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| chorinho | |
|---|---|
| Name | chorinho |
| Other names | choro |
| Background | group_or_band |
| Origin | Rio de Janeiro, Empire of Brazil |
| Instruments | bandolim, guitar, cavaquinho, pandeiro, flute |
| Genre | Brazilian music |
| Derivatives | samba, bossa nova |
chorinho
Chorinho is a Brazilian instrumental genre and small-ensemble tradition that emerged in Rio de Janeiro during the late 19th century, synthesizing European salon dances, African rhythms, and urban popular styles associated with the Empire of Brazil and the early First Brazilian Republic. It developed in parallel with social and cultural institutions such as the Teatro Municipal (Rio de Janeiro), the Royal Portuguese Cabinet of Reading, and popular venues near the Praça Onze and Lapa (Rio de Janeiro), and it influenced later movements including samba and bossa nova. Key early contributors were composers and performers active in salons, street circles, and cafes connected to figures like Pixinguinha, Chiquinha Gonzaga, and ensemble practices linked to the Brazilian Academy of Letters cultural milieu.
Chorinho evolved from interactions among European dance forms like the polka, waltz, and maxixe with Afro-Brazilian practises rooted in communities around Salvador, Bahia and coastal Rio de Janeiro, shaped by events such as the abolition of slavery and urban migration during the late 1800s. Early public performances occurred in venues frequented by elites and working classes including the Theatro Ginástico, street rodas, and gatherings at the Feira de São Cristóvão, while publishing and radio institutions such as Casa Edison and Radio Nacional (Brazil) helped disseminate repertory. Throughout the 20th century, chorinho intersected with movements around composers like Heitor Villa-Lobos, popularization via recordings by labels such as Odeon Records (Brazil), and institutional recognition from entities like the Ministry of Culture (Brazil). Political shifts including the Vargas Era and later cultural policies influenced performance contexts, education, and preservation efforts tied to agencies like the Instituto do Patrimônio Histórico e Artístico Nacional.
Chorinho repertoire typically features virtuosic counterpoint, syncopation, and virtuosic improvisation over repeated harmonic cycles, drawing structural cues from forms such as the quadrille and habanera. Melodic lines often employ ornamentation associated with performers trained in conservatories such as the Conservatório Brasileiro de Música and with influences traced to composers like Ernesto Nazareth and Anacleto de Medeiros. Rhythmic frameworks rely on patterns linked to percussion traditions exemplified by instruments used in samba schools and ensemble interplay popularized by groups recorded by labels like Victor Talking Machine Company. Typical chorinho pieces alternate between sections with distinct modulations and cadences, reflecting compositional practices paralleling those in works by Camargo Guarnieri and arrangements performed at venues like the Cine Odeon (Rio de Janeiro).
Traditional chorinho ensembles feature lead melody instruments such as the bandolim and flute supported by harmony and rhythm from the guitar, cavaquinho, and pandeiro, often augmented by cello or clarinet in earlier salon contexts. Notable instrument makers and luthiers in Rio de Janeiro and São Paulo supplied instruments used by players associated with ateliers tied to families like the Galeazzi and businesses such as Casa Parmegiani. Ensemble sizes vary from trio to septet configurations performed at institutions like the Sala Cecília Meireles and broadcast studios including Radio Nacional (Brazil). Arrangement techniques show links to pedagogical methods taught at conservatories such as the Escola de Música da UFRJ and repertoire published by houses like Editora Max.
Important composers and performers include Pixinguinha, Ernesto Nazareth, Chiquinha Gonzaga, Jacob do Bandolim, Waldir Azevedo, Mestre Pixinguinha (as performer), Luiz Americano, Anacleto de Medeiros, Horácio Antônio da Costa, Paulinho da Viola (whose work spans related genres), Baden Powell (in crossovers), and revivalists connected to venues such as Bar Brahma (São Paulo). Ensembles and recording projects by groups like Os Oito Batutas, Regional do Choro and later collectives appearing at festivals such as the Festival Nacional do Choro de Brasília have preserved repertory and fostered reinterpretation. Publishers and labels including Odeon Records (Brazil), Continental Records (Brazil), and contemporary imprints have issued landmark recordings that document virtuosos and arrangers active across decades.
Regional variations developed in urban centers like Rio de Janeiro, São Paulo, and Belo Horizonte, with local scenes reflecting Afro-Brazilian, European immigrant, and indigenous influences visible in repertoires performed at the Feira de São Cristóvão, Praça XV, and neighborhood casas de choro. Chorinho informed and was informed by regional genres and events such as samba de roda, forró, and the Rio Carnival parades, and it fed into compositional streams associated with bossa nova pioneers who performed at clubs like Beco das Garrafas. Cross-cultural interactions occurred through tours and broadcasts involving institutions like the Embaixada Brasileira and festivals such as the Montreux Jazz Festival where Brazilian artists showcased adaptations.
Chorinho enjoyed widespread popularity in early 20th-century salons and on radio, experienced a mid-century decline amid mass-market shifts toward samba and MPB, and later revival through initiatives by cultural institutions including the Ministry of Culture (Brazil), civic festivals, and venues like Sala Cecília Meireles. Contemporary practitioners, educators at institutions such as the Federal University of Rio de Janeiro, and collectives organize festivals like the Festival Nacional do Choro de Brasília and international tours to regions represented by consulates and cultural centers such as the Instituto Cervantes and Goethe-Institut, ensuring ongoing transmission via recordings released on labels like Biscoito Fino. Preservation and innovation continue through collaborations with jazz artists, academic research at universities like the University of São Paulo, and digital archiving efforts involving organizations such as the Biblioteca Nacional (Brazil).
Category:Brazilian music Category:Instrumental music