To begin with, “choro” is a way of playing, as well as a musical genre. It was around the 1870 that the Brazilian popular music players of Rio de Janeiro, once the economical and cultural capital of Brazil, played in a “Brazilian style” (under the strong influence of the African rhythms lundu and maxixe) the repertoire of European dances in vogue in the salons of the XIX century carioca élite (as walzer, scottish and polca).
At the beginning the term “choro” was intended to describe the “chorões” distinctive way of playing, that is musical ensemble of guitars, flutes, cavaquinhos, sometimes percussion instruments and others solo instruments.
Choro: the musical genre
The “Choro” as musical genre appeared later, at the beginning of the XX century, as “music constituted by rhythmical patterns of polca and scottish, mixed with afro-brazilian syncopated rhythms”, as defined by Luiz Otávio Braga, Professor at the University of Rio de Janeiro, one of the most important Choro representative of our times.
Unlike the traditional popular music, mostly singed, the choro music distinguished itself from the beginning as an instrumental music, rich, sophisticated and characterized by a deep interpretative liberty, that offered both the soloists and the accompanist the chance to create and express themselves freely.
The Day of Choro, the Pixinguinha Day
In recent times the 23rd of april has officially been recognized as the “ Day of Choro” in Brazil, a commemorative date in which special events and “Rodas de Choro” are organized all around the country. This day occurs during Alfredo da Rocha Vianna Filho’s anniversary, also called Pixinguinha (1897-1973), flautist, saxophonist, arranger, composer and the most representative of choro music of any time.
Choro outside Brazil
Choro had its origins in Rio de Janeiro but it rapidly spread itself all around the country and today it has most assuredly gained a position of prominence as Brazilian instrumental music. Outside Brazil many groups of “chorões” contribute to the diffusion of choro all around the world.
In the town of Torino, important cultural centre of North Italy, the Choro na Manga duo – constituted by the Brazilian mandolin player Marco Ruviaro and the Italian guitar player Fabrizio Forte – plays its part, contributing to the diffusion of choro in Europe.
