he History of Brazilian Popular Music (MPB) has its best moments marked thanks to specific meetings of artists, who united their great talents and imagination to create, cover and/or perform works considered definitive.
This is what happened with " Carinhoso " (Carinous), currently rated and recognized as the most sung, whistled, sung, chanted, covered, loved and known song by the entire Brazilian collective.
Curiously, this song was born simply as an instrumental work back in 1917.
Its composer was the brilliant musician Alfredo da Rocha Viana Filho, known as " Pixinguinha " (1897~1973).
The lyrics are a composition by João de Barro " Braguinha " (1907~2006) and were added to the original melody in 1936, almost 20 years after its first musical edition.
The year after having lyrics, its most famous version would be recorded by Orlando Silva (1915~1978), the most emblematic singer of the time.
Before the legendary version by Orlando Silva, the path that " Carinhoso " had to take to be recorded on disc is almost enough to write a separate book.
After listening to the original music, most of the record labels where the main musicians, singers and arrangers worked, initially rejected recording the song because they considered it too influenced by Jazz.
Francisco Alves and Carlos Galhardo were the first consulted, both arguing that in addition to having a somewhat strange melody and outside the musical tastes of the time, the lyrics did not help much with the interpretation either.
Specialized journalists came to accuse Pixinguinha of being too influenced by American music, arguing that he had abandoned his career as a Brazilian popular musician to become a simple interpreter of American rhythms and melodies.
In short, " Carinhoso " for all intents and purposes, was considered a true " foxtrote ", with different variations and influences from " Yankee " music . Respecting the original melody and after a long instrumental introduction, Orlando Silva knew how to sing " Carinhoso " like no one else (1937).
Pixinguinha ► " Carinhoso " :
My heart, I don't know why... │ I'm happy when I see you... │ My eyes are smiling │ I'm looking forward to following you │ But just like that, my eyes...
Ah, I know your soubesses │ Like your sweetheart │ And very, very much that I love you │ And how sincere or my love │ I know that you wouldn't run away from me...
Go, go, go, go... │ Let's feel the heat of two more lips │ À procure two teus │ Let's kill this paixão │ That devours me in my heart │ And just like that, then, I'll be happy │ Bem happy...
The album was released by the RCA Victor record company in 78 rpm compact vinyl format. with the Samba label, to define the musical style.
This song soon became the most important recording of his musical career, achieving successive sales records.
Throughout history and after this great success, the song has been performed for decades by practically all the most important Brazilian musicians and/or singers.
" Carinhoso " is in the repertoire of Silvio Caldas, Ángela María, Elizeth Cardoso, Dalva de Oliveira, Elis Regina, Maria Bethânia, Radamés Gnattali, Antônio Carlos Jobim, Arthur Moreira Lima, Garoto, Hermeto Pascual, Caetano Veloso, Jacob do Bandolim, Nara Leão, Marisa Monte, Paulinho da Viola, Baden Powell, João Gilberto, etc., as well as in the memory of several million Brazilians who, throughout all these decades, have found their music of identity in " Carinhoso " ... !
Currently, various specialists and/or musical scholars are trying to explain the extraordinary acceptance of this traditional music. Among their arguments, they point out two precise elements that can be easily identified: The sophisticated and at the same time simple prolongation with slight ascending of the notes of the melody, and the emotional tension of the lyrics during the different " tempos " of it.
The combination is perfect and the final result, a true Masterpiece.
One of the most relevant interpretations of " Carinhoso " in recent times has been performed by the singer Marisa Monte, accompanied by Paulinho da Viola.
Regarding the origin and inspiration of this music, the history of "Carinhoso" is confused with the birth of " Choro " as a genuine Carioca musical style.
The first records of this style date back to 1870 in Rio de Janeiro (RJ).
The " Chorões " was the common name given to a group of musicians of the time, mostly from the lower middle class, who mixed African music with Samba and with various European musical genres, among which, the most Polka was predominant.
With binary rhythm and agitated rhythm, this music had a wide impact in Brazil at the beginning of the 20th century.
But it was finally in Rio de Janeiro, through traditional instruments such as the " cavaquinhos ", " violões " and the flutes of the "C horões " playing together to the African rhythm of the Iundu, as it was born, giving rise to what we know today. like " Choro ".
Pixinguinha was one of the largest disseminators and the one truly responsible for consolidating " Choro " as a Brazilian musical genre.
With their Group " Os Oito (8) Batutas " formed only by mulattoes and blacks, they created a new and revolutionary aesthetic in Brazilian musical spaces, being invited to perform concerts in Paris (1922), Buenos Aires (1922), etc.
From the beginning, the " Choro " was marked by the great musical ability, virtuosity, imagination and improvisation (inside and outside the melody) of its instrumentalists.
About Pixinguinha , the critic and historian Ary Vasconcelos writes: "If you had about 15 blank volumes to talk about all of Brazilian Popular Music, you can be sure that it is not enough.
But if the space you have is so small that only one word fits, all is not lost...
► Write quickly and clearly: " Pixinguinha" ...!
PS ► This post was originally published on www,bossanovaclube.blogspot.com on 11/21/2013