origin of the term cry (Choro) through the sensation of melancholy transmitted for the you would lower of the guitar (the accompaniment in the most "graves" area of that instrument). Already musician Henrique Cazes, author of the book Cry (Choro) - Of the Back yard to the Municipal, the most complete work already published until today on that gender, it defends the thesis that the term elapsed remarkably of that way sentimental of brazilian manners the European dances.

Several musicians and composers contributed so that that initial manner if it transformed in gender. Author of the polka Loving Flower (Flor Amorosa), with poesy letter of Catulo da Paixão Cearense, that is played until today for the whiners (chorões), Joaquim Antonio of Silva Callado was teacher of flute of the Conservatory of Music of Rio de Janeiro. Of his group she made part, the pioneer female conductor Chiquinha Gonzaga, not only the first female conductor, but also the first pianist of the "Choro" gender. In 1897, Chiquinha wrote for an operetta the cateretê "Corta Jaca", one of the largest contributions to the repertoire of the "Choro". Another pioneer was the clarinetista and composer carioca Anacleto de Medeiros, that accomplished the first recordings of the gender, in 1902, ahead of the Band of the fire department. As well as other subsequent registrations, those recordings indicate that the musical improvisation still was not part of the whiners' musical (chorões) luggage in that time.

Essential for the formation of the language of the gender it was Ernesto Nazareth's work, that early extrapolated the borders between the popular music and the erudite. The classic author as "Brejeiro", Odeon and "Apanhei-te Cavaquinho". He stood out as creator of Brazilian tangos and waltzes, but in fact it exercised all the musical goods more common of that time. The sophistication of the work of Nazareth was so large, that (except in the case of Radamés Gnattali, one of his best interpreters) his work was only definitively integrated into the whiners' basic repertoire in the years 40 and 50, through the recordings of Jacob do Bandolim and Garoto.

Also brilliant, Alfredo da Rocha Vianna Filho, Pixinguinha, contributed directly so that the "Choro" found a defined form. For that, it introduced elements of the Afro-Brazilian music and of the rural music in the polkas, waltzes and the whiners' tangos. It is the case of the Maxixe "As Oito Batutas", engraving in 1918, whose title advanced the name of the first group to conquer fame in the history of the Brazilian music.

Another weight personality in the history of the gender was the carioca Jacob Bittencourt, Jacob do Bandolim, famous not only for your virtuosity as instrumentalist, but also for the Meet of Choro, that it promoted at his house, in the years 50 and 60. Without speaking in the importance of Choros of his authorship, like Remeleixo, Noites Cariocas and Doce de Coco, that do part of the classic repertoire of the gender. Contemporary of Jacob, Waldir Azevedo overcame him in terms of commercial success, thanks to his pioneer small guitar and Choros of very popular appeal that it came to compose, like Brasileirinho (thrown in 1949) and Pedacinhos do Céu.

LANGUAGE OF BIG BANDS

One of the examples better solved of union between the cry and the jazz can be found in the conductor's work and "music arrangment man" from Pernambuco, Severino Araújo, that a little after moving to Rio de Janeiro, in 1944, he decided to adapt sambas and Choros to the language of the big bands. Ahead of the Orquestra Tabajara, Araújo recorded several Choros of his authorship, as Espinha de Bacalhau and Um Chorinho na Aldeia, followed examples for other orchestras of the gender or composers as Porfírio da Costa and K-Ximbinho. Another diamond follower of the coalition of the Choro with the jazz was the music conductor Radamés Gnattali.

Rio de Janeiro is the unanswerable capital of the Choro, but they didn't lack expression musicians in the gender, original of other parts of the country. One of the pioneers was the guitarist João Pernambuco, that changed the interior from Pernambuco for Rio, in 1904. Besides having made part of the group "Os Oito Batutas “ he is until today worshipped by the Brazilian guitarists, that continue interpreting their compositions for guitar.

Another cultivation center and development of the gender was São Paulo, where they stood out whiners as the guitarists Armandinho Neves, Antônio Rago and, especially, Aníbal Augusto Sardinha, "O Garoto".. Virtuose of the guitar, he accompanied singer Carmen Miranda in the USA, in 1939. The direct contact with the jazz influenced his work, besides their Choros, that today are played by guitarists of several songs of the world, also including the person from São Paulo, Bellinati, one of the principal divulgation-man of Garoto's work.

REVITALIZATION

Stimulated by the show “Sarau”, with Paulinho da Viola and the group Time of Gold (and partly for the success of the group Novos Baianos), the "Choro" met a revitalization period, in the seventies. Young groups didn't just appear dedicated to the gender, as the cariocas "A Fina Flor do Samba", Black Rooster (Galo Preto) and the Carioquinhas. The new interest for the gender propitiated also rediscovered of veteran whiners, like Altamiro Carrilho, Copinha and Abel Ferreira, besides revealing younger talents, like the bandolinistas Joel Nascimento and Déo Rian. Without a doubt, the musician more diamond of that new generation was the guitarist carioca Rafael Rabello, that in spite of having died prematurely, to the 32 years, in 1995, he recorded a weight work.

Already starting from the eighties, the Choro raisin to establish other musical connections. Groups of weeping spirit, as Camerata Carioca and the Orchestra of Brazilian Strings, also brought in their repertoires classical music of Bach, Vivaldi and Villa-Lobos, or even Astor Piazzolla's contemporary tango. On the other hand, the Brazilian popular music started to flirt more with the "Choro" through influential composers' works and music-words-man, as Paulinho da Viola and Chico Buarque, or instrumentalists, like Hermeto Pascoal.

On June 10, 2004 a " Wheel of Cry " (Roda de Choro) was accomplished at the House of Angola, located in Forest Horto of São Vicente-SP, under the academical teacher's coordination Carlos Alberto Andreoli, occasion in that a homage was rendered several " whiners " (Chorões), some still alive, other longing ones. The " Wheel of the Cry " (Roda de Choro) was the result end of a course on that musical gender supplied for two months by Teacher Marcelo Laranja, president of the Club of "Choro" of Santos. The closing party was lustered by the Musical Group of "Choro" of the referred club and the participation of the Media, through two channels of television of our area, the TV Mar of Santos and the First TV (TV Primeira), of our city.

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CRY

HISTORY OF THE "CHORO"

LANGUAGE OF BIG BANDS

REVITALIZATION