A brief history of Choro

Choro is a Brazilian popular music similar in background to the celebrated Cuban son of Buena Vista Social Club fame. Choro started in Rio de Janeiro in the mid 19th Century as a fusion of African-based rhythms and structures, manifested in the dances the Lundu and the Maxixe, with European instruments and dance forms namely the Polka and the Waltz. In the 20th century, it came to represent social and racial diversity in Brazil and was integrated into mainstream film, radio, and recordings throughout Latin America and Europe. It initially rose to international prominence in 1913 when used to accompany the world-wide dance sensation called Maxixe”. Probably the most famous Choro piece is “Tico Tico” which has become a jazz standard.

Originally written for piano and guitar, the flute and saxophone became popular and, influenced by North American jazz, harmonies became more complex and improvisation became a feature. The Portuguese bandolim and cavaquinho became part of a now standard line up of 7 string guitar, cavaquinho (Brazilian ukulele), mandolin and pandeiro (Brazilian tambourine).

There are four significant composers of the golden age of choro who’s body of work has become the standard repertoire for all players. Each of these composers were virtuoso players in their own right.

  • Chiquinha Gonzaga (1847-1935) scandalised society by being the first Brazilian woman to make a living out of playing and composing. In a world dominated by men and when
    popular music was considered risqué she flaunted convention and heavy criticism to become one of the most influential figures in the development of choro.
  • Ernesto Nazareth (1863- 1934) was a contemporary of Scott Joplin. Both were classically trained musicians who developed a passion for syncopated music, Joplin who had a huge impact on traditional jazz and Nazareth who brought together the African and European dance forms that became the basis of choro.
  • Pixinguinha (Alfredo da Rocha Viana 1897-1973) a flautist and saxophonist became the one of the most famous musicians in Brazil. A prolific composer and band leader, he
    toured in the United States with singer Carmen Miranda where he was influenced by American Jazz. His band and music were chosen to represent the true music of Brazil in a government organised trip to Paris where he and the band received great critical acclaim.
  • Jacob do Bandolim (Jacob Bittencourt 1918-1969) was a virtuoso mandolin player and like Pixinguinha a prolific composer. The Brazilian bandolim evolved in shape and sound from the Portuguese guitar with a distinctive sonorous bright sound. Jacob earned his living as a post office worker to keep the purity of his music from being tainted by compromises. He was a hard task master and his rhythm section became the most famous in choro history known as the Conjunto Época de Ouro (The band of the golden age).

Choro influenced the music of Heitor Villa Lobos who wrote many classical pieces in Choro style. Today choro is viewed as a type of popular folk/traditional music in its own right. Its history parallels that of race, class, and nationality in Brazil over the last 100 years. Over the past ten years there has been a big revival in interest world wide. Young virtuoso players are emerging and composing new tunes with many diverse influences.